#hyperlien — Public Fediverse posts

Como cualquiera que no viva debajo de una piedra sabe, El Universal entró en una polémica debido a una entrevista publicada el pasado 18 de junio. A propósito del aniversario luctuoso de Carlos Monsiváis, el diario republicó una entrevista realizada al escritor por Edmundo Cázares hace varias décadas. Y de entre todas las declaraciones de Monsiváis, lo que hizo estallar la controversia fue un fragmento en donde sugiere que mantuvo relaciones sexuales con un joven Andrés Manuel López Obrador.

Edmundo Cázares y los Rituales de la Posverdad | Ayax

Las tropelías de un personaje como Edmundo Cázares me recordaron mucho al gran Vázquez, otro truhán de la vida real cuyas «hazañas» conocí a través de las historietas de Carlos Giménez. Lo del affaire AMLO-Monsi ha sido apenas la punta de un enorme iceberg de entrevistas reales pero ficcionadas, con declaraciones y halagos hacia el «periodista» que se repiten al pie de la letra a través de las décadas.

In the winter of 1879, a 23-year-old John Singer Sargent stood in the Prado, copying Las Meninas (below). The master’s canvas was nearly ten feet tall and had been hanging in that room for over two hundred years, dimmed by varnish and lampblack. Sargent struggled to understand how an artist who was deceased since 1660 could bring painted figures to life. […] His teacher Carolus-Duran had built an entire pedagogy around a single command: ”Velázquez, Velázquez, Velázquez, ceaselessly study Velázquez.” Duran drilled it into every student who walked through the atelier door. Forget about Raphael or Rubens. Instead put your eyes on Velázquez.

What Sargent learned from Velázquez? | James Gurney

Gurney mentions two of my favorite artists in the whole world: John Singer Sargent and Diego Velázquez.

The year is 1977. Brazil is in the midst of a military dictatorship that began with a US-backed coup in 1964 and lasted for 21 years. It is, as a title card at the film’s outset informs us, “Uma época cheia de pirraça”—a period of great mischief. “Mischief” may seem a rather coy description for a period that saw the death or disappearance of more than 400 Brazilians, and the imprisonment and torture of some 20,000 more. But then there are many misdirections in The Secret Agent, myriad mysteries that offer clues to its very particular time and place, that comprise an archive in themselves.

In the Belly of the Beast: Kleber Mendonça Filho’s The Secret Agent | Leo Goldsmith (MUBI)

I’m watching with interest how comics are changing around me. There’s a lot of work being produced that impresses me, and a lot that leaves me cold, but even with the good stuff I’m finding it harder to tell how it’s being produced, and that makes me feel disconnected with the hand and mind of the artist who made it.

I’ve gone back to basics. Not to uphold tradition, and not to reject progress, but for the honesty and immediacy of getting my vision from my head to the paper without any digital intervention.

‘I’ve gone back to basics’: Catching up with Frank Quitely | The Comics Journal

Good Frank Quitely interview by Jake Zawlacki for The Comics Journal. I disagree on AI topic, AI is not «just a tool», I’ll quote Pope Leo XIV just because recently he paraphrased something I’ve been heard for years:

[…] technology is never neutral, because it takes on the characteristics of those who devise, finance, regulate and use it.

Encyclical Letter «Magnifica Humanitas»

For decades, a guy named Aadam Jacobs has been recording live music shows. His collection of over 10,000 shows since 1984 feature the likes of Nirvana, R.E.M., The Pixies, Björk, Depeche Mode, Liz Phair, Sonic Youth, The Cure, Phish, Fugazi, and so many more. With the help of archivists, the entire collection is making its…

Now Online: a Treasure Trove of 1000s of Secret Concert Recordings | kotke.org

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