"There is only one war the human species can afford: the war against its own extinction."
Isaac Asimov.

The concept of globalization carries an enormous dose of skepticism and perhaps masks the desire of the collective unconscious to head towards cataclysm. Herds of zombies on the rampage, vandalized modern ruins, expensive dilapidated buildings languishing in a state of deplorable neglect and reincarnated in the Pelli Tower and the Setas. Cumbia against the machine is a "pachangapocalyptic" cacotopia about EXPO'92, a crazy conspiracy theory, an experiment with vital consequences. And when we say vital, we mean full of life! EXPO'92, that mythical golden age in which many Sevillians moved to live on an island where everything was possible. EXPO'92, that kind of April Fair with art exhibitions, giant screens and the same heat and sore feet, passed through the tunnel of time and the demolitions of memory on a ghost island.

Cumbia against the machine is an autonomous chapter of the audiovisual piece EXPO LIO'92 by María Cañas. 1992: The Spanish state accepts the bases of economic neoliberalism and borders are closed with the countries of the south and Latin America. The laws on foreigners, citizen security and strikes are approved. In addition to a labor reform that will leave thousands of workers without unemployment benefits. Spain shows off in front of Europe without skimping on expenses. Seville arrives at the twenty-fifth anniversary of the Universal Exposition amid indifference, nostalgia, and the eternal obsession to recreate itself in a glorious sterile past that does not translate into any collective project. EXPO'92, a dream that ended up becoming a business and a bluff. Why was so much spent so uselessly? A miracle was expected, that 1992 would be the beginning of an evolutionary process for the city, but in the end EXPO'92 looked like gold and remained a living dead.