The presentational linguistic

 The Presentational Linguistic

©By Abdel Hernandez San Juan

   The privilege of the present, Gegenwart predomine yet Parmenides poetry, Legein, noein, the present under the form of persistence and permanenships, something nearly, accessible, available, affordable by the gaze Vorhandenheit, a presence presenting, apprehended in legein and noein according to a process to which a temporal structure is a pure presentation, maintenance, reinen: Gegenwarttigens, the one who exist, the existent only shows itself in presentation, explained and comprehended by a present, captured as presence in the present of a pure presentation, as ousia

Jacques Derrida, Ousia and Gramme 

   Written in English and translated to English 

by Abdel Hernandez San Juan

   In the world we are living in everything is presentation. Long time ago, in introducing persons to persons, books to readers and art works to collectors, presentation was a mise in scene, today, however, surrounded by new technologies as the internet, medias, designs and publicity, presentation is becoming the horizont of all our environments evolving all our relationships between texts, images and environments. If you are walking in New York avenues and looks around, everything surrounding your turns is presented, frontages (frontispiece, façades), sidewalks you are on, publicities, street lights, everything evolving your body immersions through sensual, dynamic presentational forms, overflowing landscapes confines, the whole city horizont, even the fast coffee paper glass in the car at lunch or dinner presents itself outside as printed texts/images on surfaces, your fast food paquet, your sandwich and everything around, libraries you entrance and corner shopping stores, everything is being presented. 

  In this presentational world, however, something scarce being insufficient, there at libraries and books stores, our own books linguistically theorizing and philosophizing, objectifying presentation and ourselves in it. Are we clear about what a presentation is? how can we objectify The Presentational Linguistic?, it is maybe so near to our senses?. What is a presentation in language level?, now, in our internet age, when everything is presented even at home, presentationalism, presence and phenomena?. 

   We are experiencing today a new sensorial age of presentationality evolving as ever our sensorial bodies in new forms, and our everyday rituals, presences and phenomena’s being more than simple a mise in scene, a let me introducing you, a nice to meet you, a see this program, a product, a book or a piece of art. Notably to be presentational a language doesn’t need necessarily to present as something literal, it can be presentational without explicitly presenting something but by the ways what is present is presented in presence and certainly also, presenting something in new forms as can be sensorially and visually perceived at the internet. 

  However we will steel seen and discuss modalities of the presentational also in the linguistics of television, film, high land art and performances art too. Carnap, Berthan Russel, Wittgenstein, Jacobson, Saussure, Benveniste, Hemslev, Sapir, demos their theories since early xx century using language sentences and phrases as examples, a subject and a predicament, but they never imaging a philosophizing of language which instead of sentences basis subject and object a technology reality as given and ungiven to our senses, when a presentational linguistic being a phenomena of language evolves, more than denotation and referenciality, the presenting of worlds.

  Instead of traditional sentences as “Robert is walking on the park” or sentences evolving our performance such as “wait, I am back soon”, “hold up my bag” Austin use to “On how to do things with words” I would like to show how the presentational linguistic evolves our immediacies senses in a form that goes beyond performatives even if they are not necessarily excluded. Not only confined to reference and detonate realities out there our languages also serves to present worlds and ourselves in it presenting a world, a publicity, a product, a poster, a catalogue, an exhibit, a web, a cyber site, a television program, books, objects and merchants in stands, showlesnnes and many things presentationally unfolded, releases, etc. 

  Something scientifically out of questions, we need today to improve to new potentials and avenues our theoretical developments and explorations on presentation in the technology world of everyday life. I am presently committed to discuss it. Without excluding performativity but moving beyond it, we should pointed out that we never receive the presented without a presentation, in a few words, the presented seems to be present as presence, it is what is present in presence since it was presented, but being or not explicitated, perceived, redundant or tautological in the presence of the presented, presentation itself continues overthere yet, sometimes redundantly obvious so in a form that we can distinguish both in the same, the presented and presentation, sometime not much or even apparently not there, presentation always stay and the present presence of what is presented suppose to be under a presentation given to it material reality, coseity and overall redundancy of language. 

