During the Cold War in the 1970’s , the United States’s security agencies concluded that their Soviet enemies were investing large quantities of money conducting extensive research and obtaining successful results in the eld of psychotronics, or the study of the parapsychological, with military purposes. In an attempt to keep up with the Russians, the CIA decided to initiate a program known as “Stargate” with the idea of using extrasensory perception as an espionage strategy, developing what is now known as Remote Viewing, a practice consisting of ‘seeing impressions’ about an unseen or distant target using extrasensory perception. In remote viewing, the clairvoyant communicates telepathically with its target and graphically deconstructs a message through a doodle. In order to decipher and code these doodles, the CIA established a series of basic ideograms, that frequently came up in the interpretation of their subjects, producing a universal code made of six basic symbols that represent the most basic characters in remote viewing. These are: Human, Water, Structure, Energy, Flatland and Mountain.

Ideograms, 2015 is a series of paintings based on these symbols that represent the idealist human effort of creating common sense, not only with the intention of understanding its own mind, but with the need to communicate a consensus, while evidencing the power of the symbolic in the construction of what we understand and accept as history.

Lastly, in Una Persona Balanceando Un Palo En Su Dedo Tanto Tiempo Como Pueda, 2015, Linares goes back to his original investigation in order to address the way in which a stick, can be understood as the material example of what could be the rst decontextualized object in the history of our species. On one hand, one could sustain that the stick works as an indicator of the human capacity of creating metaphors, and on the other, the act of balancing an object works as a challenge to physics through balance. Balancing a stick, could then be a symbolic act, one in which the object is divested from all meaning and is presented in a limbo, suspended, useless, but then again full of possibilities, emphasizing the object’s full potential of becoming something else, anything else.