café snake - Lignes Ouvertes #5

Episode Date: August 5, 2025

C'est les lignes ouvertes!! On répond a vous questions/takes tout l'été!Films / vidéosLa Nuit de la poésie 27 mars 1970, l’ONF, réalisé par Jean-Claude Labrecque et Jean-Pierre Masse – 1970, en ligne : ⁠https://www.youtube.com/watch?v=t_YXwoEVxjw&t=5539s⁠Billy, un film de Lawrence Côté-Collins dédié aux victimes, documentaire, 2025, ⁠https://billylefilm.com/fr/⁠En 1976, Susan Sontag et ses réflexions féministes, politiques et artistiques, Radio-Canada Archives, en ligne, ⁠https://www.youtube.com/watch?v=6YmsexNC_Ug&t=471s⁠Les nouveaux souverainistes (Par Maire de Laval), Mounir Kaddouri, Urbania, 2025, en ligne : ⁠https://www.youtube.com/watch?v=A-b895_6O3s&t=647s⁠Paul Saint-Pierre Plamondon - Assemblés, Mounir Kaddouri, Maire de Laval (Youtube), 2022: ⁠https://youtu.be/37KLdKh_HTA⁠Blake Lively and the Amber Heard Effect, Matt Bernstein & Kat Tenbarge, en ligne, ⁠https://www.youtube.com/watch?v=_aOwIK9q8Ns⁠La série Empathie!All the beauty and the bloodshed (2022), réal Laura Poitras, avec Nan Goldin.SonCapitaine Révolte, « J’ai oublié », ⁠https://www.youtube.com/watch?v=C1sfxaOcj4k⁠Textes“ Speak white ” de Michèle Lalonde. Gestes, postures et devenir d’une prise de parole, Arnaud Maisetti, Presses Universitaires de Vincennes, 2016 : ⁠https://shs.hal.science/halshs-02343470v1/document⁠« Speak What » de Marco Micone, 1989⁠https://umaine.edu/teachingcanada/wp-content/uploads/sites/176/2015/06/2-Speak-what-fr.pdf⁠NOTE: DANS LE BALADO, JE DIS 1980, MAIS LE POÈME A ÉTÉ PUBLIÉ POUR LA PREMIÈRE FOIS EN 1989.Understanding the connections between the Congo and Palestine genocides, Nylah Iqbal Muhammad, Mondoweiss, ⁠https://mondoweiss.net/2024/08/understanding-the-connections-between-the-congo-and-palestine-genocides/⁠ (2024)The Change Report™: Curtis Fric of Polling USA: On the use and abuse of polls, rage bait as a political tool, and making meaningful change in the 2020s, Kyle Raymond Fitzpatrick et Curtis Fric, ⁠https://1234kyle5678.substack.com/p/the-change-report-curtis-fric-of⁠Acute Narcissistic Intimacy Delusion : How to connect with a robot on a human level, Gerogia Iacovou, Horrific/Terrific, en ligne, ⁠https://www.horrific-terrific.tech/p/acute-narcissistic-intimacy-delusion⁠This is what ChatGPT is actually for, Ryan Broderick, Garbage Day, en ligne, ⁠https://www.garbageday.email/p/this-is-what-chatgpt-is-actually-for⁠You're Alone and You're Scared but the Banquet's All Prepared! On techno-animism, Katherine Dee, Default Blog, en ligne, ⁠https://default.blog/p/youre-alone-and-youre-scared-but⁠A.I. is not replacing radiologists, ⁠andreweverett360⁠, ⁠Articles of Interest⁠, en ligne, ⁠https://articles.data.blog/2025/06/21/a-i-is-not-replacing-radiologists⁠You sound like ChatGPT,  ⁠Sara Parker⁠, The Verge, en ligne, ⁠https://www.theverge.com/openai/686748/chatgpt-linguistic-impact-common-word-usage⁠Un demi-siècle de recherches uqamiennes sur le journalisme : état des lieux et perspectives d’avenir, Chantal Francœur, Éric George, Samuel Lamoureux et Jean-Hugues Roy, en ligne, ⁠https://journals.openedition.org/communiquer/4904

Good morning Yo, it's my name I'm gonna lookie just I'm gonna say, you know, do you, what's gonna say to have Hello, man, it's Daphne Oh, but I'm obliged, I read a film of one hour on an or something

And then, I was just like, I don't this film, that. It's a cafe snake. Good morning, Good morning Hello! Hello, welcome to Linge

Snake. As we have said, we're presently on vacants, but we've enrageted these episodes of Ling Uvert

where you we have made your questions, and we will be able to react to our

capacity. Munnir, when is Kaffe Snke Ruggier Reviourne Reviourne on?