   The Presentational Linguistic should be defined by this redundancy; it is defined by the relation between what is presented as it is already a present presence and presentation as a redundancy of presence that presents the presented and presence the presentational present of a presentationality order. This redundancy of presence between the presented and presentation opens a series of interesting questions in which the phenomenology of language stay under a phenomenology of technology, of tangibles and untangibles, of matter and the inmaterials, stays from the moment a question on sameness comes to the front, how can the presented be a presentational presence in presentation and not only something presented by an external useful presentation presenting it to us as by first time tollsfully?. 

  Can we figure out a relation between two presentations?, the one which present and another one in which the presented being a present presence is being presentationally steel presented in presentation even when the moment of presenting seems to be not explicit?, should we imagine a presentation similar but not the same one, meaning a simultaneous and before one so external as presentation to the presentation in which the presented is being a present presence or should we figure out only one presentation in several moments of redundancy?. This phenomenology of technology in the pregiven to our senses world of the internet technology environments is also a question on language, a linguistic one. We will seen also, however, forwards, how a performance, especially in the arts, but in general, consist precisely in presenting presentation, presenting the presentational.

   A big dimension publicity on a simple product, a lotion to the skin creaming a sensual woman feminine body printed poster, a library metal stand unfolding academic and commercial books in sales and/or offers including prices to a sidewalk walker, a client, a citizen, a potential consumer explicit the same principle, what is presented as a present presence is being at the same time presented by a presentation which more or less explicit is given to it the presentational form it have. The Presentational Linguistic will be then more or less explicited, a redundancy of presentation that can be more or less accented in several forms. A publicity as such may include for example a continues slogan identifying a publicity company that promotes not only such a product but several ones regarding skins or woman publicity models, for example.

  Supposing that you are currently reading an exhibit catalogue text, the text itself can be more or less referential to the exhibit in question, it can be more or less about the works that you can see exhibited on walls, it may directly afford inside contents the fact of being as present texts the one which presents the exhibit as a whole, the artist and its pieces in several forms, explicitly presenting it, we are today introducing to our community the works of such a valuable artist, calling attention on the fact that the presented is being presented in presentation by the spatial and temporal indexical and deixticals, such a pieces titles, such an occasion, such a gallery in question, the city, etc, or it may just assume the presentational provided by being as text in a catalogue as such becoming just a poetry or an inspired text, so indexically defined by being a catalogue text, presentationally, instead of deictically reference or denotate.  

  The Presentational linguistic suppose a set in which text and image seems to be distributed, disposed, located and placed according to a relation between the present presence of something presented and a presentational form, also present and presence when a redundancy between presenting and being presented becomes a factice, fatic and conative, (coseided) ultra/sensual ultra/reality abundantly overcoming our immediacy senses, especially when presentation stay or subsist under the presentational of the presented.    

  We may mostly discuss good examples at the internet. Our so-called web or cyber site we have front already clicked and available provides us something as a window letting us navigating offering itself all we need to a whole trip among texts and images presentationally available. Coming from a search line (as words to be find) a world of presentational indexes is being listed as an unfolded and displayed number of optionals, transporting us further to new sites and webs by which texts and images are again and again presentationally distributed on a surface that may be itself more or less explicitly also presentational evolving the present and presence of presented things presentationally displayed as affordables and availables. 

   But a cyber site may includes also publicities on the site itself, for example, in a form given to us at the same time the presentational indexes we are looking for, present and presence, and the redundancy of a presentational publicizing provided by the server on the server we are navigating through defined itself by certain kinds of windows, recognized by graphic design and colors in a form redounding the presentational, that vehicles the processing of bringing thing to present presented presentational presences, of making it affordable as a visible settings, as a set, probably to the moment the only one we have to clearly visualize out graphically a presentational linguistic. 

   Clicking we can navigate according to presentational linguistic figures such as “bringing something to a format”, when texts and images are called to a précised affordability formats of visibility, “going to furthers or forward toward something”, when the moving of a whole set is being replacing and replaced by another one displaying a new setting of cibersites, “moving through something’s else’s” among, within or begin but always betweens something and something, looking for, visiting, itineraries, etc

   As I tell before nothing is better to visually and graphically objectify the deepest logic of the presentational as already generally explained than the fractal and cybernetic principles of the internet, however, we steel have a major, pivotal question about sameness and externality that is asking to be explicit first in language being discussed around more simple at least less complex modes of technology to then be back in the internet one. A television program example will provide all we need to figure such an issue expressed in a more simple form. I am thinking here about a program we are washing on TV sporadically interrupted to display publicities on it and then late on anything to be back again through a similar process, from general publicities to publicities on it and back to the program settings. 

