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Malacca Portuguese Creole (MPC) (ISO 639-3; code: mcm), popularly known as Malacca Portuguese or locally as (Papiá) Cristang, belongs to the group of Portuguese-lexified creoles of (South)east Asia, which includes the extinct varieties of Batavia/Tugu (Maurer 2013) and Bidau, East Timor (Baxter 1990), and the moribund variety of Macau (Baxter 2009). MPC has its origins in the Portuguese presence in Malacca, and like the other creoles in this subset, it is genetically related to the Portuguese Creoles of South Asia (Holm 1988, Cardoso, Baxter & Nunes 2012).
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The article analyses the media system in Macao, a special administrative region of China that transitioned from Portuguese to Chinese sovereignty in 1999, becoming one of cities in the world with the largest number of published newspapers per capita. Combining historical research with the analysis of contemporary empirical data collected through interviews with journalists working on the ground, the research demonstrates how there is a long tradition of state control that goes back to the colonial era and that has assumed different forms, ranging from outright censorship to physical intimidation of journalists and economic dependence on the government. Limitations and control strategies imposed on news reporting during the Portuguese administration continue to be practiced today by the Chinese authorities. Even so, journalists operating on the Macao media market tend to overstate the level of freedom they are given, which can be attributed to media outlets being economically dependent on the state. Nevertheless, the level of freedom attributed to the press is today higher than it had been during the colonial period with some critical voices being allowed to reach the media. This needs to be understood in the context of what has been defined as the Chinese safety valve strategy.
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This essay presents a mapping of the historical concepts that contributed to the emergence of post-digital aesthetics and their connections to the concept of post-media in historical terms. It also analyzes the transition from techno-positivism to discourse of resistance against the effects of the capital technological industrial complex and how these advances in technology influence artistic discourses, practices and are the leverage of art and technology which is nothing more than a representation of the aesthetics of capital. Following art and capitalism as an ideology of innovation. Is proposed an unstinting theory about technology, geology, and the importance of these conditions to the post-digital aesthetics in terms of material disponible and conceptual articulation. Producing a reconfiguration of the post-digital conceptual approach as I propose beyond the dysfunctional aesthetics and connected with the concept of radical ecology centered in the usability of electronic garbage and technical obsolescent technologies in the arts.
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Faculty of Arts and Humanities
- Adérito Marcos (7)
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