Roger Rivero is a Cuban-American poet, writer, and music composer. His work develops across poetry, short fiction, conceptual music, and the exploration of the intersections between language, technology, memory, and imagination. Throughout his career, he has created a distinctive universe in which literature and music do not appear as separate disciplines, but as extensions of the same aesthetic search.
His literary production includes the poetry collections Mundos Paralelos (2000), Necrópolis (2005), Curvas de la Espiral (2008), Inteligencia Artificial (2011), La Luz de los Inmortales (2011), Ruedas del Tiempo (2012), Fauna Humana (2014), Xanadú (2023), and La Pared (2023). His writings have appeared in literary journals and anthologies published in Spain, the United States, France, and Chile, including an anthology of twenty-first-century Cuban poets translated into German.
Rivero’s poetry is characterized by a strong inclination toward visionary imagery, lyrical science fiction, existential criticism, verbal experimentation, and reflection on human identity in the face of cultural and technological change. His writing, influenced in part by the expressive freedom of Oliverio Girondo, has developed a voice of its own, marked by expansive metaphors, philosophical tension, and an imagination open to the posthuman, the cosmic, and the technological.
Among his books, Inteligencia Artificial occupies a singular place. Published in 2011, before the current public discussion surrounding generative artificial intelligence, the collection was already exploring a sensibility connected to machines, artificial consciousness, robotics, science fiction, and the boundaries between the human and the nonhuman.
The poetry collection Inteligencia Artificial was studied in the prestigious Revista Iberoamericana within the context of Latin American digital poetry. The article highlights how Rivero, associated with the epithet “poetic humanoid” and the concept of “android creativity,” anticipated contemporary debates surrounding artificial intelligence in poetic creation. His work, written before the development and widespread adoption of these technologies, explores the boundaries between the human and the artificial and positions him among the precursors of Ibero-American technopoetics. Its inclusion in academic discourse consolidates the cultural and critical relevance of his work within contemporary literature.
This recognition places Rivero within a broader conversation concerning digital literature, technopoetics, and artificial intelligence in the Ibero-American world. His work does not merely use technology as a decorative theme; it anticipates aesthetic and symbolic questions that now occupy a central place in debates about authorship, machine-assisted creation, artificial imagination, and the future of poetry.
Rivero has received distinctions including the Latin Heritage Foundation International Poetry Award and an Honorable Mention in the Eighth International Poetry Competition organized by the Instituto Cultural Latinoamericano of Argentina. His work has also been featured in interviews, literary presentations, journalistic coverage, and cultural forums connected to Hispanic American literature.
In 2013, he founded Wheels of Time Orchestra, an independent orchestral and cross-genre music project. Through this artistic identity, Rivero extends his literary universe into music, working with original compositions, lyrical concepts, arrangements, digital sound, instrumental atmospheres, and structures connected to symphonic rock, darkwave, ambient music, classical music, metal, electronic music, and vintage styles. The project initially emerged from the sensibility associated with Ruedas del Tiempo and later evolved into an international English-language identity.
Much of the lyrical content of Wheels of Time Orchestra comes from Rivero’s own literary work, translated and adapted into English. Poems, images, and concepts drawn from books such as Inteligencia Artificial, La Luz de los Inmortales, and other titles from his catalog have been transformed into songs, vocal pieces, and conceptual compositions. In this way, music becomes a second life for literature: a means of transforming the written word into atmosphere, melody, performance, and sonic experience.
In his musical process, Rivero has used digital tools and, in recent years, artificial intelligence as a form of creative support. However, the participation of these technologies remains subordinate to clear human direction: musical ideas, aesthetic selection, compositional intention, conceptual structure, vocal continuity, and artistic vision. Artificial intelligence operates as an instrument, not as a substitute for authorship. Rivero understands these tools as a possible orchestra through which musical ideas born from his imagination, poetic sensibility, and creative trajectory can be brought to life.
The relationship between literature, music, and technology makes Roger Rivero’s work a singular creative archive. His poetry anticipated questions that would later become central to the debate surrounding artificial intelligence, while Wheels of Time Orchestra extends those concerns into the realm of sound. Both paths form part of the same artistic identity: a body of work shaped by memory, time, scientific imagination, human emotion, and the search for beauty at the boundaries between the ancient and the future.
This website serves as an archive of the works of Cuban-American poet and musician Roger Rivero. It does not represent a current professional activity, but rather a space devoted to preserving, organizing, and making his creative legacy accessible.
