References

Meme wars - page 10 - a sort story on a professor called Swyngedouws. He makes a point about how his economic class were are all in it s soley to make money and unintrested in society. This makes a comment on how our econmics are run. 'I think swyngedouws aim was to show us we dont have to give in to the system' 'he told us the ratio of raised arms would have been in reversed in the 1970s, but peoples mindsets had changed.'

'Pollution has become boring. casatrophic weather has become routine. enviromental scars are now as commonplace as tv ads for starving children- none of it shocks us anymore.'

'While we slept, species extinction, resource depletion, biodiversity loss - all the vital health curves of the planet - started heading exponentially out of control. '

'we the people running this exeriment of our planet earth, have lost control of our own destiny ... but it is considered impolite to acknowledge that dact in public.'

Bill Rees

'It has been a gradual realization that not only is society not receptive to the data and information but society will organize to explicitly frustate and deny the scienece in order to maintain the status que.'

'Excessive consumption and growth meed to become symbols of shame not status. '

Punk is way befor its time.

Fanzines 

'Walking into any fanzine symposium today one is immediately aware that the days of these small press publications are far from over.' 


The art of punk 

'a movement that now encompasses all forms of media and artitstic practice. '

'The contemporary recieved version of punk history, centred on certain key indivuals' 'lasting two years from 1976 to 1978, has become widely accepted as an authentic account, nd this has led to a stylized and inaccuratr summary of what was, and is still, a disparate and fragmented movement' - good point for key players

' their recollection is bound to be affected by personal taste and experience.'
its been difficult to document the movement beyond a simple chronology of its major themes and events. the exaggerated storied from press realeases and interviews of the period also make it difficult to build a social history of punk.

A punk definition 

A definition of punk along with its primary aesthetic is difficult to pin down.

'The development of individual subgenres of punk, from oi! to anarcho and hardcore in the early 1980s, demonstrates that punk style was never static; rather it was subject to radical and continual change and renegotiation.'

'the increased fragmentation of the genre often demonstrates a clear development in both musical and visual styles'

punk subgenres splitered and mutated, often in "popular" punk styles.

'Such evolutionary steps cAN be observed in the way that waves of acceptance and opposition played out over time.'

This can be seen from the groups invloved lyrics, public statements, musical and visual style of thier records, posters, flyers and graphic identities.

'punk record sale and events remain boouyant in a largely indeopdent and underground market'

Shock

'punk was always based on immediacy-shock-tactical assaults on culture and an often inspired amateurism drawing on undergroun'

'A newer generation, taking its cue from punk slegacy, has seen the subculture grow and expand geographically, musically, and pholosphically-far beyond anything those early pioneers might have thought possible.'

'Its attitudes and aesthetic continue to thrive and prosper and evolve.'

'The visual legacy of punk is extensive and its graphic codes symbols of struggle and reistance, but also a complex subcultural visual vocabulary'

punk art and design cannot be tied down to one set of processes or concepts.'

'Its graphic strategies tapped into long established practices and countercultural crafts in some cases knowingly, as with malcom mclaren and jamie reids situationist rhetoric, malcom garret and richard boon's overt references to modernist design, adam ants homages to eduardo paolozzi, or winston smiths reinterpretation of the subversive potential of collage'

'punks graphic design langauage needed to be identifiable to potential audiences to be effective, record sleeves or posters genrally have to cannote their connection to punk

Jamie Reid

Reid took control of the sex pistols identity in 76. 'Drawing on his background in agitational art and desgin to create a new graphic style that reflected perfectly and perhaps evene helped to inform the controversey that the group generated.'

buzzcocks, slaughters, 999, chelsea and the virators quickly established manchester as punks second city.'

Designers working closely with these groups strived to create a new visual lnadscape that matched the 'new wave' rhetoric of early punk movement, a rejection of the past and a waymaking to the future.'

'in the process, punk aesthetic, and musical and visual styles, morphed ad changed as ideas were bent and reshaped through individual interpretation and local cultursal perspectives.'

Sex pistols typographic style of cut and paste. ' the technique mirroed earlier styles drawn from letterists and situationists among others, thogh its use as a punk visual signifer was more of a graphic blunt tool than a lesson in art history'

Jamie reid ' He drew upon his own background as an agent provocateur within the early 1970s redical underground, initially reusing material he had produced for the suburban press, a political print studio he orginated in croydon, south london active between 71 and 75.