Prepared By Juan Diaz Infante for cem


The Mexican Space Collective is a team formed by everyone that collaborates in Ulises I. There are artists, engineers, producers, programers, administrators. We can see here the art proposals shown in Fonoteca Nacional in June 2011. Possible proposals to be implemented to the mission Ulises I.


ULISES I is designed as a satellite with the capacity to transmit sound. Therefore the proposal that we present here are sound proposals.

We are planning to use an amateur open band of 433 Mghz. Since the satellite is in a low polar orbit. We can hear Ulises, 3 times a day during periods of 10 minutes.

The Mexican Space Collective was formed late 2010. Each artist received an invitation to join into the group and the shaping of Ulises I as an art piece. At the time our knowledge of satellites was very limited.

The Collective joined in a series of meetings to generate a brainstorm of ideas, and there was the decision that each one of them would present one idea. These proposals were specific for the Fonoteca Nacional for PLAY! Festival, June 2011.

The plan was to generate a series of ideas with no boundries, no problems of technology or cost. No mental barriers.

The result was outstanding, we got a series of incredible fertile ideas, so strong, that each one of them can be a line of independant art and science research.

Since then, the process of thought of the artists has continued into new shape of ideas.

The phase in which Ulises I is now is in the evaluation of which piece could fit better the limitations in memory and energy of a nanosatellite. At these particular point in time, engineers from the INAOE, the National Institute of Astro Physics, Optics and Electronic is assemblying the final phase of Ulises I and measuring the capabilities of the nanosatellite. Doing all the testing and building the integrated circuits to make the mission possible.

We are planning by the end of June to have the final design of Ulises I.


MSIS Mantra Satellite Induction Sistem

by Arcangel Constantini (Electronic Artist)

Mani Khor or praying wheels or cylinders, are mantra machines from Tibet. These wheels are made of metal or wood and they are hewn with the mantra “Om Mani Padme Hum” written in Sanskrit in the exterior. In the interior the same mantra is written again and again, thousands of times in papyrus. It is a Tibetan Buddhist practice to rotate these wheels as much as possible in order to generate an energy of positive wishes, induced by this simple machine.


A recording of the audio of the mantra Om Mani Padme Hum being prayed is digitized as a .wav file, binary data, sequences of ones and zeros, high and low pulses. The binary sequences are transformed as analog voltages using a microcontroller and a digital converter. The 8 bit DAC handles 256 voltages between 0 and 3.3 volts_0 to 255.


These pulses of modulated energy travel through a wired cylinder as a coil that creates a magnetic flux. Aa a principle of intentionality, we mean to show a relationship between perception and energy, spirit and physiscs. A Mantra Satellite Induction System




 by Marcela Armas (Electronic Artist)

Fragment of a sound interpretation of a graphed sequence of the corn genome B73


MAIHZ-Sequence is a sound interpretation base don a small fragment of a type of corn – domesticated seed from Mesoamerica– All seeds contain the information of life potentially, each orbit represents a life cycle. The sound orbit of a seed is a remainder the chemical reaction most complex there is in our planet: photosynthesis.

The opportunity of including this piece in Ulises I is a beginning of other possible orbits of different sound sequences –interpretations– of different species from Earth. The genome is the total inheritance of one organism.




by Arturo Márquez (Classical Composser)

This piece is a chromatic scale that uses the full range of the capacity of the ear to hear. From the very low to the very high notes. It is a minimal piece of everything, our full capacity of hearing up to the sensation in which we may not be sure if the sound is real or it is imaginary.

In the image we see here the musical score to be played by a synthesizer or the sound chip that will have Ulises I. The title of the piece is music without principles, in Spanish it is a game of words, it has several meanings. "Music with no ethics" and "music with no begining". Arturo Márquez from the very start of the piece is playing with a poetic title and it is what is giving the piece several ways to read it. It is an object of music, it is an object of sound. It is the full range of our consciousness, it is the exact border of the imagination. It shows in a very conscious manner the limit of where imagination starts. The idea is to transmit this piece through ULISES I, as the metaphor of the possible.




