Punk Pedagogies: Music, Culture and Learning brings together a collection of international authors to explore the possibilities, practices and implications that emerge from the union of punk and pedagogy. The punk ethos--a notoriously evasive and multifaceted beast--offers unique applications in music education and beyond, and this volume presents a breadth of interdisciplinary perspectives to challenge current thinking on how, why and where the subculture influences teaching and learning. As (punk) educators and artists, contributing authors grapple with (...) punk's historicity, its pervasiveness, its (dis)functionality and its messiness, making Punk Pedagogies relevant and motivating to both instructors and students with proven pedagogical practices. (shrink)

A book chapter in the volume Punk Rock and Philosophy: Research and Destroy on how punk rock can be interpreted through the lens of Friedrich Nietzsche's philosophy.

An analysis of punk in light of the theme of existential maturity through discussions of Simone de Beauvoir, Devon Johnson, and the relationship between nihilism, seriousness, and revolt.

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and (...) popular modernism for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds. (shrink)

This paper deals with feminist cultural politics, nomadic thought and media activism. It combines theoretical insights from Gilles Deleuze’s philosophy with Riot Grrrl bands and women’s punk music. The paper explores two central aspects of the Pussy Riot’s performances: the visual and the musical. The visual includes an analysis of “the face” as a landscape of both power and resistance and discusses also the function of the mask as a cultural and political device. It then highlights the role of (...) iconic images like Queen Beatrix, Angela Davies, the Guerrilla Girls and others in popular culture. The musical component includes Janis Joplin, the ultimate Riot Grrrl band Bikini Kill, Nina Hagen and, of course, Pussy Riot. Embodying the slogan “If I can’t dance, I don’t want to be part of your revolution” the paper argues for an affirmative and creative approach to feminist theory and practice and to contemporary cultural politics. (shrink)

Elaborated in this discourse is the idea that identifying with a punk persona is a necessary step in the ethical development of an individual. Offered are various ethical corollaries of standing on the punk philosophic grounds, including: abomination of the art of following, appreciation of creative aspirations more than the technique, the necessity for the constant shift of the epistemic grounds on which one stands, revival of the aesthetics of Speer’s theory of ruin values, revitalization of language via (...) its destruction, and embracement of anarchic revulsion of the concept of authority as a pathway to excellent educational efforts. It is also mentioned that science is inherently a systematic rebellion against stale, prejudiced thinking, and that, as such, it is intrinsically the endeavor of intellectual punks. The final summersault in the course of the philosophical gymnastics class of the hour pertains to realization that the anarchistic ideals underlying the punk culture foster ultimate freedoms that make even the abolition of these very same freedoms and obedience to any rules or principles legitimate. The failure of all the ideologies of the 20th century has been in favor of the anti-ideology of authentic anarchism, and yet this ideology not only insists on ruining the relevance of any ideologies out there, but also calls for the deconstruction of itself, wherefrom the freedom to follow any ideologies under its umbrella naturally emanates. (shrink)

ABSTRACT This article is an attempt to firstly locate and situate the creative practice of Björk in the cultural and musical milieu of late 1970s, early 1980s punk and post-punk world. It traces the impacts, relevancies and typifications that were a part of this milieu and describes their affect on the development of Björk’s work. Secondly it sugg ests that this particular cultural practice worked through notions of the utopian that were and are imbued within processes of cultural (...) hybridity and evolved through a globalized travelogue that was always a transitory moment of unification in different locations and situations. This analysis attempts to give a sense of how the utopian can be actualized momentarily in ‘pirate spaces’ but also how a body of knowledge and practical work can be developed and turned into ‘lifeworld’ practice by these continued engagements. The article utilizes and develops ideas from Schutz, Deleuze and Guattari, Bloch, Levitas and Durrschmidt. (shrink)

The chapter contrasts views of Punk as a playlist and an attitude with one based on a kind of action: praxis! -/- Can be downloaded from my Website.

Alison Jaggar, in her treatment of feminist discourse ethics, expresses worries about using “idealized and imaginary communities” as elucidatory tools for discursive ethics. In response, this paper presents the history of 924 Gilman (an all-ages punk rock collective in the San Francisco Bay area) as a case study of a non-imagined and real discursive community. While the example of 924 Gilman, with its overtly feminist agenda and democratic ethos, bolsters Jaggar’s claims about the need for “closed communities” within discourse (...) ethics, it also challenges some of her basic assumptions and raises important pragmatic and theoretical criticisms against discourse ethics. (shrink)