   We are going to some commercials, hold on a moment stay sit, we are back in a minute, entrances to some advances on what is next after commercials, entrance disolvences from the program setting to visualities and sounds steel coded as such the program now providing program publicities commercials on the program to disolvences exits to the channel commercial publicities on such the program and general channel commercial publicities back then through disolvences from general channel publicities to channel publicities on the program, to the program commercials on itself to ending interruption back in the present presence of the presentational program settings.  In between we usually recognize program sponsors and channel sponsors to the program kind as we also see the protagonist presenter.

    We will seen however some interesting similarities between The Presentational Linguistic as discussed at the fractal and cybernetic principles of the internet and presentationality in general language specially in looking out both redundancy and sameness, sameness and externality as also in regard to presentation, present and presence. A first similarity is about an amazing relation between The Presentational Linguistic and metalanguages that can be explicit in general language and is steel transformed but not logically absent from the abstract formal logic of the internet, being certainly not exactly the same phenomena in language, but distinct, we will give an advance in saying that a presentational linguistic at the fractal, cybernetic order of the internet is the only form of subsistence of something as a metalanguage, in a few words, there is not exactly metalanguage at the internet, but only a presentational linguistic by which the principle of metalenguage subsist to a certain point diluted inside Presentational Linguistics. 

   In general languages, however, from alphabetic languages, writing and speech, to more simple technologies a clear distinction appear conceptually, formally and visually becoming obvious about Presentational Linguistics and Metalanguages, they are similars and compatibles to certain working levels, and the relation itself opens a field of unexplored questions in philosophy and linguistics, why are they so similar?. A first similarity between The Presentational Linguistic and metalanguages, and a similarity between presentational linguistics at the internet and in general languages, is about being languages having another language about which as horizonts, first, a language which capability to be a language itself is about being related to another language needed for it to be a language itself and second in both cases the relation between a language A, (optionally a Presentational Linguistic or a metalanguage)  and a language A1 in case of being a redundant moment of the same language, (sameness), or language B, in case to be another language, (externality), is fully defined by being a redundant, tautological relationship. 

    They are heterogeneous, distinct phenomena’s, but compatibles and similar in such a regard, but let extend a letlee more before about redundancy and tautology. A Tautology means an abstract, non literal, but formal, as in formal logic, repetition and evolves two main things, a self relation of a language and a self relation of a concept. In tautology a language A without outsiding a language A 1 or B, (sameness or externality), but defined as A1 or B in respect to A by a metalinguistic principle of being a language on language, open a metalinguistic level without exit the language it is or by which it is defined itself as a language something that seems to be the same now in terms of presence looking to be simply another moment of the same language becoming then as tautology redundantly metalinguistic. By the way tautology invites us to think on metalanguage as another moment of a same language and to ask if there is such a language without having another language as main horizont, meaning on language itself as a metalinguistic complex, diverse and highly diferenciated phenomena.    

   However a presentational linguistic being redundant and tautological is not defined only by being a language on language, but it is defined overall by being a language that far to reference or denotate a reality, (including the reality of another language or moment of a language as reality), presents something, presents a world, a reality or a language as reality, it is a presentation and presentation itself evolves tautology in a very distinct form, a form evolving the relations between presentation as the form of language by which the presented is present and presence and presentation as present presence and also presented by a presentation that present presentation and presence the presentationality of presentational presences presentationally as phenomena. In Presentation the tautological moment works presentationally and it mean a substantial distinction between tautology in presentation and our frequents regard to tautology as the recursive returns of concepts to concepts, there is of course, also a return of concept to concepts in how presentation returns to presentation present and presence presentation, as there is also in theorizing it as I am, but there is not in presentation itself a necessity of a first representational concept to which tautology return to conceptually accent redundantly an initial representational concept. 

  In frequent tautology repetition and redundancy follow a form itinerary that describes a concepts return on concepts, this tautological return is vehicle itself through concepts meanings to accent or emphasize something at the level of meanings in a first, initial, representational concept. We should figure out or imagine having a concept A representational itself, defining here representational as word by a concept of meaning, a content level as a distinction of concept A from a pure formal logic concept, a number for example, can be a concept without a defined meaning. Further, language A in which representational concept A is being or placed will come from the conceptuality of concept A and will tautologically return to itself always through meanings or synthesis of implicit meanings to accent or emphasize something of such a conceptuality.    . 

