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Excelente enunciação de intenções no republish (*) "Now that the journal in which this originally appeared is out of print, it seemed worth making this interview available again, especially for those readers outside of France who likely wouldn’t have had a chance to see it." Ah! de uma entrevista de Bill Kartalopoulos a Daniel Clowes: deixar um "crazy pamphlet out there", "on a bus seat or in an airport or something", "this crazy rant that no one else really cares about, that’s about a subject that the writer seems to have way too much interest in and doesn’t quite know how to express to the average person out there". DC admite que nunca o leu desde que foi publicado (Eightball #18 1997), e que o seu conteúdo não era assim tão relevante para começar:

I always felt like people took the content a little too much as gospel. And, of course, who could blame them, since it was presented that way? But it certainly wasn’t intended as my one pronouncement about comics.
in "'I Feel Like Comics Needs Its Own Thing': An Interview with Daniel Clowes" 14 jan 2020 reprint 2014 (*)

Ao que Kartalopoulos retorque: "It’s actually a very sharp document". Premissas estabelecidas, avancemos pois ao nosso one pronouncement about comics: a inaptidão artsy-comix ao digital e arrolamos ao espancamento um querido da crítica, novamente Ilan Manouach, agora em "The Future of Comics", a regressar em abril deste ano.

Futures of Comics examines how comics are undergoing historic mutations in the midst of increasingly financialized, globalized technological affordances and proposes to map the social, economic, racial and gendered forces that shape the industry’s commercial, communication and production routines. From "publish your own zine" to exploring appropriation techniques and hands-on experimentation on alternatives modes of distribution, Futures of Comics provides an educational program from artists to artists.

O nosso mashup dos textos que acompanham a iniciativa:

Conceptual and post-digital comics are situated outside the traditional scope of regular literary and artistic practices involving text and images. They are not only located at the crossroads of different media. They move beyond disciplinary, formal and compartmental media terminology such as "graphic novel", "visual poetry" or "artist books". The rainforest of pulp production, the printer’s studio, the blog’s readers column and the industrial landfill are not only the loci of new technologies of inscription. They are integral elements of a material language - a language that actively shapes the medium by activating its substrate as sites whose attributes are unfixed.

Entre outros, encontramos um workshop "Against Comics", provavelmente no seguimento da edição passada onde propunham pensar (radicalmente) "the distribution of (...) comics from a negative perspective" e criar um protocolo à "massive elimination of all comics worldwide." Igualmente do ano anterior o "Deskilled Comics" pela Kim Jooha a debate em "intentionally poorly drawn comics" e clássicos como "are skills important in art? Why are deskilled or unskilled comics so much popular online?" Preocupações também já aqui partilhadas e a nossa deixa a 2020. Encontramos por exemplo o arquivar às gerações futuras tecnologias obsoletas com um "A Xerox of a Xerox a Xerox":

How do comics save themselves? What are the modes of knowledge production and cultural transmission that shape the past of comics? Which means organize the inscription of comics in a longer temporal perspective? Futures of comics inevitably depend on the way they have been saved and preserved. While contemporary comics face new challenges in terms of their archival storage and distribution, within the large spectrum of a digital economy, the 1970s already grappled with related issues of reproduction technologies, access and circulation, storage and materiality. This talk will look at comics collecting less as a subcultural phenomenon than as an important episode in a larger history of Xeroxing, microfilm, public access, cultural policy, dematerialization, underground distribution — a narrative that is still largely ongoing in the digital context of whistleblowers and rogue archivists.

... ou um "The Aesthetics of Digitization" e os "stakes involved in bringing artists’ print to the web":

The web can offer not more than a rectangle of pixels with the effect of flattening all dimensions as if to one single scale. Still, it has its own tactility giving way to a different set of possibilities.

... ou bd nos media notíciosos com o "The Art of the News", "an examination of the Futures of Comics and the role of visual storytelling in The New York Times and other American newspapers and magazines". Obviamente, sobretudo, aquilo da web, ou não estivessemos a cumprir serviço público. Enquanto talentos locais – particulamente os mais errr conceptuais – fazem vista grossa à rede, nós vamos recolhendo tudo o que nela cai. O Ilan repete enunciados feitos à medida dos seu peanuts, nós repetimos porque importa chatear:

There is an ever-growing number of artists’ books appearing online open to the unchecked possibilities of experimental publishing

How has the Internet, as a site of disintermediation, contributed in not only reducing the distance between producers and consumers but has also provided the backdrop for a flexible, collective intelligence to organize these new forms of experimentation?

Da inteligência coletiva assobiamos ao lado, mas parte da resposta não nos é estranha e acabamos com último adiantar de pistas: IM refere-se às novas techs

By radically displacing the medium’s production routines and modes of address, it has emphasized the fundamental ambiguity and the porosity of the established figures of the industry.

– mas desengonçar rotinas e mudar modos de addressar a ambiguidade e porosidade de figuras estabelecidas ao mesmo tempo que experimentamos com outros conceitos de comics online? Senhores... O desenho só lá está para ilustrar texto?

techs desalinhadas