Acustemologías del dato: Una genealogía de la sonificación artística en México (2000-2026)

Jalil Felipe Cervantes Martínez

doi:10.33064/12ais9084

Authors

Jalil Cervantes Universidad Autónoma de San Luis Potosí https://orcid.org/0009-0008-7532-8285

DOI:

https://doi.org/10.33064/12ais9084

Keywords:

data sonification, mexican contemporary art, sound art, acoustemology

Abstract

Data sonification has emerged as a practice that articulates art, science, and technology; however, in Mexico it still lacks a historical systematization that would allow for an understanding of its specificity. This article proposes tracing a genealogy of artistic sonification in the country between 2000 and 2026, with the aim of analyzing its contribution to a situated technological acoustemology. A qualitative approach is adopted, based on documentary review and analysis of a corpus of 52 works selected for their central use of sonification. The analysis considers variables such as data types, mapping strategies, and aesthetic intentionality. The results reveal an evolution from individual practices toward collective data ecologies, with an emphasis on non-human agencies, socio-environmental critique, and interdisciplinarity. It concludes that sonification in Mexico constitutes a situated acoustemology that transforms data into critical experiences. Its development expands the narratives of contemporary art by incorporating sonic, processual, and relational dimensions.

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Author Biography

Jalil Cervantes, Universidad Autónoma de San Luis Potosí

Jalil Cervantes (San Luis Potosí, 1994) is an artist and researcher. He holds a Bachelor's degree in Contemporary Art and a Master's degree in Habitat Sciences with a specialization in Mexican Art History. He is currently a Doctoral Candidate in Latin American Studies in Territory, Society, and Culture at the Autonomous University of San Luis Potosí.

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