An anonymous reader writes: Jonno Revanche writes for the Guardian why he is still into zines: being the "new teen rebellion", zines offer "escape [from] surveillance and clickbait." He writes:
The trustworthiness of a physical object in our current age is strangely compelling. Links shared via Facebook or messenger apps can be intercepted, logged, or dispersed otherwise into the ether. Especially for teenagers, zines counter the anxiety and subsequent frantic deletion of browser history so that your family can’t see it.
Now, my fascination is on an emerging strain of self-publishing, one that specifically acts as a way of navigating (and circumventing) online surveillance. Just months ago I put out a zine focused on "cyborgs": a loose metaphor for the way we have become socially and physically inseparable from technology, and the implications that has.
Zines have long been used as a method of political organising in activist cultures and sub-cultures, so this is not exactly new – it’s more a continuation of a tactic that in recent years has become important once again.
Mia Van Den Bos is a researcher and curator of Sister Gallery in Adelaide, a space for new technologies and communication within art. She says that part of the appeal of zines is that "printed zines aren’t networked, so there’s no logging on IP addresses and the ability to track where information has come from and who has accessed it."
In contrast, I recall an 2011 article from the NYT on the resurgence of zines. Back then, mainstream media's interest in the phenomenon mostly focused on its role as an intimate, artisan, and exclusive mode of personal expression. One can hardly fail to notice the growing general awareness and concern about the societal domination by the looming menance of surveillance and control.