So, we're on the actuality direct for the return to the 19 o'u.

So, just to that every mordy you'll have to have a new episode

of the Lines of Kaffesneye D-D-D-D-L-D. I have a question to pose

to the government. Is he me listen? It's that's it's so.

The Lings Uvert of Caffe Snake Yeah Hey

Hey! and Hello, Mr. Hello. Today, I'm talking to Nick Souzoki.

And this year it's the Laurenti Yeah, there's to please this place,

yeah, yeah, it's good for the camping. Cole Coffield, he has

not marked 40 buch. The society in general. Well, it's

I'm not, I think that we feel that's I'm playing not.

I'm because Okay, so, okay, so now, we're looking

the tech of Kev Hello, Daphne, um, um, um, by

a take in the cafe snake, I'm not the take but I'm

like a question and I'm like you would say you can hear of your view,

your analysis on the it's like some of the impression a little general

but it's that I think I think I'm the presence of the art at the

fact in the in the media of the media of and on the

web in the universe of the podcast of the blog all

it's, no, the platform, at the phone, because I'm in the front, I'm like, as a person who can't

be able to a podcast, it's like, it's, it's really the ballado on the art because I

get over the minute, I'm doing this. Because I'm really of that for, like, to comeble my culture

general. You, let's say that I know, I'd like, I'd rather not the

realisators Russian in the next year, but I'm to have an idea of what he does that realize at a time, and all the time

to read a book there's I think, I think, I think, I think, the balladou, it's really, you know, rich for that. You know, I'm I'm going to,

I'm going to, I'm going to some of the United that I've got, on the literature, notably, sometimes on the theory also,

like, a little psychanalise, theory, theory, kind of white theory, or, well, I'm, in the case. So,

that for to compel my culture general. And I see that it's a long time that it's a lot of

it's not a time you know, I've even made a question about when I'm on the research on the

space that's that's that's in general in the mediaa, you know, it's really from 20

25 years, there's really a reduction mathematical of the space, the grandeur of the world of

all that, and I say, I would say, I'd say that now, it's more of the,

the critique, not the with a sense to reflect on a new that's a bit

of the promotion or some the interview with the comedians of the film to make the point

to do and it's not even a reflection at a part of the art that you

can debouch on the society on blah blah blah and

my other constant is that on Quebec but

but even even everywhere let's even on Instagram there

there there not no no more there there

have, but they're not in grand quantity, and if we're on the art Quebecois, there's really pretty much less nothing, I know, I don't know, and I'm not, I know, and I'm not, I'm never seen, I've never seen these real Instagram,

or these videos Instagram, or these stories, Instagram, who proposed, let's see, an analysis of film, you know, Quebecor, or a, badado to Quebec, on the artists

here, on the music Quebecoise, with a number, you know, like more analysis, critiques, all that, reflection, or even the literature, so, so, so, so,

is, is that, is that you, is that you, is the same consta a little, that the way, in the media of heritage, and in the media,

let's, there's, like, a lot of, representation, but also, and, perhaps of reflection, on the literature, the cinema,

the arts, visual, And then, how you'll explain why is why is let's just let's let's get

plenty of content of analysis on my media on Instagram but I have any content

of analysis let's say let's talk on the page I'm like how how explain that why it's

why it's not been invested by the people by the people who prof of university, the doctorate,

how much explain this vid, so, you know, it's just a little brouillon, it's a bit, it's a bit, it's just

to open a piece, if it's just to, like, it's a pertinent for you, and if there's not pertinent, and if you're full fan of what you

do you feel like, and I'm better to hear of your emissions of the year too. Ciao! As soon. I hope that you go well. Yes,

thank you. Yes, thank you. Yeah, thank you. Yeah, thank you. I'm rejoined because what's what he made to watch YouTube

when I was like at the beginning, it's just this community of critic of cinema on YouTube. I've started to listen to YouTube

only in listening to American, the Moisli, in fact, just American. It's kind of it's not

developed to Quebec in the time that it's developed in the world. And I think there are diverse reasons. I just if we

