The project “Ser volcán” is a woven collection of poems, embroidered with code in a digital format. It is not by chance that the words ‘text’ and ‘textile’ have the same etymological root, coming from the Latin word texō (‘weave’). Although weaving and writing are similar practices, centuries have gone by that have tried to erase, even with violence, that relationship, leaving the practice of weaving secluded in the field of what is considered handcrafted and feminized, and separating it from writing, a practice that has been masculinized and intellectualized by the western world.

Writing seems to be a structured, progressive and linear practice, just like the conception of normative time, the story that we are being told. However, the textile allows us to abandon that supposed linearity of the texts to produce new relationships and articulations that are not contemplated by the linear. Ways of thinking, diverse and disobedient epistemologies, intertwined structures of materials and writings. As the Bolivian artist Sandra Berducy indicates, “the fabric is a thought scheme where you are solving a warp problem, in a certain way, applying a specific logic, and that logic, that model of thought is also applied in other areas, in daily life".

In Lupita Quispe's “Ser volcán” project, we not only find a text-labyrinth proposal, or a space to lose oneself within a loop, but also a proposal that considers technology as a textile practice. The forcefulness of this statement also tells us about different ways of inhabiting digital space. A kind of perspectivism, as described by Viveiros de Castro, but applied to a multi-species consideration that includes machines and computer codes as living practices of navigation through that geography that at the same time is body, territory and labyrinth, inhabited by “hummingbirds high on passionflower”.