put some album covers in to show they will make some noise and you can get this from just looking at there album art work. Words used.
we are still doing punk just don’t call it punk anymore
ethos still there but methods have changed due to tech
‘A jolt forces your mind to take notice and pump for meaning, even if there is none.’ (Lasn p.na)
punk exposed people to art
A surge of popular interest in anarchism occurred during the 1970s in the United Kingdom following the birth of punk rock, in particular the Situationist-influenced graphics of Sex Pistols artist Jamie Reid, as well as that band's first single, "Anarchy in the U.K.". However, while the early punk scene appropriated anarchist imagery mainly for its shock or comedy value or at best as a desire for hedonist personal freedom,[4][5] Crass along with neighbours Poison Girls may have been the first punk bands to expound serious anarchist ideas.[4]
to much noise for punk to excist
"Detournement describes the turning around of power structures within images and other forms of mass communication, through appropriation and satirical intervention."
2.
points out that Jamie Reids Surban Press although a political activist did not use the common language of activism but instead ‘the language of ‘agit-propism’ is ‘quoted’ or sardonically and indirectly articulated, and is thus sent up rather than directly spoken in the first person’ Suggesting Reids chosen captions or slogans use ‘agit-propism’ as a new form of protest. An example being his ‘sticker campaign’ of 1972/3, ‘Turn Something on for the Miners’ 24 or ‘Keep Warm This Winter—Make Trouble’, this was to intervene with the Government of the time’s campaign to encourage energy conservation during the oil crisis. Garnnett suggests that Reid used ‘agit-porbism’ a type of propaganda language to critique and communicate his point.
Robert Garnett (1999, p23) This suggests that individuals from punk within a subculture do have an impact on the way visual communication is represented.
If we look at developing country’s such as Indonesia there is a loud and politically commited generation of punk bands one example Navaculi taking on the palm oil industry. Using kickstarter the band raided $3,500, with this they sourced 6 bikes from Greenpeace, along with riding suits painted with the stripe of the Sumatran tiger a indigenous animal on the brink of extinction. Over 12 days in 2012 they rode 2,500km across Kalimantan, playing shows and protesting against the palm oil industry.
"Sometimes a whole forest, as far as you could see, was gone. After that we are like, Navicula must be a satellite of information. We have to get the information out."
(Robi Supriyanto)
This need to spread information is where the visual language of a subculture is created as you can see from there love bomb album this language is different from 1976 England. Which concludes that subculture’s influence on design are heavily based around the current political situation that is being experienced live. Although there are still very clear influences of the punk ideologies such as anti establishment but they are also fighting for environmental protection and anti-corruption. Again this is due to time and place. One thing which has not change however is the platforms theirs message is communicated through music, album covers etc.
Reid used this method of protest befor the beginning of punk which leaves us with the question are graphic design elements created by punk or by the individuals through there experience’s.
When I was leaving college, Thatcher and the right wing government were pretty much running culture and trying to shift culture from a thinking space to a shopping space, and trying to suppress any kind of rebellious opposition. Punk came out of that oppressive, repressive space. It was an expression of independent individuality, it was a cry against this bland culture.
Twenty-five years later, I see we've returned to that same kind of space. And I think it's going to develop into an active, dangerous, cultural place again. So London's political and cultural space has been an absolutely vital source of thought and impetus for my work.
"I was there for three years doing a graphic design course. I went there to learn the basics and to understand exactly how typography is supposed to work, in terms of the rules," he said.
"It happened at the same time as punk, which was probably the most influential thing to happen to me in London. The punk explosion pushed all of that out the window."
During his studies, Brody moved into a central London squat, and found himself living next to trendsetting nightclubs and gig venues, as well as the singer from experimental post-punk band 23 Skidoo, whom he'd later create artwork for.
"It was the most enthralling experience," he said. "You're right in the centre of this collapsing, decaying space, post what London used to be and just prior to its rebuild as this shopping-mall experience."
"London has a particular set of politics and cultural influences that has been absolutely instrumental in developing the work that I do," he added. "There are a number of sources and ingredients for that. One is: there is such a high level of conservatism in London.”
It's important here to mention that the music scene in London was so vital. There were independent concerts, there was a thriving independent record label scene. And if it wasn't for that, people like myself and other graphic designers such as Vaughan Oliver and Peter Saville out of Manchester and Malcolm Garrett, we would not have survived. There would have been no support system whatsoever. This was allowing us to make a living – albeit a minimal living – but to be able to make a living pursuing ideas, explorations and having them published and put out into a public space. That was absolutely vital. London was this thriving, humming, inspiring, exciting place to be at that time, where anything was possible.