if we're if we're talking of the aspect YouTube, not the aspect media, heritage. It's really the reward, in fact. It's just that I don't, I don't know how the people, they're going to say, oh, it's a little market, there's nothing to do it, really. But I

think the ecosystem has changed, it's murray, he's rendered plus gross. I think just the fact that, let's make this remark that, like, live, maybe it's going to inspire the person who will be the person who will do. I think that in a future approach, it's what he will have more on YouTube. Even, you know, the critics of music, you know, I've seen plenty of people, in the years, to become

the needle job or the fan tano of the critic of the album, of music, it's never durier really

long time, but I think eventually, like it's quite confidence on the web in the way,

but for to talk the domain that I know not an analysis literary, really you know, you know,

if we had the same constap, and I know, I have been at the same

reflections than you, it's sure that at the base, I'm mifies a bit of the

phantas of the reflex that we I would have to think that it was don't much before, but I would have tend to, you, ,,,, me range at your

side to say that, in time as literary, that artist, that intellectual, whatever, I'm, I'm frustrated of the lack of offer in the media at large, by rapport to,

and, like, you, I'm often, you, I'm abreve to, some sources, so, French, like, on the podcast, or, especially American.

It's, it's I was thinking also at, in the case I did some years, and I was a time of anthology, a interview of fond of almost one hour, with a journalist of Radio Canada at the time in 1976, and Suzanne Sontag, who was in her apartment, entouried of these leaves, at Paris. So we had literally paid a journalist of Radio Canada, Quebec-wise, for that they take the plane, that she's on air at Paris, and that she'll encounter Susan Tagg, for

jazes like that during one hour. And I think that's not something that we'd envisaged today, at least I, I don't know that, I see what, it's going to do you know, I think, that, our mission, like, demandaire, Radio Canadian, on the lecture,

the more, and we, you know, it's, it's good, it's a good point, it's more good point, but it's a lot that it was in fact that we have, kind of, every year, or almost of the week, a one hour,

one and a minute, I think, alluie to those art, to the lecture, to the literature, and it exists no.

And there's nothing to my view that in the pageage mediatique Quebeco. Honestly,

I think that there's a re-nove of the offer, by the part of the literature,

notam, at my sense, it will pass more than the media papiers, maybe the

ballado, of the espos maybe a tempo who is a tempo who is perhaps the problem

also with The radio, it's the mode cabaret, the radio on live, in direct, that, which is often applied, where we're afraid of silence, where there's too many around an table, all the world, and all the world, and it's all that it looks don't anima, and don't enliven, the fact that we're not in the direct, maybe the balladour, it would be an space to envisage. Perso, I don't know the TV, and I read,

I mean, I've got the eyes glued, or a, or at my screen of an computer. So, you know, even when I was abonded at these revue literature, I'd finish by not they'd, because I had already, a sur-encher of books. And I think what I'm

with the ballado is that I can listen a ballado by example in marching to go to go and

in doing my vassel. So it's it's in some time in the moment of the I do you

do you know, and I think there are many intellectual university who are connected to the culture.

When I talk to culture, it's not to study kind of word passant or

be able to it's really the here and now what's what what's it's very important to be

I think permeable to that to have an interest, a curiosity invers that. I've never ensigned necessarily with a task and I think

there's a charge administrative that comes with the post that's finished by eating a lot of time. There's this idea also to publish

or perish at the same of the university and with the fact it's more more difficult to have a post permanent

so there's a great precarity. The people who have in this milieu there are always in a process

where it's just to save their poe, to bemarked for eventually maybe have a post, so they're not necessarily all the time they would be, like, for

to be kind of a critic and to the absorption of work contemporary. It's so, finally, I go down a colloquy university, and then there's still, you know, I, 15 years after

that I had made my back, who are talking about one hour of the color, of a cravat in a book of Proust. And I say not that it's not important,

you know, to study Pruss, but I think that it's super important for the vitality of the culture to be interested to these ecrivene

who are practicine today. One other thing I'm mentioned that I'm the impression also

that sometimes at the university, we don't not to do the culture, to be a actant cultural,

it's a particular, to participate to the culture, to be able to share that it's something

of living and it depends not necessarily in fact it's not not an institution

in the culture, it depends really really just it's like finally,

these lives that are already consacred. It's a little to keep a little to the place to it's a place

to it's like you know, at a moment of a moment of the time, I've got the culture Quebecoise,

it's we we're doing it also, if there was maybe not a mark of artists and intellectual

at the internal, at the same in the institutions mediatique, that the problem is it's not

necessarily in the choice by example, on me often tend to the micro, quite I'm maybe not really a good example.

