Transreality

The transrealist movement or transrealism is an artistic movement that is encompassed in the currents of avant-garde art. Transrealism in poetry, uchronism, according to this poetic movement's father, the Chilean poet Sergio Badilla Castillo, is created upon a transposition of time, which means that temporary scenes merge, in the textual corpus, and in this way linear coherence between the past, the present and the future is interrupted and reality turns into a kind of derivation or timeless link to a beyond-time, where poetic pictures and actions are represented or performed. This is how the temporal idea acquires a parachronic character or parachrony.

Another element of this transience is uchrony starting from a point in the past where something happened, in a different way or as it has happened, in reality (what could have been but wasn't), in material temporality, but nevertheless is possible to express itself as an element situated in abstract space, supported by the theories of Albert Einstein and Max Planck, regarding the spacetime combination.

As to a quantum, Badilla Castillo claims that poetic transrealism considers the concrete world of apparent experience to be dissolved between transformational mixture and subatomic conversions constantly confronted by matter. Chaos is in the heart of matter, it is the substantial and fortuitous element of the transformations of the cosmos before our singular and meager daily perception.

The greatest certainty we have as creative and poetic beings, according to transrealism, is that the universe imposes its major changes in the perceptive and imaginary capacity of the human brain, which this assumes as reality, subjective and full of symbolisms and delusions. Another major characteristic of Badilla's transrealism is an assembly between reality and myth, where there is no difference between certainty and uncertainty. For him, evidence is an act of chamanism, determined by the circumstances and alteration of a spacetime balance.

Features:

1) Reality is appearance or is subject to a multiplicity of contexts that intersect, intertwine, relatitivize or are the product of the mind and therefore the use of superimposed, multidimensional and juxtaposed planes in poetic textures. The mind is bigger or higher than the universe. Physical death is just a change of matter.

2) The use of lyrical time is asynchronous, acronym, uchronic or openly uses parachronisms.

3) The alternative of artificial space and urban topics as a principle of inspiration, as a bevel and as a decoration adapted to the process of the poetic event.

4) Use of an almost prophetic language, enlightened, where the author or the lyrical self intermingle. The shamanization of poetic discourse, that is, the lyrical speaker is a cabalist or a haruspex who is supposed to be endowed with supernatural faculties.

5) The rearrangement of the epic. The epic lies in the dynamic manifestation of autonomous and narcissistic factors. Narcissism is a support of self-valence in the disengaged society, in the post-industrial society.

6) Appropriation of the popular legend, imminently urban and the cultural tradition in which the poet exercises his argument or lyrical discourse.

7) Approach to the narrative structure of poetic texts, in some cases, when the theme is closer to fable.

8) Use of the conception and organization of the Borgesian labyrinth.

9) Histocompatibility (of tissue, context, environment and compatibility: that has the capacity or disposition to articulate or present itself in the same space or subject) which implies that a part of us recognizes as its own or family, another dimension or state .

10) Use of the concept of compensation or immunity, by interfering in para-subjective and paralogical situations (false or virtual reasoning).

11) Includes mystical reasoning. That includes mystery or hidden reason.

12) Incorporation of mythology, classical, oriental, or of the native peoples of America as an organizing element of contexts or dimensions.

13) Mixture of languages, both mystical and urban. At the same time, inclusion of words from other languages, for example: Latin, Yámana, Mapudungun, English or imaginary expressions.