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autenticidade: prewâmbulo

Those who advocate social reform value the study of authenticity since it can provide a radical manifesto and an overview of the shortcomings of social structures.

Tantas vezes prometido, sempre adiado e cada vez mais receosos que procrastinado ad aeternum, antes que o beat nos abata (*): primeiras linhas em autenticidade.

* Se os títulos mais recentes como "sempre um desafio", "miss takes" -duplicidade: pronuncia-o e percebes- , "shift happens" -jogo mais que evidente- e "shift has happend" não o deixam entender: estamos cada vez mais embrenhados noutras andanças, mesmo se reticentes delas.

Escolhemos para registo inaugural de intenções uma entrada que nos satisfaz em tantas medidas que quase se poderia suspeitar da origem desta. Felizmente, podem ler essa origem e descartar as vossas suspeitas: citamos de uma fonte que vos permite analisar as fontes. Igualmente, uma fonte que, a bem ou a mal, representa o colectivo de análises que alguém, algures, elegeu como relevante ao tema.

"Authenticity (philosophy)" in Wikipedia out 2017

E de coincidências que se erguem entre o ruído de informações sem nexo, traçamos o caminho. Reunido sobre "autenticidade, filosofia", surpresa surpresa, outros eixos comuns às teses: media, arte, cultura popular, punx, $$$. Há outras razões para nos ocuparmos da autenticidade como central às nossas teses, igualmente centrais à sua definição. Deixando-as de fora por agora enunciemos duas frentes a germinar filamentos de entendimentos futuros: fake -seja na variante news ou outros intentos, trolls for lulz, ou a impostura de bots que se querem mais humanos que os humanos-, e originalidade na era da duplicação digital - enredada à arte na era da reprodução mecânica.

Hoje, ocupamo-nos de autenticidade como "the unimpeded operation of one's true or core self in one's daily enterprise" e dificilmente poderíamos escolher melhor forma de aterrar o conceito entre OS POSITIVOS: cultura ,e contra-esta (*):

Some writers on authenticity in the twentieth century considered the predominant cultural norms to be inauthentic; not only because they were seen as forced on people, but also because, in themselves, they required people to behave inauthentically towards their own desires, obscuring true reasons for acting.

* Seguido no mesmo parágrafo de anti-capitalismo a recordar o lado tenebroso da cultura popular:

Advertising, in as much as it attempted to give people a reason for doing something that they did not already possess, was a "textbook" example of how Western culture distorted the individual for external reasons. An early example of the connection between inauthenticity and capitalism was made by Karl Marx, whose notion of "alienation" can be linked to the later discourse on the nature of inauthenticity.

Senhoras e senhores, seguem-se considerações baseadas em "abstract approaches, subjective and often culture bound", alertando desde já que "views of authenticity in cultural activities vary widely." Segundo disclaimer: tudo Wikipedia, mas esse já fizemos antes e é parte da razão deste preâmbulo: deixamos outros indagar sobre a exactidão da informação recolhida, importa-nos notar que essa o foi na enciclopédia aberta da era digital, e quais os tópicos que elegeram como meritórios nessa análise. O resumo a reter.

While authenticity may be a goal intrinsic to "the good life," it is often a difficult state to actually achieve, due in part to social pressures to live inauthentically and in part to a person's own character. It is also described as a revelatory state, where one perceives oneself, other people, and sometimes even things, in a radically new way. Some writers argue that authenticity also requires self-knowledge, and that it alters a person's relationships with other people. Authenticity also carries with it its own set of moral obligations, which often exist regardless of race, gender and class. The notion of authenticity also fits into utopian ideology, which requires authenticity among its citizens to exist, or which claims that such a condition would remove physical and economic barriers to pursuing authenticity.

Autenticidade, Wikipedia, em três: a technical term used in 1) psychology, 2) existentialist philosophy, 3) aesthetics, que restruturamos em outros três:

1. Filosofia

In existentialism, authenticity is the degree to which one is true to one's own personality, spirit, or character, despite external pressures; the conscious self is seen as coming to terms with being in a material world and with encountering external forces, pressures, and influences which are very different from, and other than, itself.