   Non representational and at least in some modalities less representational, The Presentational Linguistic will not be redundant and tautological according to or through meanings and contents. Instead of a metatextual return of language A to Language A through the representational meanings of concept A to concept A according to synthesis of contents, with The Presentational Linguistic concept A is a non representational one and the redundancy of tautology will work returning to accent and effazice only the fact of being itself as language a presentation, to accent the media of itself, media, form, matters, and rhetoric’s, a non repetitive form of repetition, a non identitary redundancy, a tautology of matter, a redundancy of presence and presentation presenting a reality of language, a world or something else, presenting itself even as presentation, a tautology of medias as the medias of languages, a virtual recursive, something as saying, I am the media of such a language, a presentation, a Presentational Linguistic. 

  Let tray some examples in our high art poscage experimental languages, high art performances, film and cinema but not without remembering a classic example in our plastic arts world, the one of Rene Magritte painting This is not a Pipe. Magritte classic painting included only two elements, a biggest painting of a pipe as an image in the whole painting format and a simple writing text in painting down margins This is not a Pipe. By including the word pipe in the down margin text and this is not in regard to a pipe which is what the painting shows as image, the text level is being tautologically a redundant, recursive repetition of the image level, this is not a pipe, but this is a painting will be the pointing here, the text is here presenting the media itself of painting and text, saying this is not a pipe, this is a painting, the image is presenting to us a pipe, but this pipe is not a pipe, because a representation of a pipe is not a pipe but a painting, a media itself, however, the presented here at the level of image meanings denotation, is a pipe, but is a painting so not a pipe, so the text is negating both representation as a representation of a pipe is not a pipe but a painting and also presentation, because a presentation of a pipe in painting is a presentation of painting as the media of painting. 

   We are certainly clear that Magritte painting is not exactly a presentational linguistic but it shows nearly a principle that seems to be necessary to understand also to understand The Presentational Linguistic. Being an example of a performative critique of representation, Magritte painting is simultaneously saying a representation of a pipe is not a pipe, but a painting, a media, negating a frequent identitary ideology of representation that given representation as the identity of the represented. Certainly we can say that Magritte painting is also saying, this is not pipe, but a representation of a Pipe, but why saying this is not a pipe?, obviously not to assume so easily the identitary ideology of representation that given representation by the identity of the represented, so negating representation at the same time.   

   We know that the image as sign denote, reference and codify what we by convention recognize as a pipe, but the media of such a painting of a pipe is not a pipe, but a painting, a matter, a media itself, something negating an identitary relationship, the question here of course is about the being of it, the ontology of it, if this is not a pipe, even being recognized as such by sign convention, then, what is it ontologically?, it is simply a painting, a media. 

  Can we say that in negating the ideology of representation as identitary can we assume Magritte painting as a Presentational Linguistic?, well yes and not, yes because as I tell before as in Presentational Linguistics Magritte painting is tautologically redounding in the media itself in which the painting is being done, as I tell before tautology in Presentational Linguistics works to show the media itself in which presentation is being a presentational phenomena, and not because in saying this is not a pipe, Magritte is negating not only the identitary ideology of representation but also presentation. Any way it serves to our issue, and it is by the way a clear example of performative procedures.

   Let move now to more art examples imaging possible performances but not necessarily performed, meaning ideal modalities, like typified potential kinds to then discuss several real examples in modern land art. Let goes through created phrases “as ifs”. 

Phrase I- In Third person of the single 

- Mr M is moving a honey container in space emptym (spilling) it over a milk container

  As obvious this phrase can be a description of something happening in everyday life as any other activity in daily life may be done by someone. But let ask some questions, is Mr M showing how honey can be mixed with milk to get it as dolce as possible flavoring it as if with sugar?, to whom is him showing it?, is him alone at home simply cooking his breakfast or a lunch to his girl friend, to his son or simply to a visiting friend?, or is he doing a basic class of physics to students in an school or simply letting know about the ecological properties of a unique, exclusive honey and of an organic unique milk as in whole foods, maybe doing a publicity to some product including honey and milk?, like a commercial promotion to a corporation that sales both honey and milk?. 

