Tintín and the End of Adventure 2012-2018. Formato definitivo. En el Congo
Work in progress.
http://tintintoday-blog.tumblr.com/
https://twitter.com/tintintoday
Tintin and the End of the Adventure presents a kind reflection on the narrative scope of the new Internet social media. It begins from a conjecture: if Tintin had Twitter or Facebook, the role of the adventure in his life would not only be impoverished, but directly, it could not even begin to happen. This biased assumption, points to the implicit ideology of the massive use of media that, in principle, are presented as neutral. From the most pernicious effects of the new social media, perhaps the most catastrophic, is to remove the possibility of adventure from the lives of the people. So to prove this conjecture, this project runs an experiment. Reviewing the literature of Tintin, to tweet its most fortunate moments.
In a second step, the tweet is put in context, within a strip with the two preceding frames. The tweet acts as its punchline. At the end of the review of his 24 adventures, a series of strips will show the current narrative possibilities of Twitter.
In advance, It is assumed this narrative to have a relentless linearity, relatively fragmented. Hergé´s exemplar narrative, inexorably put Tintin into the adventure . But without a classical narrative structure, is catharsis possible? And with no catharsis, is it possible the realization of one’s own life, as personal account based on a recreational management?
But the personal story that somebody can make by himself via Twitter, is not only marked by linearity and fragmentation. This simplification implies a redundant individual presence. And maybe this circumstance forces the Twitter user to show, an opened and strongly well-meaning intention. This way, he translates himself into a triumph of the anecdotal.
For example in this context, the notion of citizenship easily gets its potential cosmopolitan value, through a tourist paradigm increasingly focused on routes where the reality, disguises itself like a theme park. You can forecast how your personal story, as fueled by this construct, impoverishes the possibility of the adventure. Even more, if we keep thinking about all the implications of being permanently connected by/to Twitter, the adventure cannot even start. As there´s not adventure without disconnecting from the “normal” life.
The adventure begins where the normal world ends. And in a world where one is conscious of being permanently located by GPS, how to start your own adventure? And without adventure, is real life at stake… really? All these issues are opened to us, as our adventurer insists on playing until the end his classic adventurous journey, through Twitter. Unknowingly, the more he approaches the end of his final adventure, the closer he gets to ending the very notion of adventure.
In short, Tintin and the End of the adventure is presented as an apocryphal work. A tribute exercise in oblique narrative, to the good work of Hergé. Concerned about the question of artistic value at the end of his life, the Belgian author left unfinished Tintin and Alph-Art. With the addition of this metanarrative review of Tintin as art of the twentieth century, this apocryphal aims to become the ultimate closure of his adventures. In a story where Tintin, making an effort to keep himself contemporary, unknowingly destroys the very notion of adventure, and his own classic memory. And so Tintin and the End of the adventure, is only a cryptic allusion to the real title of his final adventure, which actually reads… Tintin and Omega-Art?
http://tintintoday-blog.tumblr.com/
https://twitter.com/tintintoday
Tintin and the End of the Adventure presents a kind reflection on the narrative scope of the new Internet social media. It begins from a conjecture: if Tintin had Twitter or Facebook, the role of the adventure in his life would not only be impoverished, but directly, it could not even begin to happen. This biased assumption, points to the implicit ideology of the massive use of media that, in principle, are presented as neutral. From the most pernicious effects of the new social media, perhaps the most catastrophic, is to remove the possibility of adventure from the lives of the people. So to prove this conjecture, this project runs an experiment. Reviewing the literature of Tintin, to tweet its most fortunate moments.
In a second step, the tweet is put in context, within a strip with the two preceding frames. The tweet acts as its punchline. At the end of the review of his 24 adventures, a series of strips will show the current narrative possibilities of Twitter.
In advance, It is assumed this narrative to have a relentless linearity, relatively fragmented. Hergé´s exemplar narrative, inexorably put Tintin into the adventure . But without a classical narrative structure, is catharsis possible? And with no catharsis, is it possible the realization of one’s own life, as personal account based on a recreational management?
But the personal story that somebody can make by himself via Twitter, is not only marked by linearity and fragmentation. This simplification implies a redundant individual presence. And maybe this circumstance forces the Twitter user to show, an opened and strongly well-meaning intention. This way, he translates himself into a triumph of the anecdotal.
For example in this context, the notion of citizenship easily gets its potential cosmopolitan value, through a tourist paradigm increasingly focused on routes where the reality, disguises itself like a theme park. You can forecast how your personal story, as fueled by this construct, impoverishes the possibility of the adventure. Even more, if we keep thinking about all the implications of being permanently connected by/to Twitter, the adventure cannot even start. As there´s not adventure without disconnecting from the “normal” life.
The adventure begins where the normal world ends. And in a world where one is conscious of being permanently located by GPS, how to start your own adventure? And without adventure, is real life at stake… really? All these issues are opened to us, as our adventurer insists on playing until the end his classic adventurous journey, through Twitter. Unknowingly, the more he approaches the end of his final adventure, the closer he gets to ending the very notion of adventure.
In short, Tintin and the End of the adventure is presented as an apocryphal work. A tribute exercise in oblique narrative, to the good work of Hergé. Concerned about the question of artistic value at the end of his life, the Belgian author left unfinished Tintin and Alph-Art. With the addition of this metanarrative review of Tintin as art of the twentieth century, this apocryphal aims to become the ultimate closure of his adventures. In a story where Tintin, making an effort to keep himself contemporary, unknowingly destroys the very notion of adventure, and his own classic memory. And so Tintin and the End of the adventure, is only a cryptic allusion to the real title of his final adventure, which actually reads… Tintin and Omega-Art?
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