2. Música

The concept of authenticity is often aired in musical subcultures, such as punk rock and heavy metal, where a purported lack of authenticity is commonly labeled with the epithet "poseur". There is also a focus on authenticity in music genres such as ", grunge, garage, hip-hop, techno, and showtunes".

3. Estética

In aesthetics, "authenticity" describes the perception of art as faithful to the artist's self, rather than conforming to external values such as historical tradition, or commercial worth.

E aqueles que nos acompanham com alguma atenção são assaltados com um sorriso atrevido que ensaia o seu primeiro esgar. Demos-lhe munição!


Começamos pelo início, a que dispensa qualquer uma das frentes inicialmente marcadas no mapa das teses já que parte de dentro e faz parte: HUMOR & DEPRESSÃO. Ou, existencialismo:

"Authenticity" in psychology refers to the attempt to live one's life according to the needs of one's inner being, rather than the demands of society or one's early conditioning, [ie] authenticity is one way in which the self acts and changes in response to pressures.

Para efeitos de literatura, alguma história e name droppin':

Walter Kaufmann might be credited with creating a "canon" of existentialist writers which include Søren Kierkegaard, Martin Heidegger, and Jean-Paul Sartre.


Authenticity is often "at the limits" of language; it is described as the negative space around inauthenticity, with reference to examples of inauthentic living.

Os seus romances recorrem a "characters and antiheroes who base their actions on external pressures who do not understand their own reasons for acting, or who ignore crucial facts about their own lives in order to avoid uncomfortable truths", e, segundo o autor –

Typically, authenticity is seen as a very general concept, not attached to any particular political or aesthetic ideology. Because it concerns a person's relation with the world, it cannot be arrived at by simply repeating a set of actions or taking up a set of positions. In this manner, authenticity is connected with creativity: the impetus to action must arise from the person in question, and not be externally imposed.


Takes [Satre] notion to the extreme by speaking in very abstract terms about modes of living, often focuses on biblical stories which are not directly imitable.

Enought said, próximo, Kierkegaard:

Authenticity is reliant on an individual finding authentic faith and becoming true to oneself. In order to achieve authenticity, one must face reality and form his own opinions of existence.

Com direito a entrada para os media, e coisa:

News media and the bourgeois church-Christianity present challenges for an individual in society trying to live authentically: mass-culture creates a loss of individual significance, supporting a society that does not form its own opinions but utilizes the opinions constructed by the news. Similarly, he interprets religion as a tradition that is passively accepted by individuals, without the inclusion of authentic thought.


Nietzsche’s view of authenticity is an atheist interpretation of Kierkegaard. He believes in finding truth without the use of virtues: the authentic man [is] someone who elevates himself over others in order to transcend the limits of conventional morality in an attempt to decide for oneself about good and evil, without regard for the virtues "on account of which we hold our grandfathers in esteem."The commonality of Kierkegaard and Nietzsche’s existential philosophies is "the responsibilities they place on the individual to take active part in the shaping of one’s beliefs and then to be willing to act on that belief."

E pontes fazem-se com outras frentes como a que Kierkegaard deixa adivinhar. Próxima entrada na Wikipedia?


Jornalismo existencial:

Existential philosophers like Kierkegaard, Nietzsche, and Heidegger investigate the existential-ontological significance of societally constructed norms to decipher authenticity. For an existential journalist, this aversion to, and turning away from, an unquestioning acceptance of norms contributes to the production of an authentic work: authentic journalism can exist if the journalist is true to one’s self and rejects conformism.

De conformismos, crítica pela positiva sobre supra mencionados, Erich Fromm:

Authenticity [como] a positive outcome of enlightened and informed motivation rather than a negative outcome of rejection of the expectations of others. He considered behavior of any kind, even that wholly in accord with societal mores, to be authentic if it results from personal understanding and approval of its drives and origins, rather than merely from conformity with the received wisdom of the society. Thus authenticity may behave consistently in a manner that accords with cultural norms, for the reason that those norms appear on consideration to be appropriate, rather than simply in the interest of conforming with current norms.

