amarela depressa e desfaz-se

"How Comic Books Can Make Kids (and Adults) Smarter | Gene Luen Yang"

Seguimos a deixa, e de nuestros hermanos para o burgo, encontramos na entrevista que académico de cousas (causa & coisas) bedianas publicava ontem no divinamente intitulado "Amarela Depressa e Desfaz-se" uma entrevista a Jared Gardner sobre o seu "Projections" ²⁰¹², onde conseguimos encontrar aquele mesmo cruzar de tecnologia e cultura participativa.

Da dita, o mashup que vos importa reter.
De "highbrow connoisseur circles":

The ghettoization of comics has everything to do with the institutionalization and legitimization of certain reading practices favored by the academy and New Criticism in the postwar period. New Criticism insists that the text is complete in itself. Comics have never had recourse to that fantasy, of course, depending at every panel on the reader to emotionally and intellectually engage and fill in missing details, the action between panels, etc. Of course, literature and film have also always depended on readers as collaborators in meaning-making, but their formal qualities make that dependence easier to ignore.
in "Jared Gardner: the “Projections” interview" ^{23 jan 2018}

Literários.

Readers of fiction in 18th-century Britain had a relationship to their novels and fictional characters very similar to what we might describe as fanboy culture today: they wrote fan fiction, unauthorized sequels, etc. The notion of the literary text as being sacrosanct and inviolable was not yet institutionalized. Institutions—universities, Hollywood, etc—have worked historically to limit and police texts and the ways in which audiences use and repurpose them. Comics have remains outside of such institutions for most of its history,and so at least until recently comics have remained a space where the collaborative fan energies you are describing have been allowed to continue relatively unimpeded.
in "Jared Gardner: the “Projections” interview" ^{23 jan 2018}

Engage com os amarelos rápidos que se desfazem - por oposição ao digital que se crumble de toda uma outra forma.

Truly “interactive” open-ended serials are threatening to the culture industries and ultimately mores in the digital age.

The comics characters that sparked that level of devotion—characters who were thought of as friends or family and whose loss was experienced as such—emerged from the daily serial comic strip. there is something about the rhythms of daily seriality that creates different kinds of attachments than are found in a monthly (or even a weekly) serial. And we no longer read newspaper strips — or even newspapers— as did in the first half of the century. Similar attachments were also generated in early serial radio and of course television soap operas.
in "Jared Gardner: the “Projections” interview" ^{23 jan 2018}

E sobretudo, directamente às nossas teses.
1. Cultura goes pop:

Popular culture forms were (and largely still are) intended for consumption and easy disposability. This is the built-in “obsolescence” that has rightly concerned so many critics of popular culture over the past century. But as we all know too well, popular culture texts do not self-destruct so easily but continue to haunt our landscape long after they were to have atomized. Readers, consumers do things with popular culture that was not originally intended or imagined by its producers, and in so doing they give to these texts an afterlife.
in "Jared Gardner: the “Projections” interview" ^{23 jan 2018}

2. E tecnologia em digital, com igual desapontamento ao nosso:

I do believe a lot depends on comics making the transition to the new media platforms and economies of the 21st century. In the past it moved with remarkable speed from the illustrated magazine of the 19th century, to the color supplement of the early 20th-century newspaper, to the comic book of the 1940s, to the graphic novel of the 1990s. I am troubled by what I perceive as comics failure, both imaginatively and economically, to make the transition to the digital “page” where our stories will be published going forward.
in "Jared Gardner: the “Projections” interview" ^{23 jan 2018}

A um passo do takeaway final:

Comics is remarkably flexible in terms of scale, comics work well in this kind of specialized marketplace, all the more reason why the comic book should be thriving in the 21st century, in whatever format it ultimately takes.
in "Jared Gardner: the “Projections” interview" ^{23 jan 2018}

Vários pontos de que faremos sentido em próxima ocasião, mas complementamos do mesmo autor ainda em art comics com outra análise sua, também de anos idos: "Comic Versus Art. Bart Beaty" ²⁰¹³

Não citamos da sua recensão, talvez esta ainda encontre razão ao registo, antes da secção de comentários – em linha com cultura popular, cremos...! – sobre a "própria fruição sócio-cultural do livro". Citando de, "The Importance of Being 'Published: A Comparative Study of Different Comics Formats" de Pascal Lefèvre, é dado o mote:

É um 'mesmo' texto se estiver num formato/veículo/suporte diferente? Pode parecer fácil (ou estúpido) responder a e esta questão, mas não é. A forma como se compra, como se lê, como se coloca na estante, como se permite às crianças/filhos/convidados que os mexam, etc. Irá a crítica estar atenta a essas transformações? Dificultará isso o trabalho? Essa é uma excelente questão, mas penso que a melhor resposta é ir lendo os textos (de todos) e ver até que ponto é que essa dimensão inflecte a pesquisa e a crítica.
in "Comic Versus Art. Bart Beaty" ^{5 nov 2013}

Continuamos a unir pontos entre cultura popular, arte e tech na nossa próxima instalação.

somos todos phans!