Punk Rock Yoga Manifesto: Look, Work, Accept, Transcend. The Punk Rock Yoga style was born in 2003 and has flowed across North America and into Europe. This book articulates the style's philosophy, where you will explore the teachings of yoga through a modern lens and discover how to employ its wisdom in your daily life. You will learn about Yoga with a capital "Y"-moving beyond the poses, into the realm of personal transformation. The Punk Rock Yoga Manifesto (...) takes a direct and pragmatic approach to yoga philosophy, discussing behavioral guidelines, personal temperaments, meditation practices, energy centers, and the role of poses and breath work. This book inspires self-reflection and challenges you to look at, work on, accept, and ultimately transcend everything that restrains you from personal evolution. (shrink)

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and (...) popular modernism for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds. (shrink)

The aim to develop authentic forms of artistic lifestyle and self-expression played a formative role in the foundational period of post-punk in the late 1970s and early 1980s. The struggle for authenticity during that period was complicated by the artists’ growing awareness of the capitalist economy’s ability to coopt and assimilate the ideal of an authentic counter-culture, that is, to utilize this ideal for exclusively profit-oriented signing, marketing, and production strategies. In this essay, I consider what models of authenticity (...) one can glean from the early post-punk scene and whether some such model might yield a viable ideal of authenticity that is resilient against the threat of inauthentic mainstream cooption: an ideal that can, perhaps, inspire the ongoing contemporary struggle for authenticity. (shrink)

“All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.” -/- Karl Marx might have been thinking of punk rock when he wrote these words in 1847, but he overlooked the possibility that new forms of solidity and holiness could spring into existence overnight. Punk rock was a celebration of nastiness, chaos, and defiance (...) of convention, which quickly transcended itself and developed its own orthodoxies, shibboleths, heresies, and sectarian wars. Is punk still alive today? What has it left us with? Does punk make any artistic sense? Is punk inherently anarchist, sexist, neo-Nazi, Christian, or—perish the thought—Marxist? When all’s said and done, does punk simply suck? These obvious questions only scratch the surface of punk’s philosophical ramifications, explored in depth in this unprecedented and thoroughly nauseating volume. Thirty-two professional thinkers-for-a-living and students of rock turn their x-ray eyes on this exciting and frequently disgusting topic, and penetrate to punk’s essence, or perhaps they end up demonstrating that it has no essence. You decide. -/- Among the nail-biting questions addressed in this book: Can punks both reject conformity to ideals and complain that poseurs fail to confirm to the ideals of punk? How and why can social protest take the form of arousing revulsion by displaying bodily functions and bodily abuse? Can punk ethics be reconciled with those philosophical traditions which claim that we should strive to become the best version of ourselves? How close is the message of Jesus of Nazareth to the message of punk? Is punk essentially the cry of cis, white, misogynist youth culture, or is there a more wholesome appeal to irrepressibly healthy tendencies like necrophilia, coprophilia, and sadomasochism? In its rejection of the traditional aesthetic of order and complexity, did punk point the way to “aesthetic anarchy,” based on simplicity and chaos? By becoming commercially successful, did punk fail by its very success? Is punk what Freddie Nietzsche was getting at in The Birth of Tragedy, when he called for Dionysian art, which venerates the raw, instinctual, and libidinous aspects of life? (shrink)

Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. (...) Together, these lessons suggest that art appreciation is not just about finding beauty or aesthetic worth but is also about constructing a self. (shrink)

Several scholars have noted parallels between the online communicative tactics of the American alt-right and those of industrial musicians in the 1970s and 1980s. This article explores these connections further by analysing the informational media that industrial musicians developed. Between the mid-1980s and 1990s, these zines, handbooks, and websites made a strenuous break with the values of democracy, egalitarianism, and grassroots authenticity that were the default ideological ‘mode’ of DIY. Where the Californian ideology would centre the summer of love and (...) the politics of the New Left, the zines ambiguously celebrated the nihilistic, authoritarian, and occult vectors of psychedelia – tendencies that have been associated with the late 1960s fate of the counterculture rather than its earlier heyday. The article tracks these themes from Vague magazine and Rapid Eye, to the Cybernetic Culture Research Unit in the 1990s, to neoreaction and the Dark Enlightenment, asking whether communicational utopianism should be considered a blip rather than the internet’s default state. (shrink)