E de críticas e coincidências, a habitual que fazemos aos media e a Wiki estende-nos em tapete vermelho:

Institutional red tape
There are traditions that exist in media and news outlets that prevent journalists from achieving authenticity: journalists are "gladly sacrificing individual authenticity to adapt nicely to the highly regimented, depersonalized corporate structure"


Conseguiremos mais intersecções às teses? Senhores. Arte. Artsy-farsty! Punk. Poseurs!

Individuals concerned with living authentically have often led unusual lives that opposed cultural norms. However anti-authoritarianism and eccentricity does not necessarily constitute an authentic state of being: the punk subculture classifies members as "poseurs" if they are deemed to not understand or respect the subculture's values.

Pausa. Inspirar-expirar. Ponderar. Sorrir. No tópico da autenticidade, de tantas considerações possíveis, a sequência devolve-nos existencialismo, media, arte e punk. Nós não inventamos estas merdas! Regressar. Arte? Punk? Mais uma trindade:

Three elements to authenticity:
  • 1) long-term dedication to the scene;
  • 2) knowing key events of [that] culture;
  • 3) making the right choices based on one's authentic inner voice.
"Poseur" is used to refer to a person (or band) who copies the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group, yet who is deemed not to share or understand the values or philosophy of the subculture.
in "Poseurs" out 2017

Nessa nota a Wiki é igualmente generosa, afinal, o que é o arsty-f. senão uma tradição de poseurismo?

A "poseur" (or "poser") is someone who "poses for effect, or behaves affectedly"; who "affects a particular attitude, character or manner to impress others"; who pretends to belong to a particular group. "Poseur" or "poseuse" is used to mean a person who poses for an artist – a painter's model.
in "Poseurs" out 2017

… e não necessariamente depreciativa:

The playwright Aristophanes portrays Socrates as a "poseur"; George Bernard Shaw, has been described as a poseur; Oscar Wilde has been described as a "poseur"; the painter James A. Whistler has been sometimes described as a "poseur": his ability to cultivate the role of the poseur, to "act as if he were always on stage", in order to stir interest, and cause people to wonder how such a poseur could create work that was so serious and authentic.
in "Poseurs" out 2017

...mas, como suspeitam, entre nós, o é.

Young kids going through a goth phase

"Poseur" is often a pejorative term, as used in the punk, heavy metal, hip hop, and goth subcultures, or the skateboarding, surfing and jazz communities, when it is used to refer to a person who copies the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group or for popularity among various other groups, yet who is deemed not to share or understand the values or philosophy of the subculture.
in "Poseurs" out 2017

Artsy-fartsy no punx:

Bad Religion's Brett Gurewitz used the term to refer to young listeners want "not to have to think and [instead they] would rather use music as escapism [,] and too many bands seem willing to comply"
in "Poseurs" out 2017

Mea culpa e como nos tornámos conservadores com o tempo -

"For every person sporting an anarchy symbol without understanding it there’s an older punk who thinks they’re a poseur." When a group or scene's "followers grow in number, the original devotees abandon it, [...] because it is now attracting too many poseurs—people the core group does not want to be associated with"
in "Poseurs" out 2017

- e aquilo do $$$?

The connection of inauthenticity to capitalism is contained in the notion of "selling out," used to describe an artist whose work has become inauthentic after achieving commercial success and thus becoming to an extent integrated into an inauthentic system.
in "Poseurs" out 2017

go-go-phony, insert coin: u got no credit

E se não foi óbvio com esse passo de dança voltámos dead center às teses. Fim de preâmbulo, continuem connosco neste ambular.


media made nazis

Milo sings "America the Beautiful" while Richard Spencer does a Nazi salute

E a história faz-se de littles e big shifts, como a que Joseph Bernstein publicou no início deste mês no Buzzfeed. Long read para um fim de tarde em fim-de-semana chuvoso no tópico de media made nazis.

