Useful Dada links

There is a wealth of great books and resources on dada. One of the most comprehensive books is Robert Motherwell's famous "The Dada Painters and Poets." It's
1. http://en.wikipedia.org/wiki/Dada

2. http://www.moma.org/exhibitions/2006/dada/index_f.html

Dada Questions (due Wednesday, 3.14.07)

DADA Questions

Please answer the following questions thoroughly & with complete sentences. The first section of questions are decidedly “discussion”-type questions. Treat them as “inquiries” without a distinct “right” answer. Feel free to really “discuss” them, rather than provide an outright answer.
However, the “case study” questions DO require a straightforward answer. Please answer them thoroughly. Finally, the last question asks you to relate Dada to the other subcultures we’ve studied. Answer this question as thoroughly as possible (it may require a whole page of writing).

THIS ASSIGNMENT IS DUE WEDNESDAY, MARCH 14.

1. Dada arose as a reaction to the atrocities of World War I. Explain how/why it did so.
2. What has been the purpose of art in western civilization?
3. What do you consider the “traditional” methods of making art?
4. Who has access to art in society? How do you “acquire” art in today’s society?

Case Studies
1. Marcel Duchamp’s “L.H.O.O.Q.”
a. What “prevailing value” of the art world is Duchamp questioning in this piece?
b. How does he do this?
c. Do you think he is successful, or is he “cheapening” the Mona Lisa?

2. Hugo Ball’s “sound poetry” (you can listen to these by going to www.ubuweb.com)
a. What fundamental assumption about language is Ball questioning with his sound poems?
b. How does he do this?
c. Do you think he is successful, or is he “cheapening” language & poetry?

3. “Belle Haleine”
a. What are the “constricting labels”/”received ideas” that this piece questions?
b. What aspects of the traditional artmaking process does this piece question?

4.Hans Arp “Untitled (Plant Hammer) / Untitled (Duo-Collage)
a. What “prevailing value” of art making is Arp (& his partners) questioning with these pieces?
b. How does he/they do this?
c. Do you think he is successful? Why/why not?

5. Dada collages
a. What traditional methods of art making are these pieces questioning
b. How do they do this?
c. Do you think this “new” way of art making is valuable? Why/why not?


Dada’s Influence on Later Subcultures
1. Identify 1-3 similarities between Dada and the other subcultures we have studied. (List them, and explain the similarity in 2-5 sentences).

DISREGARD ASSIGNMENT #4!

Due to the fact that we began studying Dada in class on Monday, you may disregard assignment #4. If you have already done it, you can have extra credit, or you will be exempt from a future assignment.

The students seemed to really want to study Dada, so on Monday I quickly changed my plans. OH, FEAR NOT, YOU WILL HAVE MORE ASSIGNMENTS IN THE FUTURE!

The Rise & Fall of an American Subculture

Over the past couple weeks, we've looked at a number of videos & reading that may have left some of you a bit overwhelmed. Let me try to summarize things for you:

In the United States, political involvement on the part of citezens is difficult. Many of us are alienated from the political process. Nevertheless, many people seek alternative outlets to voice their opinions. The film "American Hardcore" lays this out vividly. As shown in that movie, a solidified group of young folks created their own underground culture that was vocally opposed to the status quo. They called it "hardcore punk". While this underground community had its problems, inconsistencies, and failures, it did indeed present an alternative. Nonetheless, it's important to note that this movement was not directly involved in political action (due probably because it was a MUSICAL movement & so many involved were young), despite their leftist political agenda/ideology.

Many of you have noticed that hardcore punk, nowadays, is not functioning in the same way it was back in the early 1980s. In fact, much of that subculture has been co-opted by the mainstream popular culture. Therefore the question is: what is/may be the current underground movement? Is it possible to create an "underground" movement that can affect POLITICAL change?

Amiri Baraka, in his speech "Language, Culture, & Meaning" seems to be making the point that language is intertwined with thought & action, and to truly understand our world, we must EXPAND, not limit ourselves. That's the most substantial thing I get from his speech.

Some things never change...

An example of a contemporary Cap:

http://www.nytimes.com/2007/03/01/nyregion/01splat.html?_r=1&oref=slogin

Jesus Camp Questions (due Wednesday, Feb. 28)

Please answer the following questions in paragraph form (that means 5-15 complete sentences in which you thoroughly answer each question.

