Global ETD Search

1	Punk and the Political: The Role of Practices in Subcultural Lives Tucker, Brian L. 29 December 2008 (has links) No description available. Political Science punk D.I.Y. cultural studies political theory
2	Beneath the Surface Dienes, Susanna 18 May 2007 (has links) Beneath the Surface is a collection of seven individual literary nonfiction essays. Five of the essays are personal essays, and three come from the author's contribution to UNO's Katrina Narrative Project. The collection represents the author's cumulative body of work upon completion of her MFA in Creative Nonfiction Writing at UNO. Titles include: "Beneath the Surface, " "Hello, Harry, " "My One-Summer Bike, " "Just Like Jazzfest, " In Defense of Sodom, " "'Every Year It's Something, '" and "Revising my Approach. The essays explore themes such as sibling bereavement, Latin American travel, the incomprehensibility of death, experiencing new cultures, online teaching, and hurricane evacuation. Creative Nonfiction New Orleans Guatemala Travel Sibling Loss Aging Cancer bicycles D.I.Y. Hurricane Katrina evacuation online teaching Freshman English
3	Ephemeral Material: Developing a Critical Archival Practice Kumbier, Alana 27 August 2009 (has links) No description available. Library Science Minority and Ethnic Groups critical archival practice archives alternative archives grassroots archives d.i.y. archives genetic genealogy drag kings
4	Punkestetik : Provokation, revolution eller D.I.Y.? Eneroth, Joacim January 2013 (has links) Den här uppsatsen undersöker punken och några aspekter av dess visuella identitet. Genom att söka några av dess konsthistoriska rötter finner man att situationism och dadaism ofta nämns som konströrelser med ett uttryck som punken bygger vidare på. Det kan förklaras genom bland annat att Malcom McClaren och Jamie Reid, som låg bakom lanseringen av Sex Pistols, hade en situationistisk bakgrund. Reids arbete med till exempel skivomslag åt Pistols har också lagt grunden för föreställningen om vad punkestetik är. Med analyser av God Save The Queen 1977 och Nowhere Buses 1972 har jag sökt att ge en förklaring till hur de bilderna kan tänkas fungera utifrån en mottagarkontext av frustrerade, arbetslösa ungdomar i slutet av 70-talet. Säkerhetsnålen som en symbol inom punken kan förstås som en kritik av konsumtionssamhället. Den tvetydiga användningen av svastikan på kläder och flygblad är mer svårtolkad, den kan ses utifrån sitt rent provocerande värde eller som att den tillhör en gammal värld och därför är utan betydelse. Från detta har jag följt punkens förgreningar mot en politiskt medveten subkultur där aktivism, anarkistisk teori och D.I.Y.-filosofi är rådande. D.I.Y. (Do It Yourself) är en viktig aspekt av punkens utveckling. Punken påverkar även andra konstnärliga uttryck som syns hos till exempel den samhällskritiske konstnären Banksy. Det går också att se ett kulturhistoriskt intresse för den ursprungliga punken, som nu blivit en del av kulturarvet. Utifrån bland annat den ideologiska förförståelsen som framträder i min undersökning har jag analyserar två verk av den svenska konstnären, och punkmusikern, Ella Tillema. På verket Mitt Hjärta Är En Bomb 2009 har jag lagt en feministisk blick och Den Postapokalyptiska Skapelseberättelsen (Partyt är Över) 2011 har analyserats utifrån en mottagarkontext med förståelse för anarkistisk aktivism, djurrättsfrågor och dess symboler. Punken som subkultur kan förstås som en motkultur och punkestetik som en motestetik. En slutsats som min undersökning leder till är att punkestetik kan ses både som förhållningssätt och som stil, D.I.Y.-aspekten är betydelsefull i båda avseenden. Som förhållningssätt handlar det bland annat om att inte vara en passiv konsument, utan vara delaktig och det blir i sin praktik till en slags samhällskritik. Identitet och tillhörighet är en viktig del av för att förstå punkestetik som stil. Stilen skapas dels utifrån bilder som haft stort genomslag inom subkulturen, till exempel Reids. Dels utifrån en teknisk amatörism, i vissa fall skenbar, som markerar D.I.Y.-praktiken där alla har möjlighet att vara delaktiga. Det är dock min mening att stil och förhållningssätt inte kan särskiljas om man vill förstå vad punkestetik är. Punk punkestetik Jamie Reid Sex Pistols Ella Tillema D.I.Y. situationism dadaism anarkism Crass Gee Vaucher provokation skapelseberättelsen apokalyps subkultur samhällskritik hakkors svastika säkerhetsnål Banksy aktivism amatörism konsumtionssamhället
