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I'm going, going, gone! - sort of

Vamos aproveitar o embalo de Domingos Isabelinho, que quebrou um silêncio de 50 dias para fazer um breve ponto de situação no seu projecto auto-proposto - que então registámos aqui e poucos dias antes do TCJ seguir-nos na deixa: aquilo das coincidências? Sério? Sobre o totalmente não-relacionado mas bastante profético título "Beware of the Blob" 25 maio 2017:

After years (decades?) of complaining endlessly (and not entirely baselessly) about the embarrassing childishness of most comics canons, the always intriguing, always frustrating comics critic Domingos Isabelinho plans to write about his 25 favorite comics.
in "Beware of the Blob" 25 maio 2017

Um exercício com algumas pontes ao nosso, mas onde ele se propõe a olhar para o passado, nós apontamos ao futuro. Diz-nos DI no seu "I'm Back - Sort of..." 11 jul 2017

So, almost 50 days have passed...
Below I'll tell you: 1) what should have happened and 2) what really happened during that time.
in "I'm Back - Sort of..." 11 jul 2017

E terão que ler no seu blog. Regressando aOS POSITIVOS, onde fazemos das suas nossas palavras. "So, almost 50 days have passed..." Desde que nos propusemos ao nosso projecto passou-se já quase um ano: tempo passa a voar when we're havin' fun! Segue-se o nosso ponto de situação, a poucos dias de desaparecermos do mapa.

Below I'll tell you: 1) what should have happened and 2) what really happened during that time: 1) I should have layed down a list of my 25 favorite comics and, 2) I layed down a first draft of my list, but couldn't stop at 25 and, so, now I have 30 items listed.
in "I'm Back - Sort of..." 11 jul 2017

Traduzido: um mesmo impasse nos atrapalha as teses. Devíamos ter fechado a bibliografia base e delineado a teoria em traços gerais, mas tendo findado demasiado depressa uma primeira conclusão não quisemos parar por aí, e o escopo do projecto cresceu muito além das nossas premissas iniciais.

Now, what, then?... For starters, I still haven't closed my list. I find it an impossible task and I'm more and more convinced that, to do it properly, it's a full time job.
in "I'm Back - Sort of..." 11 jul 2017

For starters, não conseguimos fechar o âmbito das nossas teses: é uma tarefa impossível quando para discutirmos os comics no digital online pela sua relação aos media temos primeiro que definir estes últimos, e poderão ter reparado que esses estão a atravessar a sua crise existencial mais aguda de sempre. É um full-time job conseguir acompanhar as intersecções desta indústria com as novas tecnologias, cruzar essas implicações aos bonequinhos sequenciais não parece estar ao virar da página - se a expressão sequer tiver sentido à data.

That's it, I guess, but I have a PS: I'm reading ---

…um porradão de leituras que acumulámos para o verão, à falta de surpresas, e um calhamaço que nada tem a ver para limpar ideias – temos um certo gosto em rever certos períodos históricos da humanidade…- mas logo no prefácio encontramos paralelos ao presente. Impossível escapar, tudo está ligado, coincidências, vê se as descobres:

Estamos gratos por ter assinalado, como convinha, os laços com o passado sem esquecer o valor da renovação.

Assim se percebe melhor a importância do progresso material e técnico que o século XVI europeu conheceu e pode apreciar-se com maior justiça o surpreendente desenvolvimento da navegação, a multiplicação dos grandes descobrimentos planetários que alargaram de forma quase brutal o limitado horizonte dos contemporâneos, o aparecimento da imprensa que vem responder precisamente a um profundo apelo da curiosidade dos homens, os progressos, enfim, da civilização urbana com o desenvolvimento das técnicas que teriam um grande futuro, como a da banca. Por outro lado, o aperfeiçoamento do armamento obriga a modificar constantemente as tácticas e as estratégias, e os rápidos progressos na utilização do canhão forçam a invenção de novas e eficazes muralhas e de fortificações.
in Jean Delumeau, "A Civilização do Renascimento"

Navegação e descobrimentos planetários? Tech e web. Brutal horizonte alargado? Redes sociais. Imprensa? Imprensa. Progressos. Civilização urbana e o seu futuro, estado policial, vigilância total, o $$$, guerra e até o muro do Trumpas...

