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Saturday morning, while Sabato begins to decompose, I'm going to take Medieval English Literature and Professor Leonardo Funes, who puteo every Friday before I go to bed early, open the class with an exceptional start I confirmed, as every Saturday, which is a type groso. In twenty minutes, shortie and touch, he is a medievalist (that kind of literary scholars who do serious research and not Chamuyando useless as "the embodiment in the narrative of Onetti") gives a nice shovel to the line literary analysis that dominates in college, the structural and post how well we have taught and refers only to the text and texture. Grab the two paradigms, the text of the work of Barthes and Derrida's differance, and strong arguments not only alleges they have forgotten the material (the work rule Barthes, which sotiene in hand) but have forgotten that oblivion is only possible within a very specific ideology: the printed text. Let's talk about form and ideology, Funes says when it boots, and peel an article in the journal Gamerro Charly Ñ which says that the book can be killed but not literature. Cute, but from where, he wondered. What we have for manuscripts if the "A" of differance Derrida is pyramidal as print. And after listening to a professor of literature retrace the footsteps of Roger Chartier .
But in reality this does not start there, occurs after a few hours later when I go to shit with the number 2 of the journal Orsai in hand and attuned to reading a beautiful story on the guy who Radowitzky interviewed as she left the jail at the end of the world (as attuned as when I was 15 and read On Heroes and Tombs in a dark bar). And actually I should say that begins long before, because since I bought the first issue of Orsai that, while I have that magazine, I can not read anything else until you stop because the pleasure is a lot.
is to say that if it were not for my friend B. I burned the head, I would not have bought the first. As a first principle, not believe in any attempt to look NeoV. Indeed, to counter the title at this point, which is not something new. Orsai wave can be traced, but we do a brief review. Is a journal of Hernan Casciari , the chubby nice blog that had a large audience of the same name and lives in Spain. Head were sent to do a project to issue to the intermediaries ("Orsai, no one in the middle" is the full title). Shipped anywhere in the world, first receive orders and then print that many copies, if buy from them you have to buy a pack of ten magazines and you have a 20% off the cover price is calculated by country ( I think it's something like 15 times the price of the newspaper on Saturday, roll over in your country). When you buy a pack, you can put an ad on the same page Orsai , giving your address, contact. So guys like me who want one, we throw an email to some close to home and we will find the magazine. The thin, to make the move stays a few pesos. So far the editorial system, innovative and interesting.
The truth is that the first issue of the magazine work. Let's start with a win, here in Argentina came out $ 52, a bargain considering the prices of books and the fact that he has more than 200 folio pages and no ads, pure notes, and is quarterly (ie, you buy out the same as three months followed the Rolling Stone just to read a chronic copada but one).
I think that that's correct, and there are several, and adds, of course, content. International journal, run by guys who obviously have it clear in the first number was from Villoro to Nick Hornby, through drawings and chronic Altuna Seselovsky seemingly promising but in summary it was barbara. Finally, I will not review the notes, think the second number is far greater with photos of Marcos Lopez, text Fabián Casas, Abelardo Castillo, Roncagliolo, Sergio Marchi, a chronicle impeccable Josefina Licitra on Pepe Mujica and a note on copyright very solid David Bravo. Further, the magazine mob Orsai , because of course, besides all, if you want to read it for free.
I think that this sum may reach embolante for some to sell. Orsai magic shows several sides. It seems that for number 2 wanted to change the distribution system and go to bookstores, and she complained and Co. Casciari and prudently decided to hold the ball and mysticism.
When we returned from Cuba, I was surprised by the visual pollution of advertising that was by Richieri and the whole city, with Orsai is the same. Remarked, is a magazine that does not have a single advertisement. Orsai is a beautiful magazine, made on paper which I assume is beautiful artwork in which each note is illustrated by a different illustrator. Da ojearla taste and smell and hold in the hand, a fetiche.Y here's the detail that articulates the excellent and entertaining content (reviews, stories, cartoons and newspaper articles) with the original forms of publishing and distribution, between the immanence new technologies and concern unequivocally by textuality. As Katz says Alejandro , Poquet Kodak camera did everyone photographer. The great success, bringing together the small achievements of Orsai is thinking together and plan a magazine on paper not as a reaction to digital but from technological development. The truth is that probably no Blog popularity Orsai could not have done. The digital platform of sale and direct communication with the public is essential in the design of this magazine. But also the idea of \u200b\u200ba magazine without intermediate distributors (ie, not distributors) owes much to the P2P networks "Probably not many readers have trusted and bank the project if not take over 10 years using or downloading from Emule Taringa. Understanding what this magazine-laced if not first think about the need to continue talking about the formats, and then the necessary overlap between the pleasure of the object (book, magazine, and not work) and the digital world. This
was to say:
1) if you like reading the chronicles of Rolling Stone, you get bored with another party, but I love magazines, compratela
2) who wants to lend him the No. 1 and No. 2 that I'm almost done for the read and be motivated, enough that I asked.
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