confi(n)ados às pitty prisons

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life imitating the imitation of life

Salpicos de banda desenhada, tecnologias de comunicação de massa um-para-poucos, academia a colecionar zines, punx satíricos: voltamos a territórios familiares mas tudo parece tão diferente agora. O toque é dado no jornal de hoje com um longo ensaio sobre a benevolência dos robots dedicado a todos aqueles que receiam que estes um dia dominem o planeta. O kick? Não foi escrito por um humano: ^(*)"We asked GPT-3, OpenAI’s powerful new language generator, to write an essay for us from scratch. The assignment? To convince us robots come in peace".

Uns pontos acima do último textbook que notámos por aqui."A robot wrote this entire article. Are you scared yet, human?" ^{8 set 2020}. Seguimos de artifícios ao algoritmo que nos mete no spam mais uma entrada curiosa, esta do "CONFIA. International Conference on Ilustration & Animation" ²⁰¹⁶, Barcelos, Portugal. Velha p'ra burro como a proposta anterior e também ocupada das coleções de zines em universidades.

The democratization of self-publishing has raised the profile of the zine with many libraries around the world collecting examples specifically to represent unheard voices. Libraries are seeking to collect a more diverse range of opinion than traditionally available often from a younger audience.
in "Satirical zines about computers, apps and social media: Art-zines from the Zineopolis Collection" ^{jun 2016}

Temos reticências ao exercício de salvaguarda indefinida de objectos que se querem perecíveis, e abrimos primeiro insert em comics para comparações com Julia Gfrörer, "one of the most exciting cartoonists working today":

Zines are very cheap to produce, and immediate—if I have a stack of drawings, it only takes a few bucks and a couple of hours in front of the copier to turn it into a book. I can charge less for zines, and they’re less precious. A zine is ephemeral, it’s not made to last forever, and I like that. I’m uncomfortable with the book as an art object. To me, a book is just the box a story comes in.
in "'I’ll Chase Anything That Bleeds': Ryan Carey Interviews Julia Gfrörer" ^{7 set 2020}

Hélas, uma cena entre académicos ciosos de catalogar a natureza humana. "Obviamente, vamos politizar a coisa", e a autora animada/ilustrada ^(*) Pontos por manter um blog activo. Respect! também o tentou, e logo no nosso tópico preferido:

This paper seeks to capture contemporary satirical thoughts and illustrations about using new widely available technologies, and considers the potential of art-zines to add to social debate.
in "Satirical zines about computers, apps and social media: Art-zines from the Zineopolis Collection" ^{jun 2016}

Mas... "art-zines", relembrando: "art-zines are essentially the same as zines except that the author/s consider the visual element as important, if not more so, than the textual element" ^(*) "An art-zine can be created and published within days, unlike traditional publishing, which means that the thoughts and comments of these makers can be in the public domain almost immediately engaging with a wider debate."
Hum, imediaticidade parece ser importante ao impacto da leitura. Voltaremos cá noutra acasião.). Sabem que tipo de respostas podemos esperar desses artistas. Sem surpresas, parecem surpreendidos:

Surprisingly, given that many of the zines here are created by under 30s, technology is often questioned and lampooned along with the attitude that it will fix everything. Thinking about how many libraries had made a point of stating that zines were representative of unheard voices, it was interesting to note that within our art-zine collection the commentaries about technology seemed to be overwhelmingly satirical.
in "Satirical zines about computers, apps and social media: Art-zines from the Zineopolis Collection" ^{jun 2016}

Senhores? Não serão capazes de uma outra posição em relação à tech? Mas hey, onde já vão os 30, segway a nosso último insert em comics, agora com Johnny Ryan e o seu "notoriously — and deliberately — amoral gross-out comic Prison Pit". Podem depreender a nossa posição ao descartável teeny à mistura com tech e mais camadas além do óbvio com a sua contribuição:

while the rest of us went and grew up, he simply got a lot more focused on what he was already doing

There will probably always be that class cut-up cartoonist, the kid who sits in the back and doodles all kinds of gross-out illustrations in his notebook. Crude, unsophisticated, borderline-blasphemous shit that he uses to get attention or elicit a reaction, even if that reaction is just “dude, you’re sick.”

And while, yes, it’s true that this kind of cartooning isn’t objectively “good,” there’s often an undeniable energy to it, an intensity that one only finds in stuff that’s coming straight from the id, through the pencil or pen, and onto the page.

Prison Pit is all about sickeningly juvenile excess, about depravity for the sake of depravity and nothing else, but at least Johnny Ryan is prepared to admit there’s something not just wrong, but downright sad about that. As such, this isn’t a book that’s shocking for its brutality and its immaturity, but for its — thoughtfulness?

in "Juvenalia In Extremis: Ryan Carey Reviews Johnny Ryan’s Prison Pit: The Complete Collection" ^{4 set 2020}

"Há resistência na incoerência," dissemos. E nisso seremos coerentes. Quando toda a realidade estiver reduzida (e arquivada) a zeros e uns, reconheceremos nesses glitches a nossa humanidade.

idiotas

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