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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...

CONTINUAR

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

CONTINUAR

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

CONTINUAR

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

CONTINUAR

sempre um desafio

Damos a volta maior, mas "'tá tudo ligado, folks, compreendam isso".


I


5 de outubro e cenas, implantação da República, uma narrativa poderosa per se. Duas notas de peças (*) publicadas nesse dia, unrelated, comics-wise.

A popularidade da BD:

We have already reached the point where you can just as easily consider taking a cooking class, or a yoga workshop, or a comics-making workshop.
in "'The Best American Comics 2017,’ Editor, Ben Katchor; Series Editor, Bill Kartalopoulos" 5 out 2017

E a necessidade de criar:

We are all here for the love, even when we’re frustrated we’re not gonna quit.Creative people, to survive we really need to create... that hamster wheel never shuts down.
in "A Comics Id is Tenderness: Notes on Cartoon Crossroads 2017" 5 out 2017

Verdade, como a conclusão do excerto acima que o autor imediatamente acrescenta:

But tethering that to real life is always a challenge to me
in "A Comics Id is Tenderness: Notes on Cartoon Crossroads 2017" 5 out 2017

É desse desafio que novamente nos ocupamos. Mesmo dia, tópico ligeiramente diferente, mas... mesmo? Adoção massiva e popular, criação de conteúdos e outras vozes que combinam texto e imagem, e desafios da vida real: in digitalis.

So 20% of the world or less shapes our understanding of 80% of the world.

We recently passed a milestone in the history of human connectivity – people online now make up the majority of the world’s population. This has largely gone unnoticed, but it is an important moment. The networking of humanity is no longer confined to a few economically prosperous parts of the world.

For the first time in history, we are creating a truly global and accessible communication network. However, while access to the internet is quickly being democratised, web content remains heavily skewed towards rich, western countries.

The internet could well serve as a digital space that reflects and produces the richness of our world’s multiple forms of knowledge, through a combination of text, voice and visuals. Those of us who make up most of the world need to bring our information and knowledge online, and all of us – wherever we are from – need to help make it happen.
in "We’re all connected now, so why is the internet so white and western?" 5 out 2017

Finalmente, enter punx, um magic number dias depois:

The neoliberal state, contracting, competitive tendering and the audit culture - in the process, much of the creative potential of civil society has been lost

Technological change has radically changed the structure of the economy and society.

The economic value of the internet as a whole depends entirely on its content, much of which (Facebook and blog posts, Twitter, personal and group websites and so on) is produced by users rather than for economic return. The internet and the information economy have broken the link between productive activity and market returns. Information is a pure public good, which can be shared again and again with no additional costs. So the production of information (ranging from scientific research to Instagram pictures) has potentially huge social value. The fact that information is naturally a public good creates a huge potential for economic and social benefits of which we have realised only a small fraction.

On the other hand, the market value of internet activity depends, almost entirely, on the ease with which it can be packaged up with commercial advertising – meaning access is artificially constrained. The combination of strong intellectual property laws and reliance on advertising to finance internet content mean that our access to information is artificially constrained.
in "Socialism with a spine: the only 21st century alternative" 8 out 2017


II


O excerto anterior é retirado de uma peça que tenta sugerir um novo modo de pensar o socialismo, actualmente em processo de retorno ao realm das possibilidades. Este é um ano de muitos regressos, mas cremos que no caso se trata mesmo da evolução natural e não um passo atrás. Algures nesta peça, este exerto:

For most of the current political class whose ideas were formed in the last decades of the 20th century, the superiority of markets over governments is an assumption so deeply ingrained that it is not even recognised as an assumption. Rather, it is part of the "common sense" that "everyone knows".
in "Socialism with a spine: the only 21st century alternative" 8 out 2017

Esse senso comum que toda a gente sabe mas passa de moda recorda-nos a crónica de ontem de Rui Tavares, aplicado ao caso de nacionalismos e identidades:

Quanto mais vociferante é o nacionalismo, mas evidente se torna a sua crise. Isto não corresponde a negar a importância da identidade, do sentimento de pertença, da constituição de redes de solidariedade comunal que por vezes coincidiram com as fronteiras das nações e/ou com as jurisdições dos estados. (...) Mas isso também não me permite negar a evidência de que o contrato entre povo, Estado e nação, dominante nos últimos 200 anos, passa agora por uma crise profunda. Antes, o contrato dominante nas cabeças das pessoas e na mentalidade coletiva era o que se pensava ter sido estabelecido entre súbditos, rei e Deus. Se alguma coisa de errado acontecia, havia apenas que reforçar a fé em Deus e a obediência ao rei. O contrato povo-nação-Estado moderno (...) começou a nascer [quando] o contrato anterior não dava resposta à nova realidade. Estamos um pouco na mesma situação. O nosso contrato vigente povo-Estado-nação não chega para dar resposta às grandes perguntas: como redistribuir recursos à escala global?
in "Qual estado, qual nação?" 9 out 2017

Termina o autor de encontro às nossas teses.

Enquanto os esboços de um contrato humanidade-planeta-tecnologia não estiverem mais claros, ainda vai haver muita gente a jurar pelo contrato anterior.
in "Qual estado, qual nação?" 9 out 2017

Nós, como outros, já trabalhamos à luz de um novo contrato. Do fine print deste, totalmente a despropósito se não acreditas que está mesmo tudo ligado, comics-wise, dois dias antes:

On the topic of "Identity."

Identity is performative and fluid,if people were more accepting of multiple and fluid identities, we could have a lot more empathy and understanding in the world. Thanks to the net (...) its easier for us to access different representations and stories.

There’s been some studies that have argued that our propensity for fiction is actually an evolutionary device, as it allows us to gain knowledge and experience is a ‘safe’ way, and one that is memorable and easily transmitted. We learn through fiction, and part of what we learn is how to be ourselves. So if we see or are exposed to repeated depictions of people like us, positive or negative, that can colour the way we approach situations or the way we expect to get treated. If that depiction is picked up in the wider culture, it can very much influence how we are treated. Fiction is hugely powerful. Comics especially, because of the mixture of text and imagery, are very direct forms of communication.
in "S.M.A.S.H. LSCC COMIC CON / 2017 / Pitches" 7 out 2017

Narrativas. E, caso não seja óbvio - cada vez mais perto de lá chegarmos, não tivessemos ocupados noutras frentes...-, autenticidade.

E alguns, ao que viemos...

* Dupla dose de BKs: Ben Katchor e o Bill Kartalopoulos, e não vos querendo aborrecer com aquilo das coincidências mas depois de os reforçarmos individualmente entre OS POSITIVOS, provavelmente nas únicas referências nacionais que lhes encontram no ano que passa, surgem agora os dois juntos no Best American 2017? OS POSITIVOS: vai por nós.

miss takes

CONTINUAR