Punk’s influence not only encapsulates a music scene, but rather has come to represent and be misrepresented by a wide range of cultural representations and ideologies, from the concept of nihilism, to deconstructive anarchist politics, to right-wing Neo-Nazism and white supremacism in more recent years. Yet the musical ethos of punk has always been cited by its founders as a spirit of freedom and accessibility for the man on the street. Using abrupt and basic chords, short arrangements and politically charged lyrics that spoke of poverty and industrialism, punk was the outlet for the overworked and underpaid in smoky haunts and crowded halls come every Friday night.
rom the numerous situationist slogans that graced the lyrics of early punk bands, to the proliferation of anarcho-punk bands such as Crass and Conflict in the early eighties, punk rock as a subculture has had a unique history of having a strong relationship with explicitly anarchist and anti-capitalist political content over the years
Punk has primarily appealed to middle-class, straight white boys, who, though they are ” too smart” for the rock music pushed by the multinational corporations, still want to “rock out.” It is also a culture that is associated with alienating oneself from the rest of society, often times in order to rebel against one’s privileged background or parents.
Plus, the anarchist movement today has determined its issues of importance. Rarely do these include community organizing or working for social change around issues that most people prioritize, such as against the more subtle forms of racism, ageism and sexism, for a living wage, health care, and so forth. We are often more interested in promoting anarchism and so-called revolutionary organizations than working to provide real alternatives among everyday people. The current anarchist movement, for this reason, is not very relevant to the actual lives of most oppressed people.
Of course, not all white anarchists are clueless about racial/class relations and their positions of privilege. In the Minneapolis anarcho-punk zine Profane Existence, Joel wrote circa ‘92, “We are the inheritors of the white supremacist, patriarchal, capitalist world order. A prime position as defenders of the capital of the ruling class and the overseers of the underclass has been set aside for us….as punks we reject our inherited race and class positions because we know they are bullshit”.
Noam Chomsky
Withoutthe aid of graphic design, those who sustain the ills of society have no face, no visualidentity, no point of reference, and most importantly, no effect.
"Unprecedented environmental, social and cultural crises demand our attention...charitable causes and other informational design projects urgently require our exper-tise and help." Calling for a shift in graphic design's priorities, the signatories of themanifesto recognised the potential for their skills to aid more humanitariancauses.
Mainstream media do a rather convincing job of keeping our private critical thoughtsisolated. It is an important task to illustrate that the critical and questioning ideas wemay be having individually are, more often than not, shared by others, rather than lettingthem be diffused and disarmed by those in power through religion, politics, education,and popular media (including, of course, graphic design). Graphic design can publiclyand prolifically become the visual manifestation of these shared ideas. "Ideally, art cannspire hope, encourage critical thinking, capture emotion, and stimulate creativity.
It can declare another way to think about and participate in living. Art can documentor challenge history, create a framework for social change, and create a vision of a morejust world
3.
There are LOADS of myths about punk, but NONE of them live up to what it was/is like.”
quote to suggest that you can’t really say what the legacy of punk is. however this is debatable
‘pop culture’ has gone mainstream. It wasn’t ever thus, and there was a time, pre-punk, when pop culture was still considered to be vulgar, ‘corrupting’,
Quote suggests pop culture was fround apone before
For one of the key underlying assumptions is that punk was not an isolated, bounded phenomenon, but had an extensive impact on a variety of cultural and political fields. In other words, we’re going to move away from music a little bit, and explore such disparate areas as film, literature, comics, fashion, and everyday behaviour.
Quote suggesting that punk has influences a range of cultural aspects, this answers what is punk, punk is not just music
‘punk’ is a notoriously amorphous concept.
at a very basic level, we can say that punk was/ is a subculture best characterised as being part youth rebellion, part artistic statement. It had its high point from 1976 to 1979, and was most visible in Britain and America.It had its primary manifestation in music—and specifically in the disaffected rock and roll of bands like the Sex Pistols and the Clash.
PP2
"Yet, if we accept that one of the key defining elements of punk was an emphasis on class politics, then it could only have begun at one time and in one place—Britain in the late 1970s. For example, if we think of punk as an explosion caused by the bringing together of various unstable elements, then the UK’s economic recession during this period can be seen as the catalyst”
Suggets that punk came from the economic recession this fits into subculture
punk had lost its energy and had been largely co-opted by the mainstream
punk ended in 1979 due to other young subcultures but also the movement becoming mainstream.
until we can decide what punk was, it is impossible to say what its consequences were.
such factors as a person’s class, gender, race, sexuality, geographical location, and age-group are bound to be crucial in determining the way they experience i
ROger is suggesting its very difficult to studio as theres lot of aspects which affect how we experience it