Vale bem a pena, demasiados excertos para destaque e esta pérola é a mais perversa que podemos deixar aqui como teaser:

  • Milo Yiannopoulos:
    “Congrats chief”
  • Steve Bannon:
    “u mean ‘condolences’”
  • Milo Yiannopoulos:
    “I admire your sense of duty (seriously)”
  • Steve Bannon:
    “u get it.”

Para compreenderem a significância dessa troca de mails, leiam a peça: esse diálogo não aconteceu quando o Trumpas despediu o Banas, mas quando este aceitou trabalhar para o outro. Também não nos passa em branco que a educação do Milo na Breitbart tenha acontecido enquanto editor da secção tech.

A nossa entrada é dupla: da já mencionada reportagem, e desta chegámos a outra de 2015, uma época a anos-luz do presente. Da sua importância: porque já então e antes do Trumpas se tornar o novo padrão aponta-se uma tendência que poucos adivinhariam (*): tech, nazis, (contra) contra-cultura pop.

* E nisto de adivinhar o futuro é daquelas bandeirinhas vermelhas que se levantam nas nossas teses.

In 2015 it became clear, that various reactionary forces have coalesced into a larger, coherent counterculture, [que] combines age-old racist and sexist rhetoric with bleeding-edge meme culture and technology. It unites two equally irrepressible camps: the threatened white men of the internet and the "I have no soul" lulzsters.

When we think of countercultures, we typically think of left-leaning ones: hippies, beats, radical punks, even the dreaded hipsters, whatever they were. But as mainstream culture has evolved and as mainstream internet media has gravitated towards identity content, it is not completely surprising that a reactionary culture would arise to oppose it. And like any counterculture, this one has developed its own social norms, accepted truths, sense of humor, methods of communications, and even terminology.

This racist, reactionary, offense-embracing, meme-savvy internet is not simply a disparate collection of ravings from immature and bitter young men with too much time on their hands. Rather it is a flourishing protest culture, indeed a coherent counterculture, created in response to the growing ethnic and gender diversity of contemporary media and pop culture and to the incursion of identity groups into previously homogenous digital spaces.
in "In 2015, The Dark Forces Of The Internet Became A Counterculture" 23 dez 2015

E onde voltam a raspar as teses.
Genérico, as ferramentas com que se propõem ao assalto:

In its own specific way, taken on its own terms, much of this counterculture can be read as satire: morally indignant storytelling that uses exaggeration and humor for shock value to ridicule contemporary culture - after all, comes in part from the most intensely ironic places on the internet.
in "In 2015, The Dark Forces Of The Internet Became A Counterculture" 23 dez 2015

Entrando em detalhes, a peça termina com exemplo. Registem senhores:

The logical next step, so angry with the infiltration of popular culture by others, is to make its own entertainment.
in "In 2015, The Dark Forces Of The Internet Became A Counterculture" 23 dez 2015

Falam-nos de banda desenhada.

nazi comics: surely for kids

Christ Chan battles to keep New Bethlehem free of blacks, gays, atheists, and the fearsome Jew King. Her weapon is a katana; her insignia, the swastika. You won’t find it on Facebook or here on BuzzFeed, but The Adventures of Christ Chan is shared daily on the chans. It’s not quite Star Wars, but it’s a start.
in "In 2015, The Dark Forces Of The Internet Became A Counterculture" 23 dez 2015

Senhores... segunda vez que a propósito do Bannon e máfia falamos de BD cruzado a tech-web - do Milu, perdão, Milo, aqui.