Any-ho, não conseguirmos descolar da primeira parte das nossas teses porque keeps on givin’! , mas as ideias estão alinhadas e já por várias vezes vos deixámos algumas pistas de conceitos chave como bitmitização ou autenticidade, entre outros que vos são reconhecíveis como o $$$ ou o punk. E, pelo meio, não descuramos da nossa linha editorial, que não só atravessará as nossas conclusões como define o método: recusamos fontes académicas, obrigamo-nos a usar o que os media populares regurgitam na espuma dos dias. Voltamos assim a Isabelinho:

This is unfortunately a typical reaction among comics critics: they say that comics are a sophisticated art form (sorry for the twisted grammar) and then they prove it pointing at trash.
in "I'm Back - Sort of..." 11 jul 2017

OS POSITIVOS: para a nossa crítica aos cómicos como uma sophisticated art form, não nos cansaremos nunca de prová-lo apontando ao lixo.

AND we'sorry fo nuthin'! Mas… aquele título do TCJ…? Profético. Beware of the Blob.

CONTINUAR

“reporting to you”


How journalism got to this point is less important than what will help it survive in the future. One vision of the future says there must be a necessary separation of journalism from a compromised and opaque system of power that often works as part of the surveillance state, and which has commercial priorities that can clash with the public interest. Whatever the outcome, a larger question remains about the right relationship between journalism and the most powerful companies in the world. This is a long-term issue, which is unlikely to be settled by one group or cartel gaining regulatory concessions but, rather, by a more profound change in the regulatory and commercial environment
in "Legacy media diverge from digital natives in fight against Facebook, Google" 11 jul 2017 

Sabes que é importante quando é o WSJ a queixar-se de concentração de capital, e ridículo quando se queixa de gatekeeping.  

[The] greater threat to America’s news industry: Google and Facebook ’s duopolistic dominance of online advertising. The unique role news media continue to play in American politics and history makes it crucial to ensure a fairer fight for revenue between news publishers and these massive information gateways.

The problem is that today’s internet distribution systems distort the flow of economic value derived from good reporting. The two digital giants don’t employ reporters: They don’t dig through public records to uncover corruption, send correspondents into war zones, or attend last night’s game to get the highlights. They expect an economically squeezed news industry to do that costly work for them. The only way publishers can address this inexorable threat is by banding together.

But antitrust laws make such coordination perilous. These laws, intended to prevent monopolies, are having the unintended effect of preserving and protecting Google and Facebook’s dominant position. The digital giants benefit from legal precedent against collective action that has a chilling effect on publishers.
in "How Antitrust Undermines Press Freedom" 9 julho 2017   

Recorda o  Amazon amazed...?

In seeking the right to negotiate together, the news providers are trying to avoid the trouble that major book publishing houses got into when they worked with Apple to develop an online book rival to Amazon. Without any government clearance, they ran afoul of antitrust laws. Its bid requires legislation giving them specific clearance to negotiate as a group, which is not commonly granted. It’s an especially big ask from a Congress that hasn’t had a great legislative batting average and whose controlling party, the Republicans, is not in a very press-friendly mood these days.
in "News Outlets to Seek Bargaining Rights Against Google and Facebook" 9 jul 2017

Recorda. Mas com uma diferença:

Then again, News Corporation’s founder and executive chairman is Rupert Murdoch, whose sway with the Trump administration and Republicans in Congress is without parallel in the media world.
in "News Outlets to Seek Bargaining Rights Against Google and Facebook" 9 jul 2017

Pormenor importante. Continuando, das intenções:

The News Media Alliance is proposing a solution: a new law granting a limited safe harbor under antitrust for publishers to negotiate collectively with dominant online platforms. A unified front to negotiate:

  • Stronger intellectual-property protections
  • Better support for subscription models
  • Fair share of revenue and data
in "How Antitrust Undermines Press Freedom" 9 julho 2017

In the cookin' há já algum tempo. Exemplo NYT a plantar sugestões, como o fez na sua senda anti-Amazon na guerra anterior: "Is it time to break up Google?" 22 abril 2017

