Gabriel S Moses : The World through Comics : Comics – Sequential Art – Graphic Media Interfaces [event]

:: public event : organizing [post-media lab, w/ Clemens Apprich] : 1211
(i): Gabriel S. Moses >

— a two-part event with Gabriel Moses, reading the new semioscapes of media interfaces and the ‘logics’ inscribed in them, as they are re-defining the language of collocational displays across different forms of media as well as the cognitive patterns of post-medial audiences reading them.

Gabriel S Moses> is a Berlin-based Israeli sequential artist and commentator on narrative semiotics and sequential visual literacy (in other words, very serious comics for very serious people). His visual/textual grammar and aesthetic scope, present both in publications (Spunk> 2010, Subz> 2011, The Consequential Narrative > IMAGE MATCH> 2012) and in exhibited work (, consists of an array of semiotic interplay – written word and illustration to para-comic narrative info-graphics. Having grown up as a wired-up; logged-in spectator from the peripheral corner of a serene suburb in a not so serene Middle East, his fiction work reflects primarily on social media and its transcultural resonance on adolescent private life, namely, through its involvement in global youth-cultures vis-à-vis identity and politics. Residing in the German capital, he takes his time to set grounds for his ultimate Teenage Urban Virtual Guerilla Concept.

Gabriel S Moses will be presenting:

1) When you break it down it breaks down - (intimate presentation/discussion)

wed., nov. 14th, 9:30-12:30 @ centre for digital cultures

— this is a cdc-internal workshop, only to be attended for cdc-/Leuphana-members or on request/admission basis

(i): Gabriel S. Moses >

G. Moses: » Anyone trying to invent Comics (aka Sequential Art) these days, might eventually find himself perplexed.
On the one hand, interactive sequential logic has made a comeback. As the shift from print to electronic viral media heightens, it is becoming clearer that, predominantly, we’ve stopped consuming preset canonical texts and instead we’ve started narrating, mostly to ourselves and, for our major part, somewhat unknowingly. Our communication always relied on these self told wiki tales, comprised of shifting sequences of images and words, but their new virtualization has truly turned them into traceable Infographic-based maps - or in more marketed terms - when we network online, we constantly formulate our very own custom-made Comics.

On the other hand, the “rules of the game” which had maintained Comics so far, are now undeniably changing in a feverish pace. The gradual diminishing of the print economy threatens to render elaborate Comics masses obsolete (unless the smart-pad rescues us all) and furthermore, trying to resuscitate it in the form of comics-journalism and testimony or Webcomics, seems either regressive or irrelevant to what narrating is becoming today. The more the line between media and coded-environment pixelates and the more we begin accepting the idea of the Internet as a new form of collective intelligence (Bridle, NA, Lift12 conference) - the more the very basic notions upon which Comics relied on, reboot.

This very threat to the essence of the medium, at a point where its fundamental logic is utilized like never before, must indicate the blind spot in our understanding of the current relations between medium and message altogether. And so this following presentation will attempt to take advantage of this polarized conundrum by thinking of Comics as meta-medium, perhaps even allegory - a prismatic viewpoint on the very state of media and the human interaction condition, which like it, due to its undecided nature, struggles in perpetual flux between the safe-yet-obsolete traditional and the intangibly experimental. «

2) “Further Destroying The World Through Comics” - (public presentation)

wed., nov. 14th, 19:30 @ Freiraum Lüneburg (Salzstr. 1 [Eingang Auf der Altstadt] 21335 Lüneburg >)

— public talk

» G. Moses: If ideologies are stories - subjective depictions of the world - whose followers perceive them as absolute truths, then today more than ever, we’ve all become prolific comic book readers. There’s just no better old-school term to define it. These stories can’t be told with volumes of words alone anymore - we’ve simply become too impatient. Neither can they be rammed in through our eye sockets in turbulent edits of image and sound - We will not succumb to media manipulation! The revolution will not be televised! And besides, most of us just don’t have a TV-set, so today’s idealistic revolutions will just have to be posted and shared - in pictures and comment sequences, following through pages on pages, stacking up in our browsers’ memories. It’s through these virtual Comic tales that we idealistically fight our info-wars, correct evil wrongs, debunk conspiracies in favor of new ones, empower our very own virtual super-heros, whose superpowers, we believe, can topple down wicked regimes. Or maybe we’ve just learned to tell ourselves a bunch of damn good stories, to avoid facing what matters directly? Like a group of angry teenagers, looking busy doing nothing while we pass the time, instead of doing our homework? «

(i): Gabriel S. Moses >

Gabriel S Moses isn’t’ sure about any of it, he’s not even sure how to like comics anymore, but he draws and writes something which he’s sure is like comics nonetheless - and he claims it can be used on other media as a weapon of mass destruction… or at least deconstruction.