1. What are the ideological goals of the Jesus Camp? How may these goals be seen as a "hegemonic force"?
2. What do radical evangelical Christians believe is the "other" hegemonic force in U.S. public schools that is counter to their goals? Why do you think they feel so passionate about rejecting scientific theories?
3. In what ways are radical evangelical Christians "subcultural"? In what ways are they "mainstream"? (Think of the Ted Haggard interview in "Jesus Camp")
4. What is problematic about involving kids (7,8,9 years old) in this kind of "ideological battle"? (Feel free to argue that NOTHING is problematic about this.)
5. How do YOU feel about "Jesus Camp"? What was your intellectual/emotional reaction to watching the movie?

Jeff Struck's Bauhaus T-Shirt

If any of you are wondering what my own history as a subcultural hero are, well here it is:

http://www.theonion.com/content/node/29492??utm_source=EMTF_Onion

Cheers.

Thoughts on Monday's class (2.12.07)

Complicated class today! There are two fundamental concepts you need to know:

1) IDEOLOGY. Pardon me from quoting directly from Wikipedia, but I couldn't have said it better myself:

"Every society has an ideology that forms the basis of the "public opinion" or common sense, a basis that usually remains invisible to most people within the society. This dominant ideology appears as "neutral", holding to assumptions that are largely unchallenged. Meanwhile, all other ideologies that differ from the dominant ideology are seen as radical, no matter what the content of their actual vision may be."

2) CULTURAL HEGEMONY

This idea refers to a "coalescing" of consciousness, behavior, and ways of living among a social group in a broad sense, which thereby inhibits significantly different viewpoints (and, indeed, ideologies). As I explained in class, hegemonic forces in society act as an umbrella, protecting our widely accepted values, beliefs, behavior, and way of life. According to Antonio Gramsci, this is done mainly through "compulsory schooling, mass media, and popular culture."

In other words, according to Gramsci, "hegemony" is another word for "mass conformity," but it is particularly insidious because it inhibits critical democratic (free) thought. Gramsci developed this idea to explain why, contrary to predictions by Karl Marx & Frederick Engells, the proletariat did not rise up and overthrow the bourgeoisie in the early part of the 20th century (despite rampant growth of capatalism around the world).

In sum, think of it this way:

The hegemonic forces of society (things like compulsory schooling, mass media, popular culture, etc.) help solidify a prevailing IDEOLOGY among the people in society. A certain way of thinking becomes "de facto," and "escaping" that way of thinking becomes very, very difficult indeed.

HOWEVER!

Critics of this argue that Gramsci's theory reduces the mass of people as seemingly idiotic dupes who are easily fooled by "the powers that be." They look like victims without recourse/voice.

BUT JEFF! WHY IN THE HECK ARE WE LEARNING ABOUT THIS ANYWAY??!!

My own contention is that subcultures represent attempts to "break loose" from the prevailing ideology. Early punk rock is a great example (at least insofar as it seriously questioned "pop culture"). This is not to say that I wholeheartedly accept Gramsci's theories. (Indeed, I am no Gramsci scholar, nor am I an expert social scientist/political scientist). Isn't it interesting, though, that there are numerous examples of groups of people who deliberately choose to live in specific ways that counter identifiable values supported by society at large? Furthermore, isn't it interesting, as far as culture is concerned, that so many cultural phenomena are "co-opted" by the "mainstream" (so-called "Alternative" music is a particularly ironic example of this, given its name).

The graffiti artists that we have studied are one example of a "counter-hegemonic" subculture in that their methods undermine the fundamental value of private property. I suggested in class that subcultures represent (in often very creative ways) methods of questioning prevailing "hegemonic" forces in society. So, one of the intentions behind this class is to better understand HOW subcultures do this...(and by the way, to not necessarily condone/accept them).

I'd also like to point out that, while Gramsci was an unapologetic leftist, his ideas have been adopted by the right in this country. Evangelical Christians in particular have attempted to transform public schools (specifically by promoting school prayer and denouncing Darwin's theory of Evolution), and conservatives use this idea of hegemony by decrying the "liberal media." Conservatives argue that the media systematically presents more liberal viewpoints, thereby acting as a "leftist" hegemonic force.

These ideas were prescient during the 1990s, when the "culture wars" were in full swing in the good ol' U.S. of A.

Ok...I'll stop torturing you now...

Graffiti websites

The following are some graffiti-related sites that are relevant to "Style Wars" & feature current work by the artists in that movie:

funnygarbage.com
at149st.com
mare139.com
seenworld.com
dondiciaking.com
bladekingofgraf.com
crashone.com
durocia.com

Assignment #2: Looking at Style Wars

(Please note: I highly recommend watching "Style Wars" a few more times. The film is available online from Google Video: http://video.google.com/videoplay?docid=-5065949310221269915&q=style+wars&hl=en)

Please answer the following questions in complete sentences and THOROUGHLY. I have categorized the questions appropriately; keep in mind that we are looking at hip hop/graffiti art specifically, but also in relation to other subcultures. So, you will have to answer these questions again regarding other subcultures.