Google’s route to dominance is different from the Bell System’s. Nevertheless it still has all of the characteristics of a public utility. We are going to have to decide fairly soon whether Google, Facebook and Amazon are the kinds of natural monopolies that need to be regulated, or whether we allow the status quo to continue, pretending that unfettered monoliths don’t inflict damage on our privacy and democracy.
in "Is it time to break up Google?" 22 abril 2017 

In the presence of these giant firms, it has become increasingly advantageous to be an incumbent, and less advantageous to be a new entrant.
Monopoly is made by acquisition, at a minimum, these companies should not be allowed to acquire other major firms. The second alternative is to regulate a company like Google as a public utility, requiring it to license out patents, for a nominal fee, for its search algorithms, advertising exchanges and other key innovations. The third alternative is to remove the "safe harbor" clause in the 1998 Digital Millennium Copyright Act, which allows companies like Facebook and Google’s YouTube to free ride on the content produced by others. Removing the safe harbor provision would also force social networks to pay for the content posted on their sites.
in "Is it time to break up Google?" 22 abril 2017 

Onde estamos portanto? Num mundo muito complicado. Mashup:

The news media is fractured and weak in the face of Google’s and Facebook’s strength, and journalism, particularly at the local level, has been drained as a result of changes in the market. The news business is looking for a regulatory lifesaver: News Media Alliance is calling on Congress for permission to hold collective negotiations with the large platform companies [and] seeking an exemption to antitrust legislation that would allow publishers to negotiate en bloc to be able to collectively negotiate with the digital platforms that effectively control distribution and audience access in the digital age."
in "Legacy media diverge from digital natives in fight against Facebook, Google" 11 jul 2017   

Antes de complicar, rir/chorar. A tal ironia anterior.

If the News Media Alliance is successful in securing a rarely granted right to negotiate as a group with Google and Facebook, publishers will owe their thanks to Rupert Murdoch. No other media owner has the same influence in Congress. Murdoch’s presence as a key player in what promises to be a defining moment for both technology platforms and publishers is a good metaphor for the many ironies innate in the current news environment.
in "Legacy media diverge from digital natives in fight against Facebook, Google" 11 jul 2017   

Ironia #2, hipocrisia all around:

The free press, which is inherently anti-regulation in the US, is going to need regulation to help it turn the business models of digital advertising back in its favor.
in "Legacy media diverge from digital natives in fight against Facebook, Google" 11 jul 2017   

Complicando então, dessa frente desunida:

But the news business is not the homogenous industry it once was, and any move to tackle the dominance of platform companies will highlight differences between legacy media and digital natives rather than unite them. The News Media Alliance does not represent the new generation of digital natives: the Huffington Posts, Breitbarts, BuzzFeeds, and Vox Medias. Nor does it represent other news organizations with vigorous Web presences but roots in broadcasting: CNN, ABC, CBS, and NBC. A number of digitally native publishers contacted about participation in the Alliance had either never heard of it, or had not been asked to join and were not sure they would join if they could.
in "Legacy media diverge from digital natives in fight against Facebook, Google" 11 jul 2017   

Exemplo: BuzzFeed, mais uma vez.

BuzzFeed founder Jonah Peretti seemed to both anticipate and dismiss any future lobbying effort by media companies. He explicitly stated it was the fault of legacy publishers that they are subservient to platforms.
in "Legacy media diverge from digital natives in fight against Facebook, Google" 11 jul 2017   

BuzzFeed founder says that traditional news businesses are "opportunistically" attacking Facebook and Google only have themselves to blame for their demise after choosing not to invest more in digital despite "decades of massive cashflow".
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

Não nos vão ouvir a discordar. Mas quando olhamos mais de perto começam as preocupações - e nem nos vamos referir às denúncias de ex-empregados sobre a apropriação do seu trabalho pela entidade empregadora, essas damos por adquirido:

An increasing stream of former employees in recent months has been making charges that BuzzFeed operates a kind of old-Hollywood studio system for the digital-content age: Creators typically don’t own their work and are barred from engaging in any projects outside the company’s confines.
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

Aos cómicos, pensem Super-Homem e direitos de autor sobre as personagens. Voltando: familiar?

