(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"?
Friday, February 9, 2007
Wednesday, February 7, 2007
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).
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).
Tuesday, February 6, 2007
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...
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...
Friday, February 2, 2007
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.
"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.
Thursday, February 1, 2007
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.
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!
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!
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