Graffiti as Subculture
1. what are some of the "signs" of this subculture? (Think of your own "my culture" assignment that you did. NOTHING is exempt from analysis...dress, speech, mannerisms, etc., but more importantly the characteristics and specific language around graffiti (check the glossery on the "art crimes" website: www.graffiti.org).

2. How do the aesthetics of graffiti specifically coincide with other elements of hip hop?

3. Is graffiti subversive? How? What might one say who does not think graffiti is subversive? What would be their argument?

Graffiti as Illegal
1. Does the American right to private property supercede all justifications for graffiti on trains?

2. If doing graffiti is limited only to murals and "legal" spaces, what is lost to "graffiti" as a subculture?

Graffiti as Art
1. What is controversial/problematic about graffiti art being displayed in art galleries? What are the benefits?

2. What are the aesthetic values of graffiti?

The Case of Cap
1. What is the threat that Cap poses to the graffiti subculture? How is this threat different from that of the "authorities"?

2. If Cap went all city with his throw ups, would he be king? Explain.

Graffiti as Writing
1. What are the similarities between graffiti and, say, poetry? (It may be useful to look up "concrete poetry," or "visual poetry" on Wikipedia, or even "dada poets" to satisfactorily answer this question.)

2. Does graffiti deserve to be treated as yet another aspect of creative expression through writing, or should it be "marginalized" by the "canon of Western culture"?

Doing homework...the ULTIMATE subversive subcultural move...

Thoughts on Wednesday's Class (2.7.07)

There are two "definitions" of culture which are worthwhile to juxtapose:

1) the cultivating or development (of the mind, faculties, manners), improvement or refinement by education and training; the condition of being trained or refined; the intellectual side of civilization; the prosecution or special attention or study of any subject or pursuit. (Oxford English Dictionary)

Using the first definition, one can look at different social phenomena in qualitative terms, and ask whether or not that phenomena can "count" as culture. "Culture" in this sense is a term used to describe sophisticated ways of living (well groomed, well mannered, appreciated thee "finer things of life").

2) "a particular way of life which expresses certain meanings and values not only in art and learning, but also in institutions and ordinary behaviour. The analysis of culture, from such a definition, is the clarification of the meanings and values implicit and explicit in a particular way of life, a particular culture . . ." (Hebdige 6).

In this class, we are using this second definition. That is to say, we are recognizing culture as VARIOUS ways of living among VARIOUS social groups. Effectively, then, there is a youth culture, a culture of the rich, a culture of the poor, a culture of living in Portland, etc. "Culture," in this sense, refers to a fluid social phenomenon wherein "social and cultural developments as a whole can be better understood" (Hebdige 7).

Thoughts on Monday's class (2.6.07)

"Style Wars" should be required viewing for anyone interested in American culture/subculture. That film deals with so many important issues that I barely know where to begin when I think/talk about it. Let me try to break it down a bit:

Graffiti: It's difficult for me to even begin. On the one hand, it's so obviously illegal and contrary to one of the most fundamental American rights--private property (and those of you in Government learned about that the other day, during the lecture on John Locke's 2nd Treatise on Government). & yet, there is another, so incredibly American element to it. There is a subversive element to it, an artistic element, a competitive element, and all of these can (and have been) placed within the context of art history, as well as the history of the written word.

In addition, it's hard not to draw a parallel between the cryptic and hermetic aspects of graffiti with the work songs sung by second-generation slaves in America. But I'll save that thought for another day...

The Case of Cap:

It is important to understand that the reason why Cap is so controversial is because he fully understands the codes behind the graffiti subculture, and yet seems to be indifferent to them. (Just as a student noted in class, CAP IS PART OF THE GRAFFITI SUBCULTURE). He is thumbing his nose at the more refined understandings that the other graffiti artists have acquired (i.e. don't paint over someone else's "burner", especially with a crappy throw up). Cap represents a dissenting voice from within...it's as if he's indifferent to the already "subversive" aspect of graffiti that the other writers represent. He's just "doing his own thing" (as people in his position often say). Still, for our purposes as "critics" of this subculture, I do think it's important to note that he makes an interesting distinction between a graffiti "artist" and a graffiti "bomber." For cap (as well as other bombers) it's quantity, not quality. Of course, some may see this as a lack of artistic ability...