E porque as entrelinhas são sempre tão dignas de registo como o conteúdo que nos acode, duas notas adicionais no autor. Primeiro, jornalista que faz da exposição de nazis o seu beat, ele próprio filho de um "caçador de nazis":

His father was a lawyer for the Department of Justice whose job was to find and deport Nazi war criminals.
in "The beat reporter behind BuzzFeed’s blockbuster alt-right investigation" 17 out 2017

Relevante porque o Bernstein filho não tece equiparações a Bernstein pai quando diz que:

There isn’t much of a connection to be made there. He had to convince a government or a judge, and I just have to convince my editors.
in "The beat reporter behind BuzzFeed’s blockbuster alt-right investigation" 17 out 2017

O autor downplays a sua responsabilidade, mas cremos que há a possibilidade de uma leitura em sentido inverso, uma que se pode depreender da primeira história mencionada neste registo de hoje: a desvalorização do Estado, substituído em importância pelos (novos) media (sociais). Senhores...



shift has happened

"we're just in the midst of another generational shift"

Most people think of the web as a magical other life, as someplace else and not, in point of fact, real. That’s bunk.

Por razões óbvias seguimos o História da Web nas suas instalações periódicas – abrir uma das suas newsletters é como abrir um velho álbum de fotografias cheio de memórias que se revivem. A última dá-nos o toque necessário para complementar o registo anterior aliado a tópicos recentes. Comunidade atómicas e conservadorismo, o impulso criativo e o poder destruidor de redes sociais que promovem o passivo... Same ol', same new part II.

A comunidade web como o era na década anterior, todo um outro milénio passado.

Communities tend to cluster together around ideas, and form microcosmic subcultures in the process. Web communities come in different shades, there’s hardly a mold that can contain them. They are at once strange and wonderful and anarchic and structured and an important fabric of the web.
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

Mais do que o texto notamos as escolhas, e queremos que notem nessas também. Para o ilustrar, o autor escolheu o Newgrounds, o DeviantArt, e os FFFFOUND! e MLKSHK que já tínhamos abordado antes a propósito de comunidade e arquivos digitais.

Destas, quick recap, destaques nossos:

Newgrounds, allowing anybody to submit and post content to the site - games, artwork, and videos. The community grew together, and users learned from one another, even informed one another’s style.
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

Nota de destaque às animações em Flash, hint hint.

A true niche with budding amateur animators experimenting with Flash for the first time leading a new animation revolution, quite a few professional animators that got their start posting to Newgrounds
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

DeviantArt, users had flooded the site with submissions from across the creative spectrum, from comics to drawings to animation.
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

FFFFOUND!  An image bookmarking platform years before Pinterest or Tumblr. Posts weren’t linked by rigidly defined categories, but by ever-evolving subjectivity (a concept which appears to allude modern day image platforms)
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

People who share something having a visual conversation with each other

MLKSHK allowed users to post images up and share it with other users on the site: the site gave the user’s a format, but the user’s gave the site a purpose. They created avenues for discovery and etiquette for interaction. At the heart of the matter was an exchange, of ideas and of content.
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

O que têm estas comunidades de comum? O impulso criativo. Antes de Facebooks e outras plataformas estupidificantes que promovem entre os seus utilizadores o voyeurismo numb, a web  nos seus primórdios fervilhava de autores, cada qual imensamente investido na produção de conteúdos próprios.  É certo que hoje há mais criadores online, mas são abafados pelos milhões que scrollam infinitamente entediados pelas suas linhas de tempo em modo automático. Proporcionalmente, há apenas uns anos os criadores perfaziam  a quase totalidade dessas comunidades,  mesmo nos late comers que apenas partilham imagens, esse acto era orquestrado como meio de criação de um novo sentido ou comunicação entre pares.

E depois, o cataclismo.

As of this post, in mid-2017, both MLKSHK and FFFFOUND! have announced plans to shut down. Newgrounds is still very much in operation, but its staff and audience are a shadow of what they once were. Pretty much the same is true of DeviantArt.
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

Ie, chegaram as ditas redes sociais.

Community goes mainstream

As the web has grown, online communities have become centralized walled gardens à la most modern social media sites. Places where ideas mostly spread from the top down, rather than the center outward. It’s left an unfortunate vacuum of creativity and expression where we are left to simply shout into an indifferent void.
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

Aqui podem acusar-nos de nostalgia, mas não o confundam com conservadorismo.

