trás prazer subjectivo
No SOLRAD vão dedicar o mês mar 2020 aos comics poetry, um "hybrid form" das constituintes que adivinham no nome. É curioso que o façam porque --- mais no fim :) Anyhooo, nos P+ não nos apanham em recitais de artsy-experimental-poetry-abstract comix, tal como somos rápidos a puxar do livro de reclamações nos commercial — OS POSITIVOS, não fazemos amigos de BD —, uma hostilidade pueril a não descartar levianamente: contribuimos mais aos cómicos que desprezamos do que qualquer puffpiece da crítica bem intencionada. Do que nos importa destacar, insinuações insinuadas, à vossa comparação:
I do think it’s vital not to duck criticism or rigor. As a new form comics poetry is difficult and uncharted. Our media environment encourages quick consumption of content that is increasingly custom tailored. This work, on the other hand, asks us to walk a mile or two in someone else’s brain. Comics poetry is not synonymous with “beautiful, meaningful comics” or “self-important comics” or “very thinky comics.” It is work that draws upon the expressive potential of visual language.
in "What is Comics Poetry? An Essay By Alexander Rothman, Editor-In-Chief of INK BRICK" 4 mar 2020
So far, todos na mesma quadra. Como antes, partilhamos das bases, diferentes conclusões.
There’s real value in work that is only intelligible to the person who makes it. But published work is by definition created for an audience, and so takes place in social, contested space. A poem is a map to a poet’s thinking. This expansion of subjectivity is how we bridge the distances between people. It doesn’t mean that all art needs to be nice, positive, or politically correct — far from it. But subjective bridging is, in my opinion, what art is for.
in "What is Comics Poetry? An Essay By Alexander Rothman, Editor-In-Chief of INK BRICK" 4 mar 2020
Temos alguns apontamentos na utilidade da arte. Vários derivam deste apostolado:
That’s the thing about schools of art, theoretical frameworks, and definitions: they’re wonderful as long as they’re generative. But these same things are hateful and pointless in the service of gatekeepers.
in "What is Comics Poetry? An Essay By Alexander Rothman, Editor-In-Chief of INK BRICK" 4 mar 2020
Coincidências do z-to-tha-g, a nossa deixa, e alguns de vocês já sabem o que aí vem. "Today we’re pleased to reprint a 2016 essay." começa a peça. Senhores..., se estamos a ir ao baú reimprimir coisas, we-can-do-that! Vamos repetir-nos, temos o tempo a nosso favor.
- arsty
- poetry
Algumas definições no estado da arte.
- So what is poetry? I understand it as the purest example of a form where the medium is language. Put another way, poets spend most of our time rooting around in language’s toolbox.
- Comics: one that uses images the way other kinds of writing use words.
Nestes últimos:
- i) Its basic unit is juxtaposition: place two or more images next to each other, and some semiotic impulse in our minds can’t help but connect them.
- ii) This juxtaposition can be arranged sequentially or in an array. (An underappreciated aspect of comics is the reader’s ability to apprehend a page or spread all at once.)
- iii) One clear reading path or multiple possible ones.
- iv) It doesn’t even need to involve more than one image.
- v) Comics’ mechanic of juxtaposition operates not just between images but between images and words as well.
- vi) Other elements of comics grammar: panels, gutters, word balloons, captions, codes of iconicity, space, motion lines, yadda yadda yadda;
A exemplo,
Fine, you got me. At least one prescription: Let’s say you decide to make a comic interpreting a famous poem—“so much depends / upon // a red wheel / barrow…” Why on earth would you arrange those words in a panel alongside a drawing of a red wheelbarrow? Comics poetry should balance freight between image and words. These elements are only doing work if they’re changing each other. Duplication is deadweight.
in "What is Comics Poetry? An Essay By Alexander Rothman, Editor-In-Chief of INK BRICK" 4 mar 2020