In the sense or like I've often felt like, we, we want to I would that I'd like I jose of all and of nothing. But I think that the problem that's more in the conception of the show, that's on the TV, at the radio,

in the media, the rubric, the chronic that we don't know in the journal. You know, the conception of the products in-so, who envisage the

mediaatic, who they make, who foment the questions, the subjects, the thematic that we're going about the table. I think that's also one of the

of the issues, because, I often I'm always re-trowed on these plateau around these tables, and I didn't feel that I had the space for myself, Daphne-B, and really say what I had the good to say. I felt like, we'd give a role to play, by example, the role of the feminists

millennial, and it's to say, if yes or no, I wanted to put the chape, you know, we'd encodry my parole. But I'm like this impression that in the era contemporane in which we life. There's like a desire generalist who is really well-enerned in the institutions mediatic, where these

people have, at the information, or even in the emissions cultural, have tried to pluror at the more number possible, or they've decided to attire the public the most large possible. And I think that's important to have this desire, to be cultivate, to want to be able to address to all the world, but I think there also these emissions that there are these

spaces that should have to be able to get to be public more circumscried and more niched. What they

think, they're, ganged in audience, in being hyper-generalist, they'll they lose

also in pertinence. I think, for example, those emissions in France Culture that you

listen sure like me, or the productions mediatic independent, particularly in the United

just around the mode. It's really like, it's really in the three years where there

really these podcasts, the creator of content, who are made to decortique the mode but to do

the angles sociological, historic, you really, with a regard analytic, by example, the ballado

Nimfet alomnai, or also the creator of content French, lias, who talked

in English in these capsules. So, he has developed these thoughts around an

object cultural, that's the mode, it's their expression artistic preferred to

these people, and we not in a paradigm of the information

not more to say, genre of promotion. We're really in the thought critical, so it's almost essayistic, as a product

cultural. And after that, there's a other theory that I've said, you know, it's a couple of times that I've asked

to do that with Muneer. I think there's some, you know, we talk to the crisis and media,

but I think there's that the years 70, on the level even of the profession

of journalists. And, in fact, it's that, I think that the journalism, is something

who's professionalized in the 70, 70, and even more, in the 80. So, it's all recent. Before the years 50, there were long my

research, there had few of formation formal that existed in Quebec for to become a journalist. And, often, the journalists

were auto-dict or issued of other disciplines. It's to be maybe he had made a matrize in letters like

where he had been by the law, or the economy, or the social, And then, then, he'd arrive and he'd be to cover these subjects, so he developed also

their co-journalist on the top. So, there had already a formation general, cultural, in fact, that they were quite in these domains circumscried. They'd not in communication. At the years 70,

there'd have been a floraison of programs in journalists in Quebec. I'd see interested, in fact, in an article that I'd in the notes of the episode, but that's retrace, finally, the parkour of the program in

in column, in journalism, at LUCAM, because we talk often of LUCAM as, as a reference in the studies journalistic. And I think that it's kind of quite quite I'd be curious also to hear the comments of the auditors, auditors.

Monair also, I'd like to see your input. Selon, this document that, it's really in the second year of existence of LUCAM, so he has started in 70-171,

that the family of letters will offer a module that's called information culturalel. And that I really found that interesting

that at its inception, you know, at the beginning, the program of Com or of journalism, it's part of something of

a more large that is of one, liable to the literature, and of two linked to the culture.

And then, this module that, it becomes the year following, literally a baccalaurea specialised in what, in information cultural.

Again, we look at the concept of information cultural. And then, we say that, despite, at this epoch of this baccalaurea, they, they're, they're, they're in the family of letters. So, it's like if he's revondike an independence by rapport to the department. And there, they've been a manifest that's called, to module

of information cultural, we aspire to the communication, point of declamation, and he decided to declare their independence. The people who have written this manifest, they're revented, to inventing the communication. You know, we're really on the debut of these studies in Com, in Quebec. And there, we say that the debate between the module of information cultural and the rest of the family of letters provoke these dissensions profound and a tension extreme at UCAM. In a report deposed in 1712, there's a vis-doying who decry the relations

like, and there I make these gimmee, but it's that's the text, the Vietnam of LUCAM. The crisis between what the practitioners and the theorists?

