# Basta con abrir las puertas de un hotel (Hotel Minotauro) > creative work by Domenico Chiappe **Wikidata**: [Q132204020](https://www.wikidata.org/wiki/Q132204020) **Source**: https://4ort.xyz/entity/basta-con-abrir-las-puertas-de-un-hotel-hotel-minotauro ## Summary Basta con abrir las puertas de un hotel (Hotel Minotauro) is a creative work by Argentine author Domenico Chiappe, published in 2013. It is an interactive digital artwork developed using Adobe Flash and accessible via web page, featuring support for Spanish, English, and French. The piece is documented in the Electronic Literature as a Compositional and Intermedial Practice (ELMCIP) database under IDs 10349 and 15772. ## Key Facts - **Author**: Domenico Chiappe, referenced in ELMCIP entries 10349 and 15772. - **Publication Date**: 2013. - **Software Engine**: Built using Adobe Flash. - **Languages**: Available in Spanish, English, and French. - **Distribution Format**: Accessible as a web page. - **Instance Of**: Classified as both a "creative work" and an "application." - **ELMCIP IDs**: 10349 and 15772. - **Published In**: Featured in an online art gallery. - **Wikidata Description**: "Creative work by Domenico Chiappe." ## FAQs ### Q: Who created Basta con abrir las puertas de un hotel (Hotel Minotauro)? A: The work was authored by Domenico Chiappe, an Argentine writer and digital artist, as documented in the ELMCIP database. ### Q: When was it published and what technology was used? A: It was published in 2013 and developed using Adobe Flash, a software platform prevalent for interactive web content at the time. ### Q: What languages is the work available in? A: The piece supports Spanish, English, and French, enhancing its accessibility to a multilingual audience. ### Q: How is the work categorized? A: It is classified as both a "creative work" and an "application," reflecting its dual nature as an artistic project and functional software. ### Q: Where can the work be accessed? A: It is distributed as a web page and was published in an online art gallery, though specific hosting details are not provided in the source material. ## Why It Matters Basta con abrir las puertas de un hotel (Hotel Minotauro) represents a fusion of literature and interactive digital art, leveraging Adobe Flash to create immersive experiences. Its publication in 2013 situates it within the broader context of early 21st-century electronic literature, which explored new narrative formats through technology. The work’s multilingual support and online distribution highlight its ambition to engage global audiences, contributing to discussions about accessibility and innovation in digital art. Additionally, its reliance on Adobe Flash—a now-obsolete platform—underscores the challenges of preserving born-digital art amid evolving technological standards. ## Notable For - **Interactive Storytelling**: Utilizes digital interactivity to reimagine narrative structures. - **Adobe Flash Dependency**: Emblematic of early 2000s web-based art, now significant in studies of digital preservation. - **Multilingual Design**: Uncommon for niche digital art, broadening its cultural reach. - **ELMCIP Recognition**: Documented in a key database for electronic literature, affirming its academic and artistic relevance. - **Hybrid Classification**: Blurs boundaries between "creative work" and "application," reflecting experimental approaches to digital media. ## Body ### Creation and Publication Basta con abrir las puertas de un hotel (Hotel Minotauro) was conceived by Domenico Chiappe and released in 2013. The work was developed using **Adobe Flash**, a tool synonymous with interactive web content during the 2000s and early 2010s. Its publication coincided with the peak of Flash’s popularity, though the platform’s eventual discontinuation in 2020 would later pose preservation challenges for such artworks. The piece was distributed as a **web page**, aligning with the era’s shift toward online platforms for artistic dissemination. ### Technical Specifications As an **application**, the work inherits characteristics from the broader software category, including its function as an end-user tool and reliance on computer programs for execution. However, its primary identity as a **creative work** distinguishes it from utilitarian software, emphasizing its artistic intent. The use of Adobe Flash enabled rich multimedia integration, combining visual, textual, and interactive elements. ### ELMCIP Documentation The work is cataloged in the **Electronic Literature as a Compositional and Intermedial Practice (ELMCIP)** database under two entries: **ELMCIP ID 10349** and **ELMCIP ID 15772**. These entries reference the work’s authorship and technical implementation, providing academic and historical context within the field of electronic literature. ### Language and Accessibility A defining feature of the piece is its **multilingual support**, with content available in **Spanish**, **English**, and **French**. This design choice reflects efforts to transcend geographical and linguistic barriers, a notable ambition for a work rooted in experimental digital art. Its availability as a web page further underscores its goal of widespread accessibility, though reliance on Flash limited compatibility with modern devices post-2020. ### Related Entities and Context - **Domenico Chiappe**: The author’s involvement links the work to broader Argentine and Spanish-language digital art movements. - **Adobe Flash**: The software engine contextualizes the work within a specific technological moment, shared by other Flash-based art and games of the era. - **ELMCIP Database**: Inclusion in this resource connects the piece to scholarly efforts to document and preserve electronic literature, alongside works like *Str3amup! software* and *CEBIUS*. - **Online Art Gallery**: Publication in this medium highlights the early 2010s trend of curating digital art in virtual spaces, distinct from traditional galleries. ### Preservation and Legacy The work’s dependence on Adobe Flash places it at the intersection of innovation and obsolescence. While Flash enabled its interactive features, the platform’s retirement necessitates emulation or migration to modern formats—a common dilemma for born-digital art. This tension between technological progress and preservation underscores the work’s significance as both a product of its time and a case study in digital heritage.