WRITING
Frágil como una bomba (essay, currently writing)
Frágil como una bomba (Fragile as a Bomb) is an essay that investigates the relationship between memory, critical design, and experiences of violence in digital environments. The book starts from a key hypothesis: that experiences of digital violence—from harassment to algorithmic bias—not only affect people in the present moment but also leave imprints on collective memory, shaping new forms of participation and inhibition. Drawing on the theory of speech acts (Austin), the performativity of language (Butler), and the idea of the body as an archive of experiences (Preciado), the text shows how digital environments are somatopolitical battlegrounds where it is negotiated who has the right to speak, to remember, and to be remembered.
The essay dialogues with concepts developed in my thesis, such as collaborative remembering, participatory inhibition, and the notion of experience as a document. Through case studies—Wikipedia, hashtags like #ByeFelipe or #MiPrimerAcoso, and digital interfaces such as Ms. Dewey or the chatbot Tay—the book explores how technological platforms reproduce sexist and racist norms, and how they can also be re-appropriated by feminist and queer movements to generate alternative memories. The title points to the fragility of subaltern communities’ memory, but also its explosive potential when built collaboratively in digital spaces.
Editar és un acte d’amor: afectes contra la neutralitat (essay, currently writing)
This book (Editing is an Act of Love: Affects Against Neutrality) is the expansion of the fanzine Feréstegues. A Radical Editing Fanzine (Konvent, 2025), conceived as a prototype. While the fanzine served as a practical and community-based manual for feminist editing, the essay broadens the framework and places Wikipedia and generative artificial intelligence in dialogue as spaces where collective memory is contested.
The essay connects the experience of edit-a-thons and feminist movements within free knowledge. It explores how Wikipedia and other digital spaces, far from being neutral, act as symbolic battlegrounds where decisions are made about what remains and what is forgotten, who has authority, and which memories are silenced.
At the same time, the book opens up debate on generative artificial intelligence and its social and ecological impact. Platforms like ChatGPT not only reproduce structural biases but also operate under extractive logics—of data as well as material and energy resources—in contrast with the fragility and care needed to sustain community memories. The essay argues, however, that these tools can also be tactically reused: to identify gaps, shorten processes, generate drafts, or write responses when legitimate knowledge is questioned, thus avoiding wasting energy in sterile discussions.
Las manos cantoras (novel, currently writing)
Las manos cantoras (The Singing Hands) is an autofiction novel that writes the entry into adulthood as a record of losses: friendships that break apart, jobs that do not take root, lives that are gestated in a body too aged to sustain them and in a context too hostile for them to thrive. The protagonist, a woman who experiences stereotypies (stimming), sees the future every time she breaks down, but these visions arrive as a sound collage: fragments of chaotic music, useless as guides. The body thus becomes an overflowing archive, where present and anticipation coexist without hierarchy.
Amid this disorder, the novel also gives space to the calm that follows loss: the serenity of someone who has learned to navigate rivers that will never be tame. Written in a fragmentary, uncompromising style, the book makes visible fragility as a condition of adult life and, at the same time, the ability to endure within it. The Singing Hands offers neither redemption nor easy hope, but a raw narrative about what it means to grow when everything around seems on the verge of collapse.
Academic Articles (2010 – present)
I have published research in journals and encyclopedias that connect technology, art, feminism, and digital memory.
In ADesk Magazine (2019), I analysed how emojis reproduce racial and gender normativity, questioning the idea of the universal user and linking it to user experience (UX). In Feminist Media Histories (2017), I presented the BodyArchive project, a digital cartography of abuse and solidarity showing how personal data can be transformed into collective knowledge and feminist resistance.
Earlier texts include an ethical proposal on the visual representation of war in the digital age (Trípodos, 2009), an exploration of the relationship between music and technology as a paradigm of virtualization and collective creation (Trípodos, 2010, with Pol Creuheras and Cristian Palazzi), and a reflection on contemporary art in the first decade of the 21st century in the context of the information society (Enciclopèdia Catalana, 2010).