For many years, I thought I was simply working as a graphic designer, producer, and digital media strategist. I was designing catalogs, advertisements, websites, social media campaigns, training materials, internal communication pieces, and visual strategies for clients. I was also producing videos, building brand identities, developing digital departments, writing across platforms, and helping organizations communicate with audiences that were changing quickly. Looking back,

From a borrowed VHS camera to digital editing, motion graphics, television, and teaching, this reflection traces my journey from graphic design into audiovisual production. It was not coincidence, but continuity: every project, tool, failure, collaboration, and discovery became part of the path that led me from the camera to the classroom.

The balloon as a sign in people’s daily lives. by Elizabeth Escobedo and José Manuel Flores Goal Observe the phenomenon of the unexpected...

What happens when seeing no longer requires being present? In Plato's Republic, the myth of the Ring of Gyges tells the story of a shepherd who discovers a ring capable of making its wearer invisible. Once Gyges realizes that he can act without being seen, invisibility becomes more than a supernatural ability. It becomes power. He uses the ring to approach the queen, kill the king, and seize the kingdom. The story raises a question that remains remarkably contemporary: What h

Some places are best understood by looking at them. Others reveal themselves only when we learn to listen. Border Soundscapes emerged from a desire to explore sound studies through rhetoric and its intersections with philosophical questions about the aesthetics, logic, and ethics of sound. Its open-air laboratory is the U.S.–Mexico border, particularly the sister cities of Ciudad Juárez, Chihuahua, and El Paso, Texas. This is a region frequently represented through images. Th

It is remarkably easy to create a border. Sometimes, all it takes is a line. We draw borders consciously and unconsciously. We divide rooms, neighborhoods, cities, nations, and even people. We learn to recognize where something ends and something else begins. Over time, these divisions become so familiar that we rarely question who created them, why they were created, or what happens to the people who live between them. Perhaps we have also learned to build borders as a form

Don Chepito lived in Monterrey, Nuevo León, Mexico. During certain seasons, he left his home to make a living. He traveled north in search of work, in search of a future, perhaps simply in search of a way to make life a little better for his family. He used to tell me stories about those journeys. Many of them took place during the 1950s and 1960s, when he traveled to Hatch, New Mexico, to work in the fields. He remembered those trips with remarkable humor. Perhaps humor mad

A border draws a line. It marks a boundary. It tells us where something begins and where something else ends. Border symbolism can be used to separate territories, protect spaces, and regulate different forms of crossing. But borders are not always built with concrete, steel, or fences. Sometimes, we wear them. La Máscara In lucha libre, the mask hides a face while simultaneously creating an identity. This is the paradox of la máscara de luchador. The luchador covers himself