"The truth is that Facebook and Google have always taken a long term perspective – so has Netflix, so has Amazon – that the internet would win out in the end. A lot of the big media companies always took a quarter-to-quarter perspective"
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

While many publishers have come forward to accuse these Silicon Valley giants of foul play in their domination of advertising revenues, BuzzFeed talks of them as valuable partners. "A lot of the traditional media players are opportunistically attacking Facebook and Google because Facebook and Google have figured out a better model for delivering information and entertaining people which is real-time, personalised, shareable and global – all these things that you can't do in broadcast and print. These traditional media companies have had decades of massive cashflow and they decided to stockpile that instead of investing in digital. They just kept managing earnings on their traditional businesses even though we have known for 20-plus years that the internet was going to be a big thing and now all these things have unfolded".
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

Não? Mais descarado ainda?

His business philosophy is informed by data-driven study of user behaviour, underpinned by a long-term view and a certainty that the internet is the future. "The trend that is easy to forecast in broad terms is the internet – more things are going to be transformed by the Internet," You have to think, ‘What does that mean and how will that affect news and entertainment and product?’, and I tend to take a long term view of building towards that."
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

Mais?

Globally, BuzzFeed operates on more than 30 social platforms [&] Facebook is again a crucial ally.
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

"I think that our audience is digitally native people," he says. "That group is going to get bigger and bigger and in 20 years you will have people at retirement age who are digitally native."
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

K, aqui vai a dica então: especula-se se o BZ vai à bolsa ou não - está overdue e é dos poucos unicórnios que restam, de repente as start-ups começam a rarear - qq coisa sobre já não haver espaço para mais e aquilo dos monopólios que secam a concorrência e apenas o trambolhão do Snapchat deve estar a esfriar as ideias. Mas, tha goods:

A modern media company that used the technology and the platforms and the approach that made sense for today’s world, BuzzFeed registers 9bn monthly content views across all platforms, substantially more than any other publisher. It has 200 million unique monthly users of its website.
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

E, daz bads:

BuzzFeed, if it chooses, might be very well positioned because of the strength of the core business, where the digital content industry is going and where the traditional media industry is not going [but] the hype is tempered somewhat by financials that, by unicorn standards, are modest ['cuz] at the end of the day the market just perceives BuzzFeed as a media company with a new spin.
in "Sizing Up BuzzFeed: Could This Unicorn Ever Go Public?" 20 jun 2017

Media Company com problemas em bolsa? Já estivemos aqui antes.

They’re going to say they’re ‘social,’ ‘digital,’ ‘video’ and ‘mobile’ because those are the buzzy words
All of these companies try to sprinkle tech pixie dust on themselves to make themselves more Facebook-ish or platform-ish because the multiples are higher for tech

At a time when an unusual number of media companies are considering IPOs — including Vice Media, Rovio, and STX Entertainment — they all may find that being in the content business is a knock against them on Wall Street. How BuzzFeed positions its corporate identity will be crucial to its IPO viability. Like a lot of next-generation media companies that are doing things differently from their traditional cohorts, BuzzFeed leans into technology in every aspect of its business, from data to distribution, and doesn’t really identify as a media company per se. Ultimately, revenue is what IPO candidates will be judged by most. Figuring out how to diversify the business beyond ad sales is smart and plays well with Wall Street. Facebook and Google have such a stranglehold on the advertising dollars flowing through the digital space that BuzzFeed is left fighting for scraps, as long as BUZZFEED stays dependent on ad sales, there’s a growth ceiling that isn’t going to reflect well in an IPO phase.
in "Sizing Up BuzzFeed: Could This Unicorn Ever Go Public?" 20 jun 2017

Quem poderá ter assim interesse nessa aquisição? Alguém que não precise da tech parte da coisa. Alguém que já tenha todos o $$$ de ads com que possa sonhar. Alguém que, mediante um cerco de produtores de conteúdos, precise de conteúdos. Pois: Facebook.

