saturação
« performative violence »
"as that rebranding completes, all of this form the edges of a commodified, weaponized identity" 24 fev 2019 You always think that evil is going to come from movie villain evil, and then you’re like — oh no, evil can just start with bad jokes and nihilistic behavior that is fueled by positive reinforcement on various platforms.
in "We Worked Together on the Internet. Last Week, He Stormed the Capitol." 10 jan 2021
Sei hoje, também, em grande parte graças ao Lisboa Triunfante de David Soares, que este aparentemente inocente conto infantil de Aquilino se insere numa tradição europeia que usa a raposa matreira como metáfora para a insubmissão, para o afirmar da liberdade individual face às pressões de quem exerce o poder. Bem, mas de inocente o conto de Aquilino tem muito pouco. Com mel, ensina-nos a violência das sociedades, o caráter impiedoso da natureza, e a importância de saber usar a inteligência para resolver problemas. E, também, a necessidade de se ser impiedoso face aos outros, para poder afirmar-se como se é. Mesmo que isso choque a moral e os bons costumes.
in "Romance da Raposa" 18 jan 2021
Os mais famosos e intemporais contos infantis são invariavelmente histórias de terror e violência, subversiva ou cautelar. Se higienizados por conglomerados porco-capitalistas que os popularizam na sua variante propriedade intelectual protegida, esses mesmos processos de apropriação não são monopólio de criativos-a-soldo e podem ocorrer em sentido contrário: a cultura popular é um campo de batalha permanente. Para fábula de hoje seguimos do choque aos bons costumes regressando a leituras idas e previsões, apropriações impiedosas, estética nazi, redes sociais que desligadas da rede emaranham-se à sociedade, e comics para recorte. Ficámos do Thor deus do trovão, mas podíamos ter igualmente mencionado o Capitão América — que lutasse contra Hitler mero facto alternativo para muitos que o tempo há-de esquecer (os factos e os que os vestem). Igualmente populares entre trolls que inclinam à direita, ainda bd:
It may be time for Frank Castle to go the way of Pepe the Frog. Not only is Pepe the Frog’s usage still rampant amongst the alt-right and other hate circles, but another comic book character has been championed as a rallying cry for violence: Frank Castle, aka The Punisher.
in "The cases for and against retiring The Punisher for good" 8 jan 2021
The infamous skull logo was spotted on more than one of the rioters taking part in the violent uprising at the U.S. Capitol on Wednesday in Washington, D.C. (...) The stretched skull logo has become a symbol of pride and fascistic dominance for groups and individuals who often celebrate violence, and it's time Marvel address it. When your IP gets hijacked by dangerous extremist groups, you've got a real problem.
in "It's time for Marvel to retire the Punisher's skull logo" 8 jan 2021
Recuperamos do Nate Powell uma BD online que combina tudo o que precisamos de contexto: ide ler, senhores, nós esperamos.
"these are the future fascist and their ushers""About Face - Death and surrender to power in the clothing of men" 24 fev 2019
Regressados? Cruzados agora às erudições de Walter Benjamin (*)e "politics as aesthetics" como parte dos seus "timeless writings" no "brilliant way he was able to diagnose just how capitalism saturates itself into the fabric of culture" (*) E esperamos que o pun entre o clothing of men e o fabric of culture não tenha sido em vão. 28 jan 2016:
*) Se não vos adoçamos o segway é porque já vos trouxemos tantas refs a este seu texto ao longo dos anos que o damos por adquirido mesmo se nunca o leram — mas, admitimos, haveremos de voltar a ele pelo menos mais uma vez, uma última vez, a contar por todas as vezes...
In his 1936 essay “The Work of Art In the Age of Mechanical Reproduction,” Benjamin charted the way in which technology had forever changed art. The ability to reproduce an image or a sound countless times had created the potential for the democratization of art. But that democratization was prevented by the means for that reproduction remaining the hands of a few. Thus, it was possible for undemocratic regimes and governments to use art for their own benefit the way it hadn’t been previously feasible.