Thoughts on Wednesday's (1/31) Class

The documentary "Heavy Metal Parking Lot" is a relative Rosetta Stone for budding cultural critics. It allows us to practice identifying the myriad signs of a particular subculture (butt-rock metalheads of the mid-80s) with relative ease, since everyone featured in the film look almost exactly alike ("individuality" seemingly not their concern . . . indeed, they just want to rock).

"Signs" were introduced by the linguist Ferdinand de Saussure. His goal was to establish a "synchronic" (ahistorical) theory of language. That is to say, a theory of language that could be applied to ALL languages, regardless of the historical period they were used, or any unique socio-cultural situation. While he identified "signs" as words & phrases, more recent theorists (french critic Roland Barthes especially) recognized that signs are all around us: they are in the way we dress, what we eat, the music we listen to, the books we read, etc.

Within each sign, there is a denotation (loosely akin to the "signifier") & a connotation (loosely akin to the "signified"). Take, for example, the mullet. The denotative meaning of the mullet is simple: short on top & on the sides, long in the back. And of course, there are variations to that theme. The connotative meaning to the mullet is a bit deaper: when one sees it, they think "white trash," "butt rocker," "1980s" & what not.

Let me emphasize that this is just an example, and a harmless one at that. Things get more charged when we look at OTHER signs, however. Think, for example, of the AFRO (to keep with the "hair" theme). Again, the denotative meaning is simple and logistical ("poofy," "symmetrical"). The connotations of the afro, especially in the African-American context, is perhaps more important. Its connotations ("black power," "black liberation," "staying true to one's roots") say a lot about the culture in which we live. And the afro becomes part of a rebellious stance (perhaps, & not always).

Still, the point of view of those evaluating signs is significant. In other words, one person's "white trash" is another person's "high fashion" & and one person's sign of "black power" is an extreme threat to another person. So, the point of view of the critic is important to keep in mind and interrogate acutely.

To properly understand the denotative and connotative aspects of signs, then, is to begin to understand both the nature of subcultures, and their importance and significance to the culture at large. And if we look at an entire system of signs within an entire subculture, we recognize how truly complex sign systems can be. We'll talk more about this in class.

Assignment #1: "My Culture"

Think about what makes up your culture: ethnic heritage, family rituals, food, music, neighborhood, religion, activities/interests, art, style of dress. What is your culture? Your assignment is to write a personal narrative about yourself and your personal culture.

Refer to the questions below in considering your culture. You do not need to answer each and every question (as though you were writing a “list”), but your piece needs to be a thorough and complete examination. You need to think hard and be specific.

Heritage:
Where do my biological parents’ come from?
Where do my adoptive/ “real” parents come from?
What do we do that is carried over from our ethnic heritage? (food, holidays, rituals at holidays, arts/crafts, etc.)
Food:
What do I eat that says something about who I am?
Are there special foods that are served in my family?
Are there special/specific foods that I eat with my friends?
What did I eat at Christmas/Hanukah? Thanksgiving? For my birthday?
Music:
Is music important to me?
What genre of music do I listen to?
What social group listens to this type of music? (Skaters, Rednecks, Preps, Jocks, Stoners, etc.)
Does the fact that I like this music make me a part of a specific social group? If so, what group?
What does this type of music make me feel? Why do I like it?

Neighborhood:
Is there a name for my neighborhood? (Laurelhurst, Garden Home, 82nd, etc.)
Who are my neighbors?
Is my neighborhood “rich,” “poor,” “middle class”? How else could I describe it?
If a visitor from out of town came to our street, what kind of neighborhood would they see?

Religion/Spiritual Beliefs:
Do I consider myself to be part of a religion? If so, which one?
What activities am I involved in because of my faith?
What are my beliefs, and how do show up in my life?
Is my family religious, or do they participate in any sort of faith-based activities?

Activities/Interests:
What do I like to do?
Do my activities involve other people? Who do I do stuff with, and how would I describe the groups I’m involved in?
Art:
How does art play a part in my life?
Do I create art? What does it say about who I am?
What art do I see around me? What does it say about my culture?

Style:
What is my personal style of dress?
What does the way I look say about my culture?
Am I part of a group that dresses in a similar style?

ASSIGNMENT SPECIFICS

What: Your assignment is to write a personal narrative about your own culture.

It can be in either first, second, or third person.
You must turn in both a first and second draft for credit.
It should be 3 to 5 pages long, typed, double-spaced.
Your piece must have a title that is relevant to the piece.
Remember to “show, don’t tell.” Use similes, metaphors, and dialogue.
Use the assignment to write a creative piece of work.