OS POSITIVOS: ouviram-no aqui primeiro. Sigam a lógica, o FB não gera contéudos e precisa destes para manter os utilizadores na plataforma, o Bzzzz gera os seus próprios conteúdos, é tech savvy, e não tem dúvidas sobre como reparte o engagement dos seus utilizadores:

"We do make content. But we give the content creators data and a connection with an audience that you don’t get in traditional media."
in "Sizing Up BuzzFeed: Could This Unicorn Ever Go Public?" 20 jun 2017

A big news story drives repeat visits in a way that entertainment doesn’t

Dollar $ign$ para o FB. E um big fuck you aos media tradicionais no processo. Mas não é só o FB que pode ganhar com a compra: os velhadas compreendem a importância destes outlets. Exemplo da NBC que tem feito um investimento massivo no BzZzZ:

NBCU [NBCUniversal Digital Enterprises] probably looks at BuzzFeed as more than a mere investment, as it does its $500 million piece of Snapchat or its stake in Vox. This trio of companies is known by NBCU insiders to represent CEO Steve Burke’s attempt to future-proof his company in case the traditional businesses that keep NBCU humming start to degrade more quickly than expected in the digital age.
in "Sizing Up BuzzFeed: Could This Unicorn Ever Go Public?" 20 jun 2017

Mas, faria o FB algo assim tão descarado? Recordando de exemplos passados:

Then, in March 2013, for an undisclosed sum, Goodreads was bought by Amazon.
in Real Nós

E, futurologia à parte, das consequências ao jornalismo e onde nos toca mais de perto às teses:

Peretti concedes that the broader pressures on funding journalism present "a real problem that everyone in the ecosystem needs to figure out"

As more news publishers choose to put up online paywalls and fund their journalism through subscriptions, so BuzzFeed News will grow in reach and importance. "It is an advantage for us because there will only be a few who will be able to do that. If more premium news sites put their content behind a paywall, it could be a good move for them from a business perspective but it makes it harder to be the paper of record and to reach the new generation and have as much impact. And so I think our model will actually be a great piece of the news ecosystem."
in "BuzzFeed's Jonah Peretti: news publishers only have themselves to blame for losing out to Google and Facebook" 29 jun 2017

Pagar ou não pagar: uma guerra de culturas. Segway óbvio, portanto:

The culture of European publishing and the vigor of its regulatory environment is totally different from the free-market roots of the US news industry. If Congress grants an exception to legacy news publishers to pressure Google and Facebook, it might lead to the kind of concessions publishers have won in Europe.
in "Legacy media diverge from digital natives in fight against Facebook, Google" 11 jul 2017   

The absence of regulation to curb the dominance of some of these tech giants has forever changed how people consume news AND ads, and the strong keep getting stronger.

In Europe, the tech titans don't have it so good: European regulators — whose countries have lost the game of tech, pipes and content — are getting aggressive in trying to constrain the behemoths. The Europeans don't share America's romantic view of Google, Facebook and other tech giants and are aggressively trying to highlight and restrain their market dominance. European countries have great access to broadband but they use much less social media.

  • June 14: UK and France announced potential legal liability for tech giants that host terrorist content on their platforms
  • May 18: The EU fined Facebook $122 million for providing faulty info about its acquisition of WhatsApp
  • May 17: Facebook sanctioned in Europe over data collection
  • Mar 7: Google faces antitrust EU complaint over imposing contractual restraints on Android manufacturers
  • Jan 30: WhatsApp was sued in Europe for sharing phone numbers with Facebook

European regulators also introduced General Data Protection Regulation (GDPR) last year, a law that will put major restraints on how these companies can use consumer data to sell ads beginning in 2018.
in "Axios Media Trends" 27 jun 2017

E, por aquelas coincidências do destino, a acontecer sobre o reinado do Trumpas: sensível ao Murdoch, despreza os fake failed media. Mas quer desesperadamente o favor destes. E é pelo protecionismo. E sabe que o bastião de cultura tech USA é anti-Trump e já acusou a Amazon de não pagar os seus impostos. Em pulgas por desenvolvimentos. Terminamos como terminou o NYT de abril, a citar Woodrow Wilson, 1913:

"If monopoly persists, monopoly will always sit at the helm of the government."

Trumpas de novo, portanto.

gone baby gone

CONTINUAR

assimila punk

"E um dia depois...!": adenda. Ontem notávamos que o SB Nation publicou uma peça à qual não tivemos hesitações de intitular de "punk", uma referência a fechar um texto de vários tópicos cruzados. Well, u know, coincidências-e-somos-bons: hoje (*) a Poynter destaca os destaques ao "17776" entre jornaleiros:

*O artigo foi publicado no dia 10 à-lá-América, ie, na nossa madrugada de 10 para 11, um dia depois do nosso dia 10...  