1960년대와 1970년대 펑크를 비롯한 하위문화subculture는 주로 백인 룸펜 노동자 계급을 중심으로 이루어지고 퍼져나가면서도 그것은 어디까지나 남성중심 밴드의 음악과 남성적 저항이었다. 여성이 처음으로 락문화와 하위문화에 진입하게 되면서, 펑크여성들은 지배문화와 부모세대분화로부터의 일탈이라는 남성적 저항에서 한 발 더 나아가 남성 중심적 성폭력과 성희롱에 대해 포르노그래피적 배드걸bad-girl 스타일을 구성하였다.BR 하위문화 연구자 딕 헵디지는 여성문화라는 이유로, 여성주의는 1960년대 반포르노 페미니즘은 포르노적 여성펑크에 대해서 적절한 관심을 기울일 수가 없었다. 이에 이 논문은 랑시에르의 ‘불화(不和, dissensus)로서의 정치’라는 사유를 여성주의적으로 전유하여, 계급적으로나 성적으로 사회에서 있으나마나한 존재로 여겨져온 여성펑크의 스타일을 (...) 분석하며 그 의미를 재구성하고자 한다. 즉 기존사회의 남성적 로고스인 남성/여성, 정숙녀/타락녀, 가정/거리street의 이분법적 분할과 경계, 지배시스템을 조롱하며 파괴하는 배드걸 스타일을 통해 여성펑크의 거리 위 불화에 주목하고자 한다. 그리하여 역사적인 여성 복식운동이 주로 여성의 성적대상화에 대한 반대로서 비성적인 의복운동 - 현재의 탈코르셋을 포함 - 이었던 것과 달리, 여성펑크의 몸의 저항, 아래로부터의 저항은 드물게 남성의 성적 대상화 자체를 정면에서 공격하며 조롱하던 저항으로서, 비록 이론적으로 체계화한 논리적 전략은 아니지만, 일종의 생존전략적 불화로서 사회 내 여성성/남성성, 정숙녀/타락녀라는 몸 감각의 재구성을 시도한 정치적인 저항이었다고 할 수 있다. (shrink)

A Review of Heter & Greene's Punk Rock and Philosophy: Research and Destroy (Carus Books).

Both the music and subculture of punk historically arose from disaffected working-class youth. This socio-economic starting point was absolutely crucial for making punk what it is. However, along with this standpoint came various levels of class consciousness that we can see evidence of in the lyrics and in various practices of people within the scene itself. I divide this consciousness into 3 specific levels of structural understanding and agency. Inspired by Georg Lukacs' analysis of class consciousness and Antonio (...) Gramsci's theory of hegemony, I demonstrate how punk as a subculture and musical art form is a notable demonstration of "proletarian culture". But just as the revolutionary potential of the proletariat hinges on a unified ideology and consolidated and consistent praxis, so too does the revolutionary potential of punk. [This text was written for a non-academic, general audience] . (shrink)

Graphic justice and the law of aesthetics have in very recent years successfully brought law, aesthetics and comics scholarship into the same space. The culture of copyright infringement within comics (including in the Marvel, DC, and Disney universes) has been extensively in the literature by scholars including Saval. How copyright law is portrayed within the graphic novels and comics themselves is the focus (and contribution of) this article. This article will explore several comics and graphic novels, as well as included (...) this author’s reflections of portraying copyright visually within zines for public dissemination. Throughout this article, the discourses of ghosts and spectres that are interwoven with copyright law and haunt the texts will be seen, as will the discourses of oppression and warfare that are involved for anyone seeking to make use of copyright works. As Gómez Romero and Dahlman note, comics offer “an alternative legal discourse” and we can see these alternative legal discourses through their aesthetic graphic form. This article will consider: the aesthetic portrayal of copyright law in A Gift for a Ghost and Josie and the Pussycats No. 6; as well as Bound by Law, Theft! A History of Music, and Pictures within Pictures. These comics and graphic novels have been chosen as they aesthetically portray copyright law and copyright infringement (referred to in some of the comics as “plagiarism”), and others aesthetically portray the public domain and fair use. In viewing these aesthetic manifestation of copyright law, the reader understands the limiting nature of copyright on creative freedoms, and that copyright law’s power is absolute. This article will explore the following: (i) copyright’s aesthetic portrayals and the impact of this; (ii) comics haunted by copyright law, considering A Gift for A Ghost and Josie and the Pussycats; (iii) comics about the necessity of the public domain and fair use, considering Bound by Law, Theft! A History of Music, and Pictures within Pictures; and (iv) self-reflections on portraying copyright aesthetically in publicly disseminated research zines. This article has not set out to determine that certain visual aesthetic portrayals are “correct” or “better”, but rather to explore how legal discourses and narratives about copyright law are circulated through the comics medium. These visual depictions hold considerable weight, and it is striking to see similar narratives used across a range of comics works, with different intended audiences. What is clear is that the visual depiction of copyright law enables a greater ability to convey the multiple copyright law discourses that can be felt at once, and also to highlight that some of these discourses are contradictory to one another. (shrink)

