![OS POSITIVOS](https://4.bp.blogspot.com/-zKKfxaIfpU8/Wv1aApfmmBI/AAAAAAAARbk/X7F-ldyPjjE3TCXHeH3HZ2xeVNDugZDCgCKgBGAs/s1600/x_header-200.png")
No seguimento do arquivo das BDs que populam pela web, com gracinhas pelo meio a iluminuras medievais e epopeias a serem transmitidas oralmente de geração em geração, ambas as referências no contexto da preservação de artefactos e histórias para a posteridade, voltamos à carga mas pelo seu inverso: como a tecnologia -especificamente, o seu uso "social"- promove um tipo de "discurso" que pouco deve à fixação do conhecimento num suporte permanente. Os cómicos poderão continuar a prestar alguma atenção às nossas efabulações: o futuro da BD também está implicada no uso popular destes meios texto-visuais.
Chegámos ao dois outros artigos que registamos no tópico das nossas teses -comix et punx goin' on digital- de uma peça sobre nazis, e só mencionamos a curiosidade para mais uma vez vos ilustrar como anda tudo ligado :)
Como preâmbulo, nazis na TuaTV:
On YouTube, left-wing voices are seemingly non-existent while right-wing voices dominate.
There is a whole ecosystem of right-wing YouTubers out there at least as sophisticated as the society of woodlice you might find scurrying under a loose paving slab, a vast horde of unloved grown-up boys droning on and on about why we need to halt immigration; why we need to ban toilets; why we need to kill all girl-children at birth.
in "Why the Right Is Dominating YouTube" 18 mar 2017
Diferenças de método, meios, mensagem: Twitter vs Youtube
Twitter is the natural home of the left because Twitter – participatory; open; capable of presenting multiple viewpoints to the reader simultaneously – is well-suited to the expression of left-wing views, which are (to draw however loose a family resemblance between often disparate warring factions) typically somehow egalitarian.
Contemporary right-wing politics, by contrast, is driven largely by the unexamined prejudices and anxieties of (primarily) white men. Any white man who wants to hold on to their prejudices and anxieties is going to have a tough time of it on Twitter – but they're going to have a grand old time standing in front of their wall, alone, ranting.
in "Why the Right Is Dominating YouTube" 18 mar 2017
Resultado, com entrada para a propaganda:
So the left have the tweet, and the right have the solo rant to camera.
This would, in a way, be fine – except that it turns out the solo rant to camera is a vastly better way of converting people than the tweet is.
In contrast to the tweet, the video rant allows the speaker to set themselves up as an authority, never really having to deal with the questioning, sarcastic audience that any tweeter does. Moreover, the fact that the vlog is an oral medium gives it a greater immediacy, so the audience can, for instance, feel the speaker's anger. On both counts, it's easy to see how the solo rant to camera might turn out to be more persuasive. [E] the way in which YouTube is set up makes it very easy for newcomers to discover the world of right-wing rants to camera – all you need to do is find one rant, and then keep scrolling through the sidebar.
in "Why the Right Is Dominating YouTube" 18 mar 2017
É o nosso segway para os outros dois artigos de interesse:
It's also generally true that tech companies are increasingly prioritising video over words.
in "Why the Right Is Dominating YouTube" 18 mar 2017
Da importância do FB no histerismo global estamos conversados, pelo que nos é curioso acompanhar as tendências que estes apontam para a sua própria plataforma e como essas poderão por sua vez afectar hábitos e costumes de massas. Segue-se uma tendência por detrás da qual a corporação está a colocar todo o seu peso institucional -apesar de alguns revezes, que poderemos ver numa próxima oportunidade-, de onde conseguimos extrapolar ramificações à BD -ainda se também essas ficarão para a próxima. As premissas:
Facebook is predicting the end of the written word on its platform.
In five years time Facebook "will be definitely mobile, it will be probably all video," said Nicola Mendelsohn, who heads up Facebook’s operations in Europe, the Middle East and Africa. Mark Zuckerberg, Facebook’s CEO, has already noted that video will be more and more important for the platform. But Mendelsohn went further, suggesting that stats showed the written word becoming all but obsolete, replaced by moving images and speech.
"The best way to tell stories in this world, where so much information is coming at us, actually is video," Mendelsohn said. "It conveys so much more information in a much quicker period. So actually the trend helps us to digest much more information." Virtual reality will grow and 360 video will be "commonplace," she said. "We’re seeing a year-on-year decline of text…If I was having a bet I’d say: video, video, video."
in "Facebook is predicting the end of the written word" 16 jun 2016
Mesmo se o vídeo se posicione como uma alternativa concorrente ao texto é ainda um formato que se poderá arquivar, ie, revisitável e sobre o qual se poderá de algum modo construir. Mas acresce a mais recente tendência que corre em simultâneo, igualmente popular além do concebível :) Snapchat. Efémero?
Snapchat’s wild popularity must owe something to the ephemerality of its messages. (...) You take a photograph with your phone, add a filter to distort it in some, er, creative way, and send it to your friends. After they’ve seen it, the image evaporates on both their phone and yours. What makes Snapchat unique is that it applies technology that fades visual contents as if they were spoken words fading in the air after utterance.
in "Is Snapchat the sign of a post-literary future?" 12 mar 2017
Oralidade, back com o digital, minus o texto e reforçado com o visual, tudo transitório? Reforço, e, suspeita-se, reacção:
Snapchat’s promise to delete all messages from its database after they are viewed echoes a key characteristic of primary oral culture: that is, the inability (and in our case, the obligation not) to store knowledge. In this, Snapchat demonstrates counter-logic to the contemporary grammar of new media, which is based on information aggregation.
in "Is Snapchat the sign of a post-literary future?" 12 mar 2017
É uma tendência que afecta o nosso uso dos media e sobretudo baralha a relação de texto, imagem, suporte de ambos, e o seu uso popular. Daqui à BD não falta muito. Seja pelo vídeo, ou pela ephemerality das mensagens, o texto literário parece estar em retrocesso cedendo popularidade a outros formatos. É uma cena cultural agora.
Our media environment shapes our culture, which is why we are now so preoccupied with how the internet is affecting the structure of our brains, attention spans, social behaviour, politics and – ultimately – our culture. That’s why Snapchat is interesting. Is it a canary in this particular mine? Are we on a journey to a post-literary culture – one that has some of the characteristics of a medieval oral one?
in "Is Snapchat the sign of a post-literary future?" 12 mar 2017
NOS POSITIVOS demoramos-nos cada vez mais no texto: o nosso long read de informação agregada aborrece-te? "Answers on a postcard, please".
yesterday's snapchat photo