Journalists from all different kinds of publishers lauded the radical piece of fiction on Twitter, saying that it's strangely beautiful and definitely not would you'd expect from SB Nation.
in "This SB Nation story has everything: Robots, football and 2.3 million pageviews" 10 jul 2017

OS POSITIVOS: yeah, we got it.

Da descrição:

It starts with a long paragraph containing only one sentence — "Something is terribly wrong." — and by the time you finish reading it, you're more confused than when you started. But that's the point of SB Nation's latest subversive experiment.

The project, titled "17776" (that's nearly 16,000 years in the future), takes readers from a seemingly innocent landing page about the future of football and rockets them through a surreal, science fiction-like trip. The piece is immersive, force-filling the reader's screen with text and manually loading each new element as they progress through the jarring narrative, which is just that — a narrative.
in "This SB Nation story has everything: Robots, football and 2.3 million pageviews" 10 jul 2017

E onde a todos toca. Primeiro, eles: futuro dos media.

So why would a Vox Media-owned sports news site publish a provocative web experience about robots and football? "The goal as conceived was to give the reader a good time," said Jon Bois, creator of the project.
in "This SB Nation story has everything: Robots, football and 2.3 million pageviews" 10 jul 2017

Sim, mas isso mais qualquer coisinha.

As of Monday, "17776" had massive reader engagement. The project has had more than 2.3 million pageviews since its publication and an average engagement time of more than 9 minutes. About 43 percent of readers — of which more than half are viewing the piece on mobile devices — had finished each installment of the series as of Friday.
in "This SB Nation story has everything: Robots, football and 2.3 million pageviews" 10 jul 2017

Essa qualquer coisinha. Dois, nós, webcomics:

"By scrolling they’re doing work by having to access it."
Two things that make "17776" so immersive and engaging are its infinite scroll and dynamic loading aspects. Each installment of the storyline is contained on one web page, with new graphics, videos and GIFs loading in real-time as you scroll.
in "This SB Nation story has everything: Robots, football and 2.3 million pageviews" 10 jul 2017

Last not least, também de ontem recordávamos a propósito de punk: "quem assimila quem" ? Ponto para eles: um "Vox Media-owned sports news site" a usar do punk para hits e $$$.

"reporting to u"

CONTINUAR

this is punk!

Não, não nos referimos ao concerto. Punk é livros, agora que estes são do contra - e por contra não nos referimos ao conteúdo: é mesmo a sua existência que faz deles um acto de rebeldia contra qualquer lógica racional. Brincamos, vocês sabem que nós gostamos de livros, certo? Any-ho, Marcos Farrajota promete-nos apontamentos de várias leituras no tópico de "ser do contra", que iremos obviamente acompanhar: quem sabe se nos descobre um livro que nos baralhe as leituras empilhadas para o verão.

Já se sabe que os poetas não curtem trabalhar

Do seu primeiro set de apontamentos, este sobressai:

O pior, é que nada é dito COMO desobedecer não que um gajo queira uma cartilha de (des)obediência mas pelo menos entender o que fazer num cenário tão complicado em que vivemos.
in "Livros do contra" 10 jul 2017

Faltou a vírgula a seguir ao desobedecer. É uma questão de PT, mas também porque vale sempre a pena a pausa, momento de reflexão para avaliar e decidir próximo passo, especialmente quando mais que provavelmente se insistirá na postura do "não!" logo depois do break. E, de "break" em todos os sentidos. Os vândalos que nos leem sabem a resposta à pergunta, uma que muito custa a qualquer pequeno-burguês que a desaprove.

♪ And fuck them Uncle Toms who call police because we smacked 'em
♪ And fuck you sympathizers with your middle class reactions
♪ Cus we bangin on the system G'ed up, fuck the factions

Esta é uma função instrumental à sociedade que nem sequer se pauta pela novidade mas pela recorrência. Continuamos, obviamente, a falar de actos de rebeldia contra qualquer lógica racional - mas, não é essa a sua força? E, como dissemos, nem sequer original, mas uma travestia (*) com séculos em cima. Destaques nossos:

* "Travesti" com "tragédia".

