Responses by Jairo Guerrero, art director and creative director, Soy Jairo Guerrero.
Background: Arqueología del Futuro (“Archaeology of the future” in English) is a conceptual sound essay accompanied with electronic music by B-Liv, Mexican artist and member of the Latin Recording Academy. It presents an approach to what the artist calls “the past future” or “the obsolete future”—a contrast to techno music that tries to sonically emulate a futuristic environment made with machines that do not belong to any future, but with machines from the past.
Design thinking: The future is old. It was written long ago.
Challenges: One of the most complex parts of this type of project is that, unlike a tangible and rational product, it is an artistic work. Creating from that place, trying to understand and give life to the artist’s subjectivity are challenges of interesting communication and creativity.
Favorite details: We wanted the advertising to be on the level of the sound proposal—that is, to be as conceptual as the album—and to visually pause, making the viewer think about this paradox of the future past.
New lessons: The future musicians intend to emulate, in terms of sound, is an illusion. It is about creating with machines that are already invented. Vangelis, for example, re-creates the music of Blade Runner (the future) with synthesizers from the ’70s (the past). The project enveloped us from the title of the album, Arqueología del Futuro.
Visual influences: Basically, the mystery of the present before our eyes. The centerpiece, from which everything is born, is the strange figures of the wheat fields, which look like futuristic controllers—strange machines that have been there since the past. Hence, the whole visual analogy.