By Scott Adams
Read or Download Dilbert Collection 1998 PDF
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Additional resources for Dilbert Collection 1998
As we began to imagine this issue, we had back-to-back teaching and research collaborations with artists—Chute with cartoonist Bechdel, Jagoda with new media artist Sha Xin Wei—through the Gray Center for Arts and Inquiry, which enabled us to work within forms like comics and transmedia games, thinking through their properties and constraints from the inside-out as well as the outside-in. Collaboration, as our work together on this issue suggests, is a critical component of the transmedia ecologies and approaches that we track.
Spiegelman: Sorry, but you have to play your part. Mitchell: So this conversation is in place of a keynote address on the topic of Comics: Philosophy and Practice. We might want to begin by asking this general question throughout: is there a philosophy of and in comics? Can comics engage in philosophical discourse? We know they can tell stories and record events. But can they philosophize? I firmly believe they can, if only in their unrivalled capacity to reflect on their own status as an infinitely flexible medium that combines words and images, stories and bodies, thoughts and actions, subjective and objective experience.
It was a highly dense kind of picture making. Insofar as I’m partially responsible, having been called—God knows why—the father of the graphic novel (I have been demanding the blood test ever since)— I trace it all back to my Mad lessons. Mitchell: You don’t like the phrase “graphic novel”? Spiegelman: I don’t like the phrase. It existed as one of the euphemisms that people have used to say that comics are not a guilty pleasure. Graphics: sort of respectable. Novel: since the nineteenth century, very respectable.