Fascism attempts to organize the newly created proletarian masses without affecting the property structure which the masses strive to eliminate. Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves. The logical result of Fascism is the introduction of aesthetics into political life.
in "Donald Trump and the Aesthetics of Fascism" 28 jan 2016
Ainda do mesmo artigo (*) 2016, aquele ano., a sua caracterização enrolada ao pós-modernismo que por aqui muito temos insistido: quebradas as barreiras de acesso à comunicação, mantidas as oportunidades de cada um se expressar.
If there is anything we can say about the aestheticization of politics in our own age, it is that it’s alarmingly quotidian. Neoliberalism and its postmodern cultural logic have made meaning and coherence flexible, relative, accountable not to facts, but to subjective feelings (*)Citam "The Condition of Postmodernity" 1990 de David Harvey.. In this landscape, the aestheticization of politics is more effortless than ever.
in "Donald Trump and the Aesthetics of Fascism" 28 jan 2016
Exemplo aplicado, redes sociais como a sua mais visível/óbvia e fácil manifestação:
Social media has made the individual persona or narrative, regardless of truth, endlessly reproducible through the electronic channels of Twitter and Facebook.
in "Donald Trump and the Aesthetics of Fascism" 28 jan 2016
O zeitgeist fornece: artsy-fartsy político na estetização ideológica a exemplo de mais um influencer extremado e ex-colaborador Buzzfeed tornado tropa de assalto ao capitólio norte-américas. Em acelerado, diferenças (e alguma introspeção) por um seu ex-colega agora no NYT:
We spent a lot of time at BuzzFeed thinking about how to optimize our content for an online audience; he optimized himself. [O grunho em questão] ultimately broke loose of those boundaries, seeming to follow the signals he found on social media without any scruple. The only through line was his desire to build an audience. His politics have been guided by platform metrics.
If you haven’t had the experience of posting something on social media that goes truly viral, you may not understand its profound emotional attraction. You’re suddenly the center of a digital universe, getting more attention from more people than you ever have. The rush of affirmation can be giddy, and addictive. And if you have little else to hold on to, you can lose yourself to it.
His story leaves me wondering what share of blame those of us who pioneered the use of social media to deliver information deserve at this moment. While we were refining the new practice of social media at BuzzFeed, we were slow to realize that the far right was watching closely and eventually imitating us.
in "We Worked Together on the Internet. Last Week, He Stormed the Capitol." 10 jan 2021
Contra-grunhos, devolvemos ao Walter B:
What can be done then? Benjamin, in his essay, posits against the aestheticization of politics (...) by politicizing art.
in "Donald Trump and the Aesthetics of Fascism" 28 jan 2016
Classic academic hairsplitting, but — comparativo:
Aestheticization of politics: simple and one-dimensional, easy to follow, lulling into a sense of security and predictability [onde] never is there any mention of what these mean or the potential human toll underneath them. That’s deliberate [and] intended to whip resignation and fear into a highly emotional and irrational powder-keg that can be ignited or dampened as those as the front of it see fit.
VS.
Politicizing art: to gain critical distance, to question why life is the way it is, to make it weird, unfamiliar, anarchic and atonal so that we might see just how little our present condition makes sense. This is art intended to challenge and polarize. It is a disruption; a fundamentally democratic disruption that pulls back the wizard’s curtainand reveals the cold, Machiavellian machinations of political and economic elites for what they are.
in "Donald Trump and the Aesthetics of Fascism" 28 jan 2016
OS POSITIVOS: queremos simples e easy to follow ou weird e a questionar o sentido do nosso presente? Fuck it, sabem onde nos encontram,
It is a tradition that runs through
the revolutionary romanticism of William Blake, socialist surrealists like André Breton, Benjamin Péret, Franklin and Penelope Rosemont, andthe best examples of psychedelia, graffiti art and punk rock.
in "Donald Trump and the Aesthetics of Fascism" 28 jan 2016