Due:
First Draft: Wednesday the 7th
The final draft will be due subject to my finishing revising/grading your rough drafts.

Recommended Listening List

In no particular order . . .

The Butthole Surfers: "Locust Abortion Technician"
Meat Puppets: II
Meat Puppets: Up On The Sun
Minor Threat: Complete Dischography
Black Flag: The First Four Years (or any album)
Suicide: S/T
Alan Vega: S/T (or really any album)
The Monks: Black Monk Time
James White & The Blacks: any album
Fugazi: any album (but esp. "13 Songs" & "Repeater")
The Minutemen: any album
fIREHOSE: any album
The Clash: London Calling
Beat Happening: S/T
Big Black: any album
X: Los Angeles
The Nation Of Ulysees: Plays Pretty for Baby
The Make Up: After Dark (or any album)
black dice
throbbing gristle
john wiese
luigi russolo
godspeed you! black emperor
discordance axis
Mr. Bungle
Phish
Grateful Dead
Tribe Called Quest
Burning Spear
Wynton Marsalis
Miles Davis
Frank Zappa
Oysterhead
Sly and the Family Stone
James Brown
Syd Barrett
Elvis Presley
Chuck Berry
The Flaming Lips
The English Beat
Madness
The Skatalites
Weather Report
The Vaselines
John Coltrane
Lee Morgan
Clifford Brown
Freddie Hubbard
Louis Armstrong
Charlie Parker
Chet Baker
Kenny Garrett
Terrell Stafford
Thad Jones
Wallace Roney
Sean Jones
Thelonious Monk
Cream
Fleetwood Mac w/Peter Green
Jelly Roll Morton
Marcus Miller
Jaco Pastorius
Link Wray
Dead Moon (first album especially)
Meat Cigars
The Books
The Harder They Come (soundtrack)
Ten-Foot Ganja Plant
Jellyfish
Redd Kross
The Dandy Warhols
Smashing Pumpkins
The Grays
Imperial Drag
The Three O' Clock
The Hold Steady
Earth
Velvet Underground
The Pogues
Wall of Voodoo
The Art of Noise
Boris
The Portland Radio Authority (http://www.praradio.com/mainpage.htm)
The Books
the greatful dead (early 60's especialy)
Frank Zappa
Lightning Bolt
Lamb of God
Pantera
Apocalyptica
regina spektor
Cypress hill (especialy Hits from the Bong)
the Flaming Lips
Pink Floyd (More and Meddle)
Wolfeyes
Merzbow
Green Milk from the Planet Orange
JonnyX and the Groadies
Sunn0)))
Earth
Boris
Thrones
Plan R
the Wipers
The Observers
Dead Kennedys
Animal Collective


More is forthcoming...and if you have any suggestions, submit them!

Reading/Viewing List

Below is a list of materials that we will use in this class. The list includes films and books, and I will update it as regularly as possible. Feel free to check out this material at any time (I have most of this stuff at school if you want to check it out).

1. Subculture: The Meaning of Style by Dick Hebdige
2. Heavy Metal Parking Lot (film directed by . . . ) & Harry Potter / Neil Diamond Parking Lot
3. Commodify Your Dissent & The Baffler Magazine (edited by Tom Frank)
4. Style Wars
5. Wild Style
6. Our Band Could Be Your Life by Michael Azzerad
7. The Call of The Weird by Louis Theroux
8. Space Is The Place: The Lives and Times of Sun Ra by John F. Swed
9. Rock and The Pop Narcotic by Joe Carducci
10. Blues People by Leroi Jones
11. Trekkies (film by . . . )
12. Introducing Semiotics by . . .
13. F-You Heroes: Photographs 1975-1991 by Glen E. Friedman
14. A Secret Location on the Lower East Side
15. All Poets Welcome: The Lower East Side Poetry Scene in the 1960s by Daniel Kane
16. Songs For Cassavetes (film)
17. Downtown 81 (starring Jean-Michel Basquiat)
18. Notes from Underground: Zines and the Politics of Alternative Culture by Stephen Duncombe

Assignment List

1. My Culture
2. Looking at Style Wars (due Monday, February 13th)
3. Jesus Camp questions (due Wednesday, February 28th)
4. American Hardcore response paper (due Wednesday, March 7)

Course Description

In this class we will exmine various subcultures in order to better understand them. Our study of them will focus on their characteristics (or "codes"), the motivations behind them, and their histories. We will not split hairs trying to define "subculture" precisely, but will instead focus on identifying similar patterns between myriad POSSIBLE subcultures.