Num universo em que os contrastes de riqueza se acentuam e as tentações aumentam, surgem também atitudes de contestação dos adolescentes face às autoridades e aos notáveis bem instalados. Não se trata dos mais miseráveis nem de vagabundos sem esperança, antes rapazes do povo que pensam estar mal servidos e que sofrem com o reforço das tutelas morais e sociais que pesam sobre eles. A justiça não se engana. Face a estes novos desafios que deslocam para os bens o nó do conflito simbólico entre as novas gerações e os adultos, ela reage multiplicando exemplos de punição suprema. O roubo simples ou, para os criados, o facto de roubar a mais pequena coisa ao seu senhor, mesmo que seja um lenço, pode levar à forca. A nova lição educativa dada a todos os filhos é de não se opor à lei dos pais, de não procurar subverter a ordem comum das coisas ao apropriar-se do que não lhe pertence, mas ter o seu lugar, trabalhar e obedecer para aceder um dia à posição esperada. "Industry and Idleness" [O Zelo e a Preguiça], uma célebre sequência gravada em 1747 por Hogarth, prolonga a prevenção cruel. Mostra que o aprendiz vicioso e preguiçoso acaba pendurado numa forca de Tyburn, enquanto o seu camarada industrioso, respeitador das normas, se torna presidente da câmara de Londres.
in "Uma História da Violência - Do final da Idade Média aos nossos dias" 2014

Valha-nos a consciência do gesto: o tempo está contra o vândalo, este tem que conseguir quebrar o ciclo antes de se acomodar. A sociedade todos assimila e uns poucos expurga: usa o tempo que tens. OS POSITIVOS: a consciencializar teens.

Historicamente, uma batalha perdida. OS POSITIVOS: ninguém nos acuse de optimismo. Sabemos que já perdemos - mas é por isso que não nos podem parar. Cheer up, essa é também, por via da sua natureza, das poucas manifestações que ainda se fazem temer, a sua irracionalidade é a sua força: o que não pode ser constrangido não pode ser comprometido.

Apple punx: given enough time, assimilação. A questão é quem-assimila-quem.

No tópico de comprometido, ainda não nos decidimos como entender uma peça como a que está na origem do concerto: por um lado, a validade do registo, por outro, este não é um movimento que olhe para trás e muito menos dado à sua glorificação. Excepto. No momento que transita à passagem de testemunho. Agridoce: implica um declínio, mas também um renovar.

E no tópico de passar testemunho e novas formas... Hogarth? Comics! Mas, à-lá data do antigamente. Da peça citada:


Este vai para a forca...

...e este leva a taça para casa.
Industry and Idleness is the title of a series of 12 plot-linked engravings created by William Hogarth in 1747, intending to illustrate to working children the possible rewards of hard work and diligent application and the sure disasters attending a lack of both.
in Wikipedia

Aquilo dos jobs? Sobretudo, aquilo das origens: reconhece-se um parentesco à BD moderna, mas ainda em fase embrionária. Mas, e se a BD moderna é ainda uma fase embrionária de qualquer outra coisa? Qualquer outra coisa que reconhece nesta um parentesco, mas, como os engravings do WillHo, evolui para outra natureza. Se os comics modernos estão tão relacionados à tecnologias que os permitiu, e esta está em plena reinvenção, ou cremos que os comics são um beco evolutivo ou temos que aceitar que estes continuarão a transformar-se. U guys know where we going: no cruzamento de comics do antigamente com o punx do antigamente: webcomics para o amanhã! Diz-nos Fleen:

I’m Pretty Sure It’s A Webcomic. Words+Pictures, right? That’s McCloud 101, and it’s on the web …
in "Pretty sure it's a webcomic" 6 jul 2017

A propósito da "still-being-released-in-big-chunks sort-of-story, sort-of-multimedia-experiment" que está a acontecer aqui.

shit-u-not: na homepage do SBNation

Ou "17776", se preferirem. Muito, muito extenso -e xau aí pessoal que já partiu para o Facebook e cenas, temos pena...- muito muito complicado, e sobretudo, muito muito punk. O equivalente do fanzine eighties com a foto-montagem ranhosa, agora em multimédia. A ler com tempo e vontade para o desafio - ou vai scrollar o FB se queres simples. Artsy, tomar notas.