   Well we already say that Mr M is a visual artist doing an art performance so we should suppose he is not alone having not only us as readers but an art auditorium looking to what he is doing?, all the information I given before as questions is immediately becoming inside Mr M as a presentational linguistic, Mr M is presenting an art performance, a series of elements and gestures, his art performance looks to be simple, a short simple activity, but here the art gallery or exhibit space function as the presentational linguistic, there is not obviously necessarily presentationality in Mr M activity according to the ontology of what he is doing itself if we don’t have an information providing us all we need to understand Mr M performance as art, this example, classical as ideal type about the issues of polisemies, multiple interpretations and ready made in art, explicit, as in our previous example of an inspired poetry non referential text to an art catalogue, here the presentational is being defined by the gallery as a white cube.

  Let hear how it sound in a First person: In this moment I am moving in front of you a honey container in space emptym (spilling) it over a fresh milk container.

   Let now see an opposite example steel of an ideal performance, now the performance will include and transform the issue of presentationality in a motive to an art performance on it.

   Imaging that we are in a high art museum space and we can see a self defined group of artists in the same space we are specting to see showed art pieces, an art gallery exhibit space, but the art performance begins and it explicits to us the group of artist unpacking their pieces in front of us, are we in the wrong place?, why are they unpacking their pieces were it supposes to be showed, exhibited, presented to a public?, are we maybe in a conservation room inside the museum surrounded by specialists on pieces technical and physical conditions after transportation?, in a room of restorations?, or instead, are we being invited by the artists to be part in a process of museography montages, just exactly when they are showing their pieces to a museographers or even before, are we in a curatorial setting near to a moment when artist seems to present their works to the exhibit curator or maybe a sailing room of art pieces as merchants is near to happen?.

    As I tell before we are simply enjoying a performance that consist in making the presentational moment and presentation itself the motive and issued question.   

    Let see the phrases both in thirst person of plural and in first person of plural

   “The artists are moving several packages canvasses unpacking it at the art museum in front of viewers”

    “We the artists are moving several packages canvasses unpacking it at the art museum in front of viewers”

    And what is a performance in art if not precisely the presenting of presentation?, a performance always present presentation, it consist in it in several forms and modalities. This typical example sometimes include empty canvases being painted in front of the viewers or even the artists painting their bodies themselves, a modality that remember Ives Klein performances on canvases including naked woman’s painting directly their bodies and then pushing it on canvases by just printing their own bodies as feminine naked bodies clues and indicial gestures of process late exhibiting the used blue matter and colour on vitrines.  

   However, there is not in our high art world a best example of presentational linguistics as in Land Art. 

   In Land Art the art work presented is defined by making the work a presentational present that is presence as a pure presentational phenomena and some time, in some land art cases, a presentation of the presentational that makes the presence of the presented a presentational presence and sometimes issuing it, land art in fact epitomize from our high art the main principles we have previously discussed on The Presentational Linguistic.

   I am thinking here about Walter de María greater’s extensions on earth and landscapes such as infinity lines on earth, especially Christo packages of bridges and art museums, Richard Long, Robert Smithson

    In packaging a whole art Museum I am presenting the presentational museum of art that consist in presenting art as a packaged work of art, what is presented is here a presentational linguistic and what present the presentational is about what is frequently presented, a piece of art, commonly presented is being here presenting presentation which is simultaneously a piece of art, the tautology becomes infinity but it is always about the principle itself that related presentation and the presented as presentational recursive, tautologically and redundantly presentational. This formal logic of christo being abstract is also the same one that works and explicit the presentational logic of any land art, land art itself consist in making on it the main motive of exploration and research going even to outsides fields and natural terrains and landscapes, to present the presentation of a presented presentational presence that goes around it, In Packaging 500 cubic meters of earth sailing it to the finaltial market I am presenting 500 cubic meters of earth and I am presenting the presenting of it as an art consisting in presenting 500 cubic meters of earth and sailing it to the financial market, yes, this is just a line crossing the earth landscapes, I am presenting it to present a presentational principle that consist in how crossing earth with a line presents a work of art that consist in crossing earth with a line. Using here the first person as the as if of unwritten but logical phrases accompanying or implicit to Land Art demos and demonstrations.