So, from there are some bar, there are some people who are in the theory, in the analysis, the critique, and of other,

there are some people who want simply do the practice. There are a schism. For the people who are

more of the party-pried of the practice, they're afraid, finally, that their discipline not fully recognized if they're just integrated to the family of the letters. For the people who are, they're espouted by the tendencies empiric of their confrars

and they're going to be able to be able to impose to them as a conscience regulatrice. There, finally, the majority of the chargey of course of the epoch, and the, the, The excresant majority of the students of the segment of Information Cultural, they will apply the work of the director of the France, who will, just demand to demand the independence, so the creation of a part entire, who will be called communication. Two years later, this demand, that, will be concretized, so there's a committee

of implantation of the Department of Communications that is made on foot. We project also that, just, the second cycle, the Maitrice, will be accessed on the intervention, the practice, rather than the research pure or abstract. We want to form these practitioners rather than

the researchers. In 1975, from the entry, so Lukam proposed for the first time a baccalaurea

specialised in communication. The Devoore will even titrate one of his articles, and that I

think there's not a title like there's not a title like communicator or communicator or communicator or

Explorator slash concepter or what the fuck? to talk of all this tumult at UCAM in the module of the communications and how they try to

define their practice and their angle of there's really not that, you know, I think that's a good illustration of how, finally, we're

talking about we're not in the journals or in the spaces of a gigar internal in the department of

letters at UCAM, it would be not the object of an article, I think, in the different,

I'm the impression that will finish by s'epuised. And since I would say that the

journalist has been the first specialization to start to get to do bacalorea in communication for form

a program of the first cycle distinct of the program of communication. I have the impression

that that through this professionalization of a job of journalists or even of the

domain of communications in general, but we have perhaps heard also like this idea

of education humanist or the people will develop these knowledge very particular in certain

domains who after that will be able to be able to apply to their work journalistic. Finally, I

would say that perhaps what we want to be collectively, will be to be able to be a

kind of like Caffe Snake, or maybe that it would be going to have a certain

power of financement. I think also that the magazines cultural Quebecois, like I

think at LETT Quebequoise, the Vos, spiral, et cetera, would, if it's not already

made, develop these podcasts because, personallyly, me, it's really something that I'm really more

than the review. So, why not? I know, it's, it's probably of little reflections.

I don't know what you have to be able to. It's really interesting. It's definitely a subject that's

plenty of intersections of discourse content in in Kavisnik, the history of, the back in or the Bacom or the Baccon Journalism, Malukam, is

passionate, so thank you. Thank you, it's very interesting, I think. I don't know if someone has already studied this link, maybe, but the journalist, it's kind of them who, who, who, filthre the world, and who are retransmit, you know, a version of, like, what, the reality in which we live? And if there's a changement

at their education and in their cursus university, well, it's clearly that it will detain in the actuality that we consume and in the way that the newvel are conced. Yeah, 100%. So, next, Susan.

Hello, Daphne, let me hear. I want to try one time to ask you for this super year of cafe snake, it's a malade. My question concerning, my question on take concerns the transformation of the consumption of consumption, of product cultural that media, where the web, and I'm wondering, how you see the place of the fiction

in this transformation, that, which is often, quite a lot of money, financier and technical for that. So I'd be wondering, how you see that? There's still, there you're still in a place for the fiction in this universe that it's developed. And sometimes I'm maybe we're

going to be more going to be to find out of the form that's a bit of course on what we're going to be right, what we're

I imagine also there's a place for the fiction at a petit deployment, and I'm quite a lot of the storytelling

on what's what's going to get to be more the people it's like a quote, it's like a bit of course, a cultural,

so I'm wondering that for the fiction. It's like that for the fiction. Great question. Thank you, thank you, Susan.

Thank you, for your question because, yes, I like the documentaire but I'm also the fiction. in the fiction, in fact, I think that it's not

dethrone like having the potential of the form of content of visual or cultural or cinematic the most powerful than the most popular than it.