My point, if there is one at all, is that there’s room for all sorts on the web.

Funneling all of the web’s thoughts into one of only a few options has smoothed out a multiplicity of voices into a monotonous tone. There’s an alternative, and the early web showed us the way. At their very best these communities are about finding meaning in something you didn’t even realize a whole world of people were already interested in. A group eager to root for you and grow with you and learn from and with you. A community of peers that can’t be measured by impersonal metrics and canned statuses. And perhaps most importantly, each different from the next, grounded in a different perspective and inclusive of thoughts from outside.

So I guess what I’m saying is, if we wanted it to be, the web could be a conversation. We need only to look to the past to see how.
in "A Sense of Community: From Newgrounds to MLKSHK"2 out 2017

media made nazis


shift happens

"...and a continued perception of comics shops as 'man caves'
unable to shift to selling merchandise that appeals to women and children"
American comics and graphic novels (and media based on them) are more popular than ever, but the way these works are purchased is being transformed by a new wave of consumers looking for new material and new places to buy it.

Obviamente -ou nem por isso mas tenham paciência e continuem connosco nesta viagem- esta metemos na gaveta da identidade com os anteriores. Identidade do meio, e de quem o faz. Comunidade? Não, dores de parto da atomização que se previa.

2017 has been a year of rapid change

The growth in popularity of book-format graphic novels and the rapid influx of a new generation of female comics fans over the past decade are beginning to produce a U.S. comics marketplace that looks a lot more like the book trade. Sales of graphic novels via the book channel - which includes chains and independent bookstores, online retailers such as Amazon, mass market retailers - continue to grow. The direct market, on the other hand, is struggling.
in "Comics Shops Fight Bookstores In the Race to Sell Graphic Novels" 13 out 2017

Nota um: a inclusão de todos os canais acima, grandes cadeias, indies, Amazon e superfícies comerciais indiscriminadas. Nota dois, formatos, e com eles os seus públicos:

The comics marketplace has become a contest between bookstores and the direct market, as well as "a battle of the formats" between traditional periodical comics and the growing popularity of graphic novels. Comics shops are "struggling to accommodate their legacy consumers while appealing to new readers," many of whom are either unfamiliar with comics shops, uninterested in traditional comics, or looking for new retail options.
in "Comics Shops Fight Bookstores In the Race to Sell Graphic Novels" 13 out 2017

Nota três, de onde pegamos da última entrada, elitismos:

Part of the problem is that the comics shop market can be conservative in what it offers consumers.  Indeed, the channel can sometimes be hostile - or perceived to be hostile - to new kinds of comics content or even new kinds of fans. This is an emerging class of comics consumers -part of a younger indie and manga- influenced generation that isn’t focused solely on superhero comics -that the traditional comics market, which continues generally to cater to an aging straight white male clientele and to focus on stocking periodical-format comics, often struggles to attract.
in "Comics Shops Fight Bookstores In the Race to Sell Graphic Novels" 13 out 2017

Reforço a bater no ceguinho, nos excertos que se segue puxem o debate a um plano astral acima, e leiam "digital" online vs "analógico" em pacotes que se vendem ao balção, e temos a mesma correlação de "novos" vs "velhos":

  • These new comics consumers can find what they want a lot easier in the book trade rom traditional book publishers with graphic novel imprints or from a new generation of indie comics houses.
  • The inability of comics shops to return most titles, tends to "limit experimentation" at a time when all pop culture retail channels should be experimenting with new kinds of graphic novel content.

Ah, formatos e canais, by any other name. A fechar, duas notas contraditórias. Primeiro, que os livros estão de volta não é surpresa, mas quando desse regresso se deve ao ebook sido barrado por estratégias intencionais de concertação de preços?

