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Ítem Bestial resonance. Fabla.(Universidad EAFIT, 2023) Suárez Roldán, Juan Camilo; Universidad EAFITCarlos Bermudo called the transcription of the voices that he thought he tuned as vibrations coming from the jaw of a donkey, eighteen in total, called Fabla bestial. Each crown of the teeth of the lower jaw was studied as a trace of time to give rise to a supposed dialect. In this episode you will hear an audio version of the arduous outline we received. Likewise, we will recreate a biblical passage that our elusive dilettante considered: “matriarchal consecration of the divine origin of Asinine voices.”Ítem Bestial resonance. Journey to the center of the beast.(Universidad EAFIT, 2024) Suárez Roldán, Juan Camilo; Universidad EAFITThe exploration of the archive that Carlos Bermudo has left us allowed us to rescue the story written by Soledad Acosta de Samper that we will hear at the beginning of this podcast and that, according to the notes in the margin of the clipping, seems to have sponsored a second text, a kind of asnal poetic or gross manifesto—the fruit of model adultism for toys, notes Bermudo—that closes this broadcast. We thank researcher Alejandra Arcila for her archival research and professor Alejandra Lopera for her revealing reading. Thanks, also, to our guest musician: Alejandro Duque.Ítem Bestial resonance. The unavailable animal.(Universidad EAFIT, 2023) Suárez Roldán, Juan Camilo; Universidad EAFITThe border between animality and humanity can take the form of an abyssing brink, but it also offers the temptation of passage, traffic or blackmail. In any case, transgression would entail a cost. Professor Juan Pablo Pino introduces us, with revealing merit about the Bermudo case, to the possibilities and risks assumed by those who seem determined to sophisticate the primitive.Ítem Bestial resonance. Tell me how you laugh and I'll tell you who you are.(Universidad EAFIT, 2023) Suárez Roldán, Juan Camilo; Universidad EAFITProfessor Alba Clemencia Ardila comments on the Bermudo archive and its animal transformation project, using the concept of narrative identity. And, in response to an invitation for a lyrical reception, the artist Sara Rodas offers us a version of Poppea 59, a laughing and braying ass voice, which she consecrates in Doric mode to the train.