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For an author who likes to cross borders Guillermo Gómez-Peña (1955) has certainly reached audiences in both the U.S. and Mexican artistic, literary, theoretical, and political arenas. Now, with the advent of more technological mediums such as the Internet, the borderless artist makes use of the global fetish that, in theory, reaches a global community. As a prelude to his performances, workshops, conferences and lectures, Gómez-Peña’s collaborative webiste engages his readers in video-poetic selections, and hypertext poetic medley with topics that are sure to catch their interest with poems such as "Apocalypse," "Sexo," "Militias," and the video-poems "Apocalypse" and "Califas." His "ethno-techno art," as he calls it, does more than disrupt traditional theoretical dialogue using the same jargon and disengaging it from its original context, it satirizes the disciplines that try to give explanations. His online video-art and poetry performances are composed of fragmented thoughts, and a myriad of politically, symbolically and theoretically-charged words that give resonance to a vital verse. The poet is lost and found in the Diaspora of the world as experienced on the Web, in Webspora. We hear the itinerant poet, the artist who’s borderless and whose very conscious transgressions make the poet in Diaspora unyielding and not accommodating to any discourse, not from here or there.


"Ciberletras is an open-access publication."

Original Publication Citation

Huízar, A. (2007). Guillermo Gómez-Peña's "Tekno Poética" web verse, lost and found in a webspora. Ciberletras, 17, 1-14.