This shift in consumer preference  is being driven by both a "new emerging demographic" that is primarily young and female and the overall revival of print sales in recent years.
in "Comics Shops Fight Bookstores In the Race to Sell Graphic Novels" 13 out 2017

Segundo, vide primeiro, falamos da indústria dos comics e como outras indústrias, também aqui se acercam que a nova economia é uma de dados:

The importance of studying comics consumers: NPD BookScan plans to collect more data from the direct market, principally through the use of consumer surveys and interviews, since most comics shops do not have POS systems that can extract and transmit data.
in "Comics Shops Fight Bookstores In the Race to Sell Graphic Novels" 13 out 2017

Last-not-least, nada se perde, tudo se transforma:

If current trends continue, the book channel will soon become the primary outlet for comics sales. It would be the first "channel power flip since comics shops took over from newsstands" in the 1980s.

...afinal o mundo é feito de mudanças, não há novidade aqui, apenas o same ol' same new.

shift has happend


miss takes

"Freedom from Want" de Norman Rockwell

Technology companies are on the defensive, battling waves of criticism. You’d never know it by asking the American people. Amazon, Facebook, and Google have all held steady in daily favorability polls.
in "What Tech Backlash? Google, Facebook Still Rank High in Polls" 12 out 2017

Triste. Outras tristezas que nos são queridas: elites agora.

The very long-standing problem of science and elitism: science uses its intrinsic difficulty as a mechanism for enforcing an otherwise artificial exclusivity. Wikipedia editing and writing is an active thing, an interminable back and forth among editors. In a way you can imagine impenetrable writing as a defensive strategy wielded to scare off editor-meddlers. That would be elitism, like in its most literal active form.
in "Wikipedia’s Science Articles Are Elitist" 12 out 2017

Antes: Wikipedia? Mea culpa também.

Good journalists know well enough that Wikipedia is in itself not a reliable source, but a page's references section can wind up being a solid repository of links to sources likely to be reliable. With that disclaimer out of the way: Yes, I look up science stuff on Wikipedia.
in "Wikipedia’s Science Articles Are Elitist" 12 out 2017

Disclaimer feito. Mas back to point:

A Wikipedia article should be an opportunity to increase science literacy rather than a barrier to it.

Wikipedia articles about "hard science" topics are really mostly written for other scientists. This particular class of Wikipedia article tends to take the high-level form of a scientific paper. There's a brief intro (an abstract) that is kinda-sorta comprehensible, but then the article immediately degenerates into jargon and equations. I have no idea who the article exists for because I'm not sure that person actually exists: someone with enough knowledge to comprehend dense physics formulations that doesn't also already understand the electroweak interaction or that doesn't already have, like, access to a textbook about it.
in "Wikipedia’s Science Articles Are Elitist" 12 out 2017

Segway a outros tipos de jargão académico e debates próprios de identidade, a propósito de autenticidade. Diz-nos AG de "Gender Trouble" por Judith Butler, cuja "sua crítica do feminismo, sempre feita a partir do interior dele, não se confunde de nenhum modo com aquilo a que se chamou pós-feminismo":

Judith Butler usa os instrumentos da descontrução e da French Theory (que, como sabemos, é uma construção americana da filosofia francesa pós-estruturalista)
in "O género e o sexo em sentido extra-moral" 13 out 2017

Perguntamos-nos a quem se dirige AG nesse excerto: todos aqueles que o sabem, certamente estarão igualmente, necessariamente familiarizados com a obra, "livro que conquistou um lugar central nos “estudos de género", "provocou um efeito poderoso, ainda hoje bem activo", e cuja autora o próprio descreve de "uma eminente figura do nosso tempo".

Mas não vamos atirar pedras: o quadro anterior? retiramos deste artigo "A New Language for a New World" 12 out 2017, a poucas linhas de se discutir uma crítica a "functionalist accounts of society" também no tópico de identidades - no caso, de como "undo, unthink, the sovereign European state".

A fechar, o nosso takeaway do quadro do Norman Rockwell na Wikipedia 13 out 2017 :

Although the image was popular at the time in the United States and remains so, it caused resentment in Europe where the masses were enduring wartime hardship. Artistically, the work is highly regarded as an example of mastery of the challenges of white-on-white painting.

...não estamos mais a falar mais do quadro, pois não?

shift happens