Posts Tagged Ernesto Priego

Meet The Comics Grid, an online journal of comics scholarship

Saturday, September 24th, 2011 | Author: Sojournposse Editor

By Salina Christmas

REPORT: “Whatever is to become of books?” at London Design Festival 2011. The video presentation by Dr Ernesto Priego of the Comics Grid at our event, “Whatever is to become of books?”, last week was certainly unconventional. It took a while for us to realise that many of the effects used in this video took their references from cartoons. But behind this unconventional presentation lies an even more non-conformist concept of an open access journal based on, you guessed it, comic books.

It is a very clever idea. Those who follow the development of open source platforms for scholarly journals would have been familiar about the gripes by academics and researchers on expensive subscription fees and the one-sided relationship that academics have with journal publishers that necessitate them to publish their works for free for journals which their institutions then have to subscribe (The New York Times. “Internet ruffles pricey scholarly journals”. 18 September 2011).

The Comics Grid operates on a model that serves as a unique point of reference for an online, open access peer-reviewed journal. Comic books might seem like a very popular art form, but this concept is very much rooted in academia. The journal examines the comic books in a rigorous manner, with the contribution “reviewed and edited by those who are signed in the project”.

Dr Priego, who did his PhD in Information Studies at University College London, focusing on the media-specificity of comic books, webcomics, mobile comics apps and comic book culture, says that the Comics Grid initially started out as an invitation-only initiative. Later, the founders decided to release calls for ongoing submission from graduate students, scholars, artists, teachers, curators, librarians or any others involved in the study and practice of comics or other related forms of visual storytelling.

Submissions, original and media-specific, written for online reading with an educational or academic purpose, must be between 750 and 1200 words in length.

Dr Ernesto Priego presents the Comics Grid via video at "Whatever is to become of books?" at the Gustave Tuck Lecture Theatre, UCL, watched by moderator Kevin Biderman (MSc Digital Anthropology, 2012) and The Ballet Bag. Photo © Salina Christmas

Articles are released every Monday. To date, The Comics Grid has 4,550 visitors and 1,015 Twitter followers. Dr Priego is considering an online open access academic model where people can work together to review comic books no matter where they are, where they do not necessarily have to be at a university where they have to pay expensive subscription fees for journals.

For more information on The Comics Grid, go to www.comicsgrid.com and follow its tweets at @ComicsGrid. You can see the photos of the event at this Facebook link.

Reports: speakers’ presentations at “Whatever is to become of books”

“Five Minutes With”: Q&A’s with designers, authors and academics on the future of books

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Get you avatars ready for immersion journalism

Tuesday, January 4th, 2011 | Author: Sojournposse Editor

Immersion journalism is here and having your own “avatar” is no longer science fiction.

On the Harvard journalism website, Nieman Storyboard, Ernesto Priego spoke to Nonny de la Peña about the future of interactive storytelling. De la Peña talked about her immersion journalism project, Gone Gitmo, where she used Second Life to take the audience through a virtual Guantanamo Bay prison to “experience” the story.

By virtually walking in the shoes of a detainee, the audience gain more understanding about the actual situation in the prison. Can’t get your head around it? See the video below:

On the video, de la Peña said: “Guantanamo is physically off limits to most citizens and press. Keep the topic out of sight and it stays out of mind. [In order to negotiate] inaccessible destination, we felt that Second Life offers us a chance to accessible albeit virtual version.”

“We do not torture your avatar. So rather than a torture chamber, we elected to build a contemplation chamber. Series of spaces to contemplate reports and practices going on in Guantanamo, as well as current news via RSS feed.”

The question is whether the audience are ready and are able to understand the context of the story to be taken on this journey.

For example, the Wikileaks ‘Collateral Murder’ footage of the civilian shooting in Iraq is pretty traumatic for general public viewing (Wikileaks: I suppose it’s bloody cinema. But so is satellite imagery, Sojournposse.com, 9 May 2010). So the data still need to be vetted and analysed by journalists first.

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Of Powerpoint and the photopoetry of Ernesto Priego

Wednesday, November 17th, 2010 | Author: Salina Christmas

Shortly after I published my blog on photopoetry (Photopoetry, a fertile playground for pretend, 14 November 2010), Ernesto Priego, a PhD candidate at The Department of Information Studies, University College London, emailed me the link to his website which holds this image:


It follows the rhythm of a haiku.

In my previous blog, I mentioned about my fascination with the way images and poetry intertwine beautifully in the works of the Spanish photographers we collaborated with. I also mentioned the Powerpoint slides of ‘poetry-image’ stories collected by my friend, an anthropologist. It was during one afternoon at her flat last summer, while she was explaining some facets of the Colombian culture via the slides, that the penny dropped.

The Latin culture is equipped with a particular visual grammar which somehow works with poetry, and enables those within that culture to read and appreciate this visual expression. They’ve had it all along. It was not called photopoetry then, and it is not the “photopoetry” that falls under the Sojournposse definition, but that is our point of reference. I am not saying other cultures don’t have visual grammar equally as good – I am saying that I observe that this ‘dialect’ is particular to that culture.

After seeing Priego’s work, I could see how a haiku, commonly made up of three lines, and a triptych, definitely made up of three panels, can work together. It did not occur to me as well until I thought more deeply about Priego’s “graphic poetics” that the Powerpoint slide format which – by design or by some terrible miscalculation of Bill Gates’s software designers – is meant to effectively contain one information at a time, actually serves as a credible model for photopoetry. One of the models, definitely not the only model.

In order to acknowledge the ‘digitality’ of disciplines under the arts and humanities, we tend to look to the most sophisticated form of digital expressions. For me at least, it is the simplest, most ubiquitous of them that finally ‘enlightens’. I will not pooh pooh Powerpoint again.

Priego, by the way, also does detailed readings and culture commentaries on comic books. Check out his blog, Butterfly Hunt.

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