os bibliotecários em catálogo
tagging gatekeepersIn this paper, we will argue the case for the collection of zines in academic libraries.
Citamos duma sugestão aleatória (*) "Before Blogs There Were Zines: Berman, Danky, and the Political Case for Zine Collecting in North American Academic Libraries" 2014 aterrada na nossa caixa de correio. Damos-lhe a importância que imaginam, embora hajam pistas de valor acrescentado na bibliografia final e dê-se a excertos sumarentos que rippamos de seguida — é da tradição passar o que podemos ao próximo.
Small print, e retornamos a paisagens similares na segunda peça:
There are several considerations specific to zine collection development in an academic library context.
...que não nos importam aqui. Como nota o autor que outros autores já notaram, por diversas razões os autores dos zines não são fãs de arquivarem os seus panfletos da puberdade para a posteridade:
Many zines are the product of youthful emotion, especially considering the connection between zine culture and punk. As such, zines may be something that their authors ‘outgrow’ and do not wish to have accessible to the public. As a consequence, [they appreciate] the decreased access unavailable digitally. This notion of regret is apparent in bloggers’ publication activities as well.
E... academia!
Often, zine writers [many of whom are rightfully suspicious of academic procedures and the 'gate-keeper' image of academic libraries] may not wish to be associated with academic settings at all. Zines can be designed in some ways to completely defy all the rules imposed by libraries, catalogers, or organizational systems of any kind, through intentionally committing acts of plagiarism as a political act. Thus, the zine librarian may encounter writers wishing their work to be taken out of the collection.
Zines, as much as monographs, journals, and the like, are and will be important to study, both for their form as examples of contemporary print culture and their content as one of the means by which contemporary political and cultural movements may communicate and disseminate ideas. This is a particularly timely consideration in light of recent interest and initiatives for collecting and preserving self-published, born-digital ephemera. Zines represent individual expressions unconcerned with adhering to viewpoints that encourage sales, or even readership for that matter. Zine writers often expose the most personal details of their lives and disseminate printed copies of those details to whoever may care to pick up a copy. Additionally, and equally important, zines are a primary method of communication for members of particular political movements and, as such, can serve as documentation of those movements at their earliest stages.
Obviamente vamos politizar a coisa. No seguimento de legitimidades pela apropriação de elites culturais...:
In choosing to collect one thing over another, there is an implicit bias on the part of the collector which can lead to unintentional suppression of dissenting opinion, and which therefore must be examined critically. Collecting is implicitly and explicitly political.
The question of zines (...) opens to a more general consideration of the concept of the library in relation to political life, specifically the role that a library has in both handing down the tradition of the population it serves and enlarging the intellectual horizon of that same population. This framework [in which to view one’s activities as an information professional] takes the form of a critical eye toward the structures, procedures, and goals that shape the information profession. First, these structures, procedures, and goals take place within a particular political environment; second, they are expressed in language (*) De estruturas-procedimentos-e-objectivos para outro dia, super ou pós, da linguagem podemos repetir o exemplo dado: "For example, if someone were to look up the subject heading for ‘light bulb,’ searching for a history of Edison’s invention, they would not find it. Instead, in such a search it would be necessary to use ELECTRIC LIGHTING, INCANDESCENT, which of course is not a term used in everyday speech." Passa por chato, mas podemos/devemos extrapolar para outras causas/consequências. Para outro dia tb., itself inherently laden with political and ethical evaluations.
...e a recordar velhotes: os zines também são paginados, distribuídos e lidos online.
Consider blogs. While blogs and tweets, as natively digital, are distinct from zines, as represented via paper-based media, the different forms do share similar characteristics and hence challenges. Both, as alternative, non-traditional communications typically self-published, may be best characterized as ephemeral in nature.
E de comparações em bibliotecas + catalogações políticas + blogs, outros (serão?) desafios ao longo-prazo...
In regard to access and long-term stewardship, digital and paper-based formats present their own unique challenges. Blogs, tweets and the like, due to problems inherent in their hardware and software dependencies, including issues of obsolescence and proprietary code, may be more challenging to make useable into the long-term future.
... além das dependências hard-soft, o nosso segway à segunda leitura de hoje com notas cruzadas, tagging things right:
Fandom is more than stories featuring characters and situations plucked from pop culture. The culture itself is by its nature anti-hegemonic; it does, after all, incorporate copyrighted material without express consent, and deal in sensitive material. Fandom is constantly forced off the platforms they chose to publish their stories on [and] because of a dozen other reasons, they have learned to be adaptable.
in "Fandom, Folksonomies, and Tagging Things Right" 18 ago 2020
Dão-se exemplos da censura e supressão no LiveJournal e Tumblr, contrapõem-se estratégias de sobrevivência:
Every time a ban like this happens, scores of fans pick up their content and move to another site. To help with the problems of large-scale migrations, fandom has produced a number of written and unwritten rules that members are expected to adhere to. And a lot of these rules deal with tags.
in "Fandom, Folksonomies, and Tagging Things Right" 18 ago 2020
Etiquetas. Aquilo dos bibliotecários, agora minus esses quando as tags são geradas pelos próprios leitores e elas próprias tornadas conteúdo.
Tagging seems simple and straightforward. It’s not. A good amount of tags you use would be a collection of personal references, inside jokes, and narrative additives. These tags do nothing for the actual organization. They don’t classify the content — by the act of tagging, you add new meaning to what’s being tagged. On the web, this kind of freeform tagging is known as a folksonomy. In a folksonomy, you can tag something anything, even if it’s disingenuous, absurd, or entirely unique.
in "Fandom, Folksonomies, and Tagging Things Right" 18 ago 2020
Nosso exemplo: nos últimos anos OS POSITIVOS foram gradualmente reunidos entre clássicos expectáveis como fanzine ou colecções de séries óbvias (XXX-Irritante, [D]ejected, THE ROADTRIP, Rewilding, Comix Guerrilla Warfare ou os ...Previously), mas igualmente no enorme buraco negro das teses webcomics et punx ou três das outras categorias de topo que mais posts somam: meet tha crew, dee and dumb, dumbass — à vossa ponderação (*) Pistas: o texto que lêem consegue entrada nos webcomics et punx, dee and dumb e dumbass. Como o terminamos ganha também registo no meet tha crew. que folks arrumamos em cada.
A marcação — pun! — de conteúdos cumpre vários propósitos. Alguns revistos atrás (quando "scores of fans pick up their content and move to another site" porque "in this paper, we will argue", ponto, talvez dos mais práticos), outros menos tangíveis a praticabilidades quotidianas, de índole esfumaçado ao metafísico dos que deambulam em missão pela causa. As selecções são políticas, como também o são o seu arquivo, e a leitura dessas intenções e sentidos passa pelas tags ou sua falta de etiqueta, os acessos que permitem e os caminhos que escondem. Podemos extrair-lhe todo um programa escondido, um desígnio ideológico revelado na sua omissão.
Retomaremos daqui, recordando bases em como se devem ler os P+.
As wonderful as it is that the comics form has begun to manifest a biographical commitment to the maintenance of its own history, its demonstrated ability to engage in serious self-critical work is still lacking. Quick, what's your favorite work of comics as comics criticism? I'll wait.
in "Jack Kirby: The Epic Life of the King of Comics" 26 ago 2020
Outros esperam, nós temos as nossas respostas.