It's just that it's always more often, but I think that when it it happens, it's always to think,

even against the model, if we've seen live with empathy, start a fiction to success to fashion

abdomadair and even not in model binge like Netflix, I think that's the fashion of diffusion

cultural. The potential to be the most important in a culture or in a discussion cultural, especially in how the cano of communication are organized the fact that you drop an episode, he's

a week, most that all the people talk, after an other episode, the suspense, how it's like to the opposite of how we consume the content of

a way instantaner, we don't even not to attend, but that's a force to take the time, to attend, to think, it's a lot of the

end of the TV, the end, no, it's got to start the series, all the episodes in in the same time. Maybe there are

some euphoria or like House of Dragons who's out or like Lastovus on Hsu

HBO and that every week every year a new cliff so I think the fiction is a new

risk high risk, high reward. In the phone, it's a great risk financial

but if you do the good fiction you have the potential at the moment to have an impact

that is immense and I don't compare to a impact that was before, like, the eventment of the internet, it's sure that there are

people who were going to run to get the fiction, like there were just the little bit of the TV, or the bougon who's, it's not the same thing, but I think

there's still the potential to attain an immense public and generate a discussion that you could not generate just with the documenter. I think that the

fiction, it's created what, by the attachment to person, by the liberty also, by the freedom, and I know when we're

when there's the liberty, there's the choice that we're there's the choice that there's the financial, it's sure that you have plenty of ideas, but they're some of the limitations, oh, tourne out, turn to go out, tourne the night,

turn here, turn there, there's, there there's limitations like budgetary in what you can imagine as a sign, but I think that often in the fiction, on Quebec, we're not that's like dialogue heavy, that's like a little, like a succession or like these series, where are really based on the history, on the story, on the

person, on the analysis, on their regard critical, for the society. By rapport to the fiction, plus the part literary, I mean, I've read recently, We're talking often of speculations at a cafe snake, that the shirt list and the long list of the books, notably in traduction, for the booker price,

really, you know, the fact that what's he pung in this moment is the fiction speculative. You know, you talked to a raconteur, I think that there really this dimension that. You know, I just didn't know in which episode it will start, but we're talking to orality numeric. So, so that dimension that also,

I think, he's deployed. By example, with these characters like Missatissa, is we're in the fiction or the auto fiction this dam that's for those and those who are people who

they're talking in 50 episodes on TikTok how she had married a mentor compulsive Who the fuck did I'm Mary

and I see a lot personal, it's it's like these figures that, how you want you're how you want to

let mepice for that we it's seen in aline and all right and sometimes it's actually it's transformed

in film At the time, you know, like the fiction on the social, but, you know, the sketch, it's always been something that has always been popular on the social, it's sure that's more humoristic, but it can be also dramatic, so to create these universe

condensate, these characters condensate, that, it's sure, it's at all the time, it's all over on internet, and it's what, let's see, who, met, who has been quite working with the humorists in Quebec, but could function in a nature dramatic.

So, thanks for your question, Susan. Thank you, Susan. We'll react to take of Esther, of Yassin, back-to-back, we've decided to be together, because we found out because we thought that

the proposal were all. Ah, yeah, okay, okay. Okay. Monty, it's that I think I think the users are

often for their behavior toxic, misogine, and a little obsessional, will be position, like being being a person

who are a critic objective of these influencers that, without to make create these patterns

and these people, they're their own own them denounce. So, so often, the passioner who serve

right. It's the page that's extremely misogine or the most of the people who

are victims of the women, and these pages that they're going to tritke the appearance,

the abimement, the poe, the churgy that are made or not made, we'll speculate on the

appearance, and also we'll remet on question the parentality of certain.

And I think that we don't not that on the other so it's very rare

that have these men have these pages these pages these pages these pages

that come blue the line between to be an hitter or a fan because they're

going to see these people like a same type of a fan who's the idol or the person that he'll

thank you know and then we're okay, hello monier, I'm very much the podcast and your other project,

thank you for all the question, I'm going to the textos web are dominated by a very little

minority of users. Is it you think that's true? What are the applications? I have

two observations to apply this test. The first me've beenue when I'm asked me me can't see

the streamers on live. And I'm I've gotten to know that it was a group, proletive-notive-on-while, who'd recorded their live and reposted the clips of the viewers. It's only a cause, or grace, to these power users that the people

know who are, by example, speed, and assage. I've been in a second observation, which is that in the different spheres of Twitter that I frequent, I've found, I'll re-posts and we'll re-posts. We'll see, don't know,

with a minority of people who, who, has been a lot on the discourse percied by the majority of the people who, they, do you want to work. Again, once, thank you for your job, and I'll just say,

a great day. Thank, Yassine. Hey, I'll just reactire really rapidly to take of Esther, yeah, we're just we're doing because I think

they're going to because I think that's what I'm that's what I'm that's the reason in the there's like a relation