By Omar Gasca (writer and transdisciplinary artist)

To understand the Ulises project it is important to follow the traveling diary of its own process. The story of Ulises starts in Play! Festival 2011. Ulises I is a artist residence project of Play and the Fonoteca Nacional that generates the starting point of the project.

That is why Omar calls this piece PLAY and it is made specially in this context. Play festival has to do with all the different definitions of the translation of the metaphor to Spanish.

Space Music for Two Cellos are the instructions to follow in this visual score. The visual score uses the golden proportion as the main symbol to follow through the piece. There is a relationship between the title, PLAY, the act of following a game, at the same time means to play an instrument or to play music. The title of the works sets the attitude in which the player "plays" the music. The golden ratio takes you places by itself. It has the voice of Pythagoras and Euclid, Leonardo of Pisa, even Johannes Kepler. Interesting the fact that this single concept occupies and inspires thinkers of all disciplines. The score is to played ad lib, in the case of the satellite is a programing chore that has to do with the interpretation of this score.




by Ariel Guzik (Electronic Artist)

Ariel's pproach to work with the satellite is to make something that is very minimal. A wave, to discover what could be an interesting proportion of a wave, and to transmit it to space. To draw a cone an infinite cone that expands in time into the Universe.





by Ramsés Luna (Musician, Rock Composer)

Musical narratives to be played by 4 winds, one voice and one balloon. Ramsés approach is based in musical composition of seven stories that have to do with allegories of characters and planets.





By Hugo Solís (Sound and electronic artist)

Motors, fans, copper card, integrated circuits.

I want to make evident the fragility of the communication phenomena with a simple analogy : the satellite as a communications tool and not as a representation of pure technology. Plain fragile, air, communications bridges between two independent systems. Dialog through wind, rhythm and texture travelling from one to another. To talk, we need to listen.





By Francisco Rivas (musician)

Musical piece.

To send a human object to space is a symbolic gesture of our wish to know a trespass borders. Same as a child that throws a stone over a fence because he wants to know what is in the other side. The satellite will accomplish that contact. It is a window to the desire of our interior space, to make the outside his own, to touch the outside as a gesture of building something insid. The sound piece works as a metaphor of that meeting, as a mirror that bends, the exterior is inside and the inside is outside.




By Iván Puig

A Lemniscata is a defined curve by an equation. Its graphic representation equals the symbol of infinity. The translation to sound was don extending the X axis as the center and line of time, and the Y axis as the space view of channel right and left.




by Cabezas de Cera (Rock Group)

Rock musical piece. Cabezas de Cera is a Rock group. They build their own instruments and they were part of PLAY! Festival 2011, a festival dedicated to artist that create their own instruments. They came up with a character, the sonocomonaut, the closest translation would be a "sound astronaut". It is a metaphor to travel through sound. In today´s space exploration there is a great debate if humans should travel to other planets or if we should send robots. There is a new phase in exploration generating a new way of being there through the interphase. This astronaut is sound, we travel through listening to him, in the great imaginary. He is the Homo–Cosmos, he lives and plays among the galaxies, he feeds of planets, meteors and some stars.

The work shown here resembles the "Estela de Palenque", it is a stone that shows the very famous mayan astronaut.



ULISES I and his crew, the extrememophiles

By Gilberto Esparza

We have an obsession of our species to colonize outside of Earth, and in order to accomplish it, the first inhabitants of new planets have to be microorganisms, since they have a great potential to activate new ecosystems starting from extreme environments.

The idea is to send in the satellite a colony of extremophile microorganisms from the family of the tardigrade, that in extreme conditions they dehydrate and they can survive hundreds of years in cryptobiosis, with the capacity to resist outer space. They can become a seed that can jumpstart life in other planets. They are supposed to be put in a cell of microbe fuel, it is possible to obtain signs of life (micro volts) through the metabolism of a bacteria. This signals can be radioed by the satellite to monitor the activity of the microorganisms in conditions of microgravity and extreme temperatures.


No comments yet. Why not add the first?

Acknowledgements & Credits

Here we see the Mexican Space Collective art proposals.

You need to be logged in to report.