   However, the performance theory critique field I has initiated and opened according to this developments is an unexplored field of possibilities that extends to more complex theories of performances as for examples in nominalistic performances around pregiven areas of reality such as introducing some elements around selected fragments exploring ephemeral relations between text, matters and images, relations between maps and territories, maps and cities or site specifics such as my own interdisciplinary developments in communities, descriptions of a pregiven reality, narratives around objects and objects relation to memories, relationships between contextualizing and descontextualizing, cuttings on pregiven and experiences, and/or reflexivity continuity, this are all heterogeneous modalities of what I already discussed, ready mades, or Gordon Matta Clark, for example, site specifics between outsider natural settings and arquitectural, urban ones, as I also did since 88 to currently 2005.

  There is also a typical performance about a woman artist walking 40 minuts discalced around repetitions of the same activity again and again, combed and uncombed (peinada y despeinada), walks on the could gallery flour, on a sand gallery delimited area, moving her things from one side to another putting it inside something in the gallery space, it is all about also modalities of The Presentational Linguistic too.  

   But The Presentational Linguistic is also related as a rhetorical matter to language as configuration, it is also about an articulated relation between elements composing a sequence begin editable and reversible, cut here and paste there, putting this with this and something with something, a rhetorical artilugio 

    For example imaging a film beginning with a first person monologue being hear as a voice in off, listening as a voice in off, we ask about the voice, the Thought of a subject that we steel don’t know who is?, but which we are going to know after?, immediately nexts or at the film end?, someone who experienced something that is going to be showed to us as the film plot, as the telling of a story?, or at least a one looking from an hexotopic point of view who will always provide us with a sense of the films aesthetic whole? or best even imaging the beginning of a film with any fragment, one taken aleatorially according to a logic we relate to ends, from the moment it is placed to beginning it, it can become a Presentational to paradigmatics.

   Composing, editing and configuring plots according to decisions on sequences, before and afters, how’s and forms, rhetoric’s and performatives suppose also always presentational linguistics, it is a memory and sometimes a virtual one about that a language itself as present presence displayed, distributed, unfolded, listed, indexed, etc evolves a presentational reality that is also a reality to language and language as presentational reality of something else. 

  Being not exactly a presentation but being only in and according to presentations, how can a presentational linguistic being and not?, being a sameness, an a metalanguage without an exterior to language?. To reduce to a minimum expression performance tendency to redundancy, something I already discussed with my concept of non repetitive repetitions, how can a Presentational Linguistic be both a principle at our advance high internet technology in everyday life environments and in general languages and a virtual phenomena?. 

    And this is all about the becauses of certain kind of current artistic performances, particularly at a literacy level in plastic art writings I has also incursioned, and in poetry too full’s in exploring and researching the potentials of freedom  in writings creative performatives:

So the girl have a milk container and is combed and she dress herself 

A simple sentence written on a page advancing to a next phrase as such 

Dear reader what you are currently reading is simply a performance and let me present you the elements, 

Everything only written

This milk container, (The phrase) 

And an image as such

A milk container can appear yet printed at the center perimeter of a page, only that image

Turning up to next page, 

A dressing body (only the phrase)

Who’s body is dressing? (The phrase)

A metaphor allusion to writing? (The phrase)

A Hair combed, (the image)

This book, (the image)

The minutes passing, (The phrase)

Your not showed book, (The phrase)

Have you confessed about your notes?, (The phrase)

Some silent minutes, (The phrase)

Timid too?, (The phrase)

And everything at the internet 24 hours at home, (the visual image)

   Elusive in recursives, the relation between performance and the presentation of the presented in presentation maintains performance and presentational linguistics in an space that we has defined specially in United States as a critique of representation impetus in Anglo-Saxon world, performatives are at the same time as we know ethics and critics

Conceived, Composed, written and created by Abdel Hernandez San Juan In English and Spanish, (translated from Spanish to English by Abdel Hernandez San Juan English)

©Abdel Hernandez San Juan, All natural rights reserved by Abdel Hernandez San Juan, The Author

Bibliography

Derrida Jacques, Ousia and Gramme: Notes on Sein and Zeit, Margins of Philosophy, The University of Chicago Press, USA 

Derrida Jacques, Ousia and Gramme, Pp, 63-102, Márgenes de la Filosofía, Catedra, Teorema, Serie Mayor, Madrid, 1989