Sketched in 1979 by graphic designer Peter Saville, the record sleeve of Joy Division's Unknown Pleasures seemingly popularized one of the most celebrated radio-astronomical images: the ‘stacked plot’ of radio signals from a pulsar. However, the sleeve's designer did not have this promotion in mind. Instead, he deliberately muddled the message it originally conveyed in a typical post-punk act of artistic sabotage. In reconstructing the historical events associated with this subversive effort, this essay explores how, after its adoption as (...) an imaging device utilized in radio astronomy, the stacked plot gave representation to the diplomacy agendas of two distinct groups. The post-punk reworking of the stacked plot exemplified the ambition of this artistic movement to attack the images associated with social conventions and norms by amplifying their ‘semantic noise’, and, in so doing, seeking to negotiate a social space for those sharing these subversive goals. Conversely, radio astronomers used the stacked plot to display the presence of interfering radio transmitters in the frequencies exclusively allocated to astronomical research, thus advocating the removal of this electronic noise in the context of international telecommunication negotiations. The article thus shows how the representation of different types of noise through similar images shaped contrasting ambitions in the separate domains of science diplomacy and everyday diplomacy. (shrink)

While the subject of women’s activity in historical and contemporary punk scenes has attracted significant attention, the presence of trans women in punk has received comparatively little research, in spite of their increasing visibility and long history in punk. This article examines the conditions for trans women’s entrance in punk and the challenges and opportunities that it offers for their self-assertion. By linking Michel Foucault’s notion of parrhesia with the way trans women in punk do (...) their gender, an attempt is made at showing how the embodied experience of a trans woman making herself heard from the punk stage can serve as a site of ‘gender pluralism’. (shrink)

This research uses Christian Hardcore punk to show how evangelical Christian men respond to changes in gender relations that threaten hegemonic masculinity through a music subculture. Drawing on interviews and participant observations of live music shows, I find that Christian Hardcore ministry involves a hybrid mix of aggressive and loving performances of manhood. Christian Hardcore punk men fortify the idea that men and women are essentially opposites through discourse and the segregation of music spaces, even as they deviate (...) from dominant ideas of what makes a man in their strategy of openly expressing the “loving” of secular men. The mechanism for this is the interactions in concert spaces. These findings offer a conceptual move away from studying “godly” masculinity as intrinsically distinct from secular masculinity and illustrate how religious masculinities can be both hegemonic and “soft.”. (shrink)

The late eighties and early nineties in Germany were not only marked by the fall of the Wall and German unification, but also by the dramatisation of the political issue of asylum, resulting in outbreaks of xenophobic violence. In the context of the asylum debate of the early nineties, a number of punk bands produced songs between 1991 and 1994 which criticise the xenophobic climate created by the asylum debate and undermine an exculpatory official discourse about the violent attacks. (...) The lyrics of these songs will be analysed as instances of counter-discourse emerging from a subcultural sphere that nurtures a critical distance from hegemonic public and political discourse, arguing that Critical Discourse Analysis should pay more attention to defiance of hegemonic discourse. (shrink)

This article positions punk rock pedagogy, or the educative dimensions of punk rock subculture, as an exemplar for combatting hate speech. This analysis contrast institutional efforts to protect free speech (which are rooted in free speech absolutism) with the ways by which punks protect one another from bigotry. This paper argues that the punk approach more closely reflects how free speech protections are framed in international human rights law.

This article positions punk rock pedagogy, or the educative dimensions of punk rock subculture, as an exemplar for combatting hate speech. This analysis contrast institutional efforts to protect free speech (which are rooted in free speech absolutism) with the ways by which punks protect one another from bigotry. This paper argues that the punk approach more closely reflects how free speech protections are framed in international human rights law.

Some major figures of early (1977-1984) Post-Punk, such as Joy Divison’s Ian Curtis or The Fall’s Mark E. Smith, were strongly influenced by existentialist themes they encountered in the writings of philosophers such as Camus or Nietzsche. Central among these themes is the modern struggle with nihilism. Nietzsche (at times) felt hopeful that some of us still possess the strength to see our modern disorientation as a creative opportunity and to (eventually) overcome the threat of nihilism: in this vein (...) he declares that when "we hear the news that ‘the old god is dead’” it is “as if a new dawn shone on us." By contrast, I argue that foundational Post-Punk artists express a post-Nietzschean, 20th century stance of succumbing to nihilism, an overwhelming experience of defeat and self-disgust. They write and sing from a profound sense that the modern degeneration diagnosed by Nietzsche has now reached unprecedented lows so that our “disgust at life”, our “exhaustion and… wish for the ‘end’…for being otherwise, being elsewhere” has become wholly inescapable. Nietzsche's new dawn has faded. (shrink)