Any-ho, this is punk!

E, a haver moral: no future, mas a (hi)story recomeça sempre no dia seguinte.

assimila punk

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mo' than meets the eyes

De Bill Kartalopoulos a intersecção BD e internet por via dos mass media. Continuando deste, repescamos um artigo seu de 2014 que checka todas as boxes de referencias necessárias: intitulado "Why Comics Are More Important Than Ever" 8 out 2014 –check; publicado num native-digital-born-outlet que fez o percurso de duvidoso e questionável para presença central online – e se pensam Buzzfeed estiveram perto, falamos do HuffPost; na única hiperligação de menção acadêmica  remete para o Nieman Reports - das principais fontes de cites às nossas teses e que raramente encontramos cruzadas aos cómicos; na senda dos ebooks; e, claro, cruzado à web. Check, check, check please. E mashup para linhas de investigação:

The internet constant hyperlinking and mode-switching is exhausting, and disruptive to concentration. As we struggle within the cognitive tug of war of our new media landscape, comics offer a useful model for a new type of reading: one that might help resolve the tensions of the current media age to move us toward new productive modes of expression and understanding.
Today, many are experimenting with ways to extend key aspects of comics’ form into the digital realm
Seven years (*) after the Kindle debuted and more than twenty since the web went public, the publishing field still contemplates a transition from print to digital, a change that seems inevitable every time a baby swipes an iPad on Youtube. But anyone whose attention span has been radically rewired by the internet intuitively knows what scientific voices like Professor Maryanne Wolf are beginning to suggest: our brains process print media and digital media very differently when we read. Both modes have their strengths: digital media may favor executive multitasking and multimodal information processing, whereas print promotes "deep reading," contemplation and the synthesis of new ideas.

* Aquilo do "2014" menos sete.

So what are we supposed to do with this information? Do we accept the loss of deep reading in exchange for skills that can keep pace with our accelerating technology?

Wolf offers a third way. "What we’re after is a discerning ‘bi-literate’ brain," she argues. [And] a thrilling model for "bi-literacy" already exists. And you can find it in comics.

For more than a century, comics have demonstrated a form of communication that marries the linear sequence of typography with the global perception of an internet-like matrix of simultaneous parts. In the Little Nemo page above, the reader returns to a non-linear point of view after reading the initial narrative sequence in order to activate the reflection and synthesis we associate with deep reading — the thing that we fear we will lose in an online world. Great comics produce their essential meaning from the relationship between these two modes: both ways of looking and reading are needed to fully appreciate the work.

While closely aligned with literary culture, comics are also a kind of visual art. Like any art form, comics has its own medium-specific properties that allow us to express ideas that can’t be expressed in any other way. But unlike our most traditional art forms — painting, drawing, sculpture, textiles — comics aren’t necessarily made of any one material. More like collage, comics represent a conceptual strategy that can embrace all kinds of artwork into its method. And while we do also read comics, comics induce ways of reading that are very different from prose.

We get the narrative — the "story part" — of this comic strip by reading the panels in linear sequence. But if we knew nothing at all about the comic strip’s story, what might the overall structure of this page tell us about its message?
The particular syntax of comics has been most fully developed within the context of the single page format [and] we can extend that analysis to articulate something fundamental about comics that also relates to our current cognitive confusion.

E da leitura dessa prancha leiam no original: qualquer coisa sobre chegar ao fim e voltar ao início, hint hint.
Importa-nos aqui a lógica que se segue:

It’s not hard to imagine the story of Little Nemo’s galloping bed adapted into full blazing CGI but what would be lost in this translation from one form to another would be the poetics of comics: the aesthetic experience of simultaneously experiencing a comic’s form and content so harmoniously that the contours of the comic’s theme can be read in its architectural blueprint.

Artful comics induce a kind of double vision in the reader: we fully experience the work by understanding the relationship between the parts and the whole; between linear sequence and the simultaneous perception of related fragments. This is the medium-specific quality that brings us back to the internet and our endangered "deep reading" brains.

Portanto, repetindo, "if we knew nothing at all about the comic strip’s story, what might the overall structure of this page tell us about its message?"

OS POSITIVOS: para os teus maus hábitos de leitura.

this is punk!

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