Ion’s blog

“ardecalifornia”

Hay algo profundamente obsceno, supongo, en dejarse invadir por la belleza sobrecogedora de unos fuegos que han causado al menos trece muertos en California. Ejemplo de que la belleza pura, sin contexto, en s

What makes Sacco’s work so powerful is its self-awareness, its lack of self-righteousness, its attention to odd, humanising detail – Cairo hotel clerks discussing the merits of Pink Floyd and Barclay James Harvest, for instance – so that readers feel they are discovering things at the same speed as Sacco. He feels that the form he has chosen gives him a freedom that perhaps most contemporary journalism does not have and is happy that his work should be described as a comic.

“I have no problem with the term ‘comics’, but now we’re saddled with the term ‘graphic novel’ and what I do I don’t see as a novel,” says Sacco, in a conversation that started over a couple of Jamesons in a downtown Portland bar and resumed at his home the following morning.

“The main benefit is that you can make your subject very accessible,” he says. “You open the book and suddenly you’re in the place. Maybe there’s also a guilty pleasure as people think back to their childhood days reading comics and they think, ‘This might be fun, it might be an easy way to learn something about this.’ It’s a very subversive medium, it’s appealing but what’s in the comic itself could be very hard, even difficult, material.”

Entrevista a Joe Sacco, autor de algunos de los comics documentales (que no novelas gr

Science fiction is a vital source of narratives through which we understand and represent our relationships to technology. […] We believe that women’s fictional representations of cyberspace and cyberculture, largely ignored in cyberculture/cyberpunk studies, are crucial to an informed understanding of our present technoculture: First, women’s cience fiction, despitre its limited-run editions, is a popular literature with a significant and vocal fan base. Science fiction is no longer a subculture dominated by male writers and readers; the increasing presence of women in science-fiction culture as authors, readers, and fans has meant that science fiction itself pays more attention to issues of gender. Second, women’s cyberfiction can be read productively against what has been an all-male canon of cyberpunk literature. Women writers are appropriating the cyberpunk aesthetic–metaphors of jacking in, figures of outlaws and outsiders, and film-noir rhetoric–for their own ends. Third, reading women’s cyberfiction can illuminate studies of technology and postmodernism, particularly work focusing on anxieties about the decentering and fragmentation of the subject and studies concerned with the status of the body. Fourth, women’s cyberfiction may be read productively against feminist postmodern critical theory and practices, particularly claims about the liberatory nature of the transcendence of gender and the body, and destabilizing cultural effects of the hybridity of the female cyborg. Women’s cyberfiction rewrites the familiar cultural narratives of cyberpunk literature and the Hollywood cyborg film, offering an alternative set of visions while at the same time challenging the critical and theoretical trends of utopian cyberfeminism.

Flanagan, Mary, & Austin Booth. “Introduction”. Reload: Rethinking Women + Cyberculture. Mary Flanagan & Austin Booth (eds.). Cambridge, MA: The MIT Press, 2002. pp. 1-24. p.2.

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El resultado es que algunos restaurantes empiezan a negarse a sentar a grupos que esperan a alguien para estar completos, o sencillamente a aceptar reservas. Otras formas en las que las nuevas tecnolog

Lo bueno de amar la poes

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El amigo Mo nos env