fleenatives

4

Julie: What’s a fleen cake?
Kevin: Just the most delicious dessert in the whole galaxy. You wouldn’t believe how much they cost and I just scored six of them last week.
Gwen: Scored?
Kevin: Not like that. A guy owed me for a thing. A legal thing.

CG Art Master Makes Algorithms Look Like Oriental Rugs | The Creators Project

Computer-generated art that makes algorithms look like oriental rugs. “Polygons on a grid bloom into intricate patterns that resemble hand-woven rugs and Moorish tile patterns in the generative works of John Green, aka Fleen. Black and white patterns repeat into seeming infinity through an algorithmic system developed with computer software. The pieces show the abundance of possibility, with shapes as simple as triangles and squares becoming ornate colonies of design.”

https://plus.google.com/+DouglasPierre1972/posts/fBYnbM2FqGV

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CG Art Master Makes Algorithms Look Like Oriental Rugs | The Creators Project
The black and white mosaics of John Green, a.k.a., Fleen, are mesmerizing.

Computer-generated art that makes algorithms look like oriental rugs. “Polygons on a grid bloom into intricate patterns that resemble hand-woven rugs and Moorish tile patterns in the generative works of John Green, aka Fleen. Black and white patterns repeat into seeming infinity through an algorithmic system developed with computer software. The pieces show the abundance of possibility, with shapes as simple as triangles and squares becoming ornate colonies of design.”

So Hermann ended up getting the grand prix for Angoulême; we will note that he was, among the three finalists (Alan Moore, Claire Wendling, and him), the least likely to decline it. I am not a specialist of his work, but I know he is a major veteran of comics, with an impressive list of publications to his name.

Is it a satisfying outcome on the matter of representation of women in comics, after the FIBD bungled when they did not put a single woman in the initial list of 30 nominees? (see on the matter my contributions for Fleen) First, what matters is not the winner, male or female (or if it is, more are needed to have a significant result), but the process and how it excludes, or not, some or others. And second, as a man not involved in these struggles, it is not for me to say.

But I would like to take advantage of this to consider more widely the prize over the last three years, and witness how the change in the designation process has been a big progress in other ways. The previous mode, where the winner was designated by a committee of former winners, had unavoidably led not only to remaining in the universe of comics of the French-Belgian tradition without looking elsewhere, but even in the formation of a self-reproducing clique within even this universe.

The comparison with the last three years, when the new mode (vote by the profession as a whole) was in effect, could not be more striking: Bill Watterson, author of U.S.-style comic strips, Katsuhiro Otomo, author of Japanese manga, and Hermann, Belgian comics author who had himself stated that he would decline the prize in 2014 (should it have been awarded to him) due to the lack of representation of Belgian authors, even if he recanted on this refusal since then. This mode is not perfect (in particular because, since it requires authors to be published, it underrepresents webcomics), but the progress is undeniable.

C'est donc Hermann qui a finalement obtenu le grand prix à Angoulême; on notera que c'était, parmi les trois finalistes (Alan Moore, Claire Wendling, et lui), le moins enclin à le décliner. Je ne suis pas spécialiste de son œuvre, mais je sais que c'est un grand vétéran de la BD, avec une liste impressionnante de publications à son actif.

Est-ce un résultat satisfaisant du point de vue de la représentation des femmes dans la BD, après la bourde qu'a fait le FIBD en ne mettant initialement aucune femme parmi les 30 nominés? (voir à ce sujet mes contributions pour Fleen) Tout d'abord, ce n'est pas le lauréat final ou la lauréate finale qui compte (ou alors, il en faut plus pour que ce soit significatif), mais c'est le processus et comment il exclut, ou pas, les uns ou les autres. Et ensuite, en tant qu'homme non impliqué dans cette lutte, ce n'est pas à moi de le dire.

Mais je voudrais en profiter pour considérer plus largement le prix sur les trois dernières années, et constater que le changement du mode d'attribution a été un grand progrès par d'autres aspects. Le mode précédent, où le lauréat était désigné par un comité formé d'anciens lauréats, avait inévitablement conduit non seulement à rester dans l'univers de la BD franco-belge sans regarder ailleurs, mais même à la formation d'une clique qui s'auto-reproduisait à l'intérieur même de cet univers.

Le contraste avec ces trois dernières années, où le nouveau mode (vote par l'ensemble de la profession) était en vigueur, ne saurait être plus saisissant: Bill Watterson, auteur de comic strips U.S., Katsuhiro Otomo, auteur de manga japonais, et Hermann, auteur de BD belge qui lui-même avait déclaré vouloir refuser le prix en 2014; (s'il l'obtenait) à cause du manque de représentation des auteurs belges, même s'il est depuis revenu sur ce refus. Ce mode n'est pas parfait (notamment parce qu'en exigeant que les électeurs soient publiés, il sous-représente les blogs BD), mais le progrès est incontestable.