intimate, finally, that's the person who, you know, the person who, you know, that's execre because

that finally that person that's finished by occupy his psyche quite relatively often in the so there's

like, you know, there's a there an intimity who, at the same type that could exist if you're a stan of this person and that you make to think

to often to her. On Quebec, on Reddit, there's not really of snark dedicated to one person. A snark, it's like a page of potting,

but often it's some potten a little bit like critiques, how we could say snark, it's a contraction of two words

that's issued of snide for sarcasm and of remark for comment. And so, in Quebec, it's like

more some of the babiore like generalised so in the phone we snark all the creators on our influence Quebec

or snorke influence Quebec or or causeery less on causeery it's like more desir to the culture, I think what's

we're not and it's it's about with the take of Yassin it's at how point these subredit

like particularly in Quebec but not at the more large scale in the more subredit are being

sometimes the same users if you navigate these subredit there take a little the instant to regard the

name of who who he publish and you will realize that often the people are the most invested who comment the

most often, it's not all all the same people. Yes, there are these power user who

control the internet and in fact I have a more more than this, is that I

think that the state of existence that is to be chronically in line I think

it's a step following of the evolution human, it's like those

people chronically online, live not the same experience of the existence than the people who are not

chronically online. And it's they're in fact that they control the discourse that we're going to talk about they're talking about

the comments, who are the first even to commenter because they navigate the subreddit by new or the way

it's like a change of a paradigm to not see, I remember when I started to go to Reddit or Segeb

I'm like oh yeah I'm I'm sure I'm just the top common, but I want, I want to make

part of the people who decide what's the top comment. I want to have a

power. Is that you consider it like a top user? So Reddit, I'm a lekeur. I'm,

I post not on Reddit. On Twitter, for example, I'm still, I'm just, I'm like, I think,

really, this state that, to be chronically on-line, I'm still envisaged like,

just a other state of existence. I think it has nothing with just not being on-

being, to be passively, to watch the IG wheels before What is your friends have you envoyed? I mean, I think to have this rapport with the internet,

it's like I'll intervie maybe as to be the future, is it's possible? I'm wondering at what? At what's the point it's a gross proportion of the population? Like, I'm really,

they're who, they consume these streamers, but it's also they're who who can't obsessional by a part to that, and that we're going to be like these trop misogene

that will be repeated or, like, but, you know, what's interesting, is that on Reddit, in Quebec, in the case, what I see what I see

these subbeds, is that it's a lot of, you know, they're in how much they're in their message, and it's often they're like the plus to detestate

Alicia Mofet, by example. So, there's like all this rapport or to detest the mom, fointu, to talk to

their rapport to their report to expose their children on internet. You know, it's a perspective that is

kind of feminine. But the misogynies, it's something that's something that's something is something that

I'm not say, I'm not just interesting to remark it's interesting to remarked this. Yeah, the first it was the snark page

of Wheelchair Rapunzel who is like a creator of American who is attained of a life, that's in she's in

house, and she was also active on OnlyFans, and then she had been a baby. So this snark

I don't know how many there's an user but at the time where I consulted, there had

about 15,000 users who published several times per days, even several times

per hour, and particularly when they they published she was in a video or a photo on a

of his count, it's sure that someone would be able to the snark. And I

thought that was that it was that it created literally of the community where you

felt like the people were people was made anonymous, but at the

commentator of the snorke there, he developed there, and I said,

the, the socialability, you, we're reunies, sometimes on the basis of

an love for something it's like it's probably for a group of music for the

fans of a group of music but the hate also, it's federator

and it's like it's like it was a on an hostility partaged. So often,

I've talked of the mid of the victim perfect, but clearly wheelchair

Rapunzel, there's there's there's a thing that has made that I'm not

too of course so it's like they used it for justifi

morally, all the other remarks that were very sexist, hyper misogine, hyper putofofeb, hyper capacitist. In the fact,

it's a victim also, Wilcher Opensel of all, of these remarks, of this inne that, and it's important

to see, she's important to see, it's the end of this episode of the Lings Overte of CafeSnick.

Well, yeah, just you'll just you'll remember that one episode on two is available

on complete, just on our Patreon. So, thank to listen the

living-uvered. We'll see the week next week. We'll expect that you'll pass a great year. A good year and we're

hard to be able to see how much. There's always an episode the same next to make. Thank you

all of course. Bissue. The music of intro and outro is the A-Z-L-L-O A-Z-L-O.