5	Towards a cinema of imperfection : participatory film as research Gall, Allister Thomas January 2016 (has links) This PhD is a practice as research interrogation of the emancipatory potential of the idea of imperfection. It is framed around the key leading question: ‘How can the generation of imperfect praxis – cultural production in and through social dialogues challenging notions of technical expertise – affirm emancipatory value in a film practice? The thesis documents the development of a participatory film practice, operating in-between d.i.y subcultural activity and practice as research. The film component of the submission engages with the problems involved in representing and authenticating the collective dimension of participatory filmmaking. The emancipatory potential of imperfection has been explored via a broad range of interdisciplinary participatory practices. The core project is Imperfect Cinema, an open-access micro-cinema collective, which navigated the intersection between film and do-it-yourself punk. This interplay between the contested idea of punk and its inherent activism, with the democratic/accessible implications of audio-visual media, is seen as an exemplary site for examining, and dismantling the boundaries between disciplines. In this sense, the nature of the work can be seen as being ‘in-disciplinary’ (Rancière 2008), requiring a mobility and responsiveness to the emergence of contemporary participatory and collaborative processes. The concept of imperfection draws from punk as a set of d.i.y methodological practices and is key to understanding and developing participatory cinema. Imperfection, as a generative conceptual tool, can be described as incorporating and examining methods ‘against methods’ (Feyerabend 1988) in order to acknowledge the uncertainty and fluidity of participatory work. This forms my understanding of what I term imperfect praxis. This praxis requires the emancipatory potential of imperfection to be easily communicable and accessible to different kinds of participants. The emergence of imperfect praxis developed out of collective social spaces where a kind of knowledge can be explored through collaborative and participatory interactions and dialogues, situated and understood through historical, contextual, personal and shared experiences. This thesis consequently represents a ‘moment in time’ in my methodological development, providing me with the structure to identify and disseminate the practice as research. 791.43
6	Le straight edge au Québec : abstinence, musique hardcore et résistance De Rome, Stéphanie 02 1900 (has links) Ce mémoire porte sur la notion de résistance sous-culturelle chez la sous-culture straight edge dans le contexte du Québec et s’intéresse à la place et au rôle de la musique hardcore à travers cette résistance. S’inscrivant dans le domaine de la sociomusicologie, il est le résultat d’une étude de terrain menée à l’aide d’entretiens auprès de participants à la sous-culture straight edge québécoise. Il s’intéresse au développement de la culture straight edge dans le contexte du Québec et à son organisation en marge de l’industrie culturelle mainstream en explorant son lien et son positionnement par rapport à la scène hardcore québécoise. Cette enquête se penche sur la perception de l’identité sous-culturelle ainsi que sur la représentation du système de valeurs straight edge chez les participants à la sous-culture. Il explore également, à travers l’analyse du discours des participants, leur conception de la société mainstream, des structures de pouvoir et de l’idéologie dominante afin de comprendre leur conception de la résistance. Le mémoire s’intéresse ensuite aux caractéristiques esthétiques du genre hardcore straight edge à travers ses paramètres musicaux et la production et l’utilisation de la voix dans le genre. Il est finalement démontré que la musique hardcore soutien et appuie la résistance sous-culturelle straight edge à travers diverses stratégies d’interprétation, compositionnelles et scéniques, soutenues par les paramètres vocaux et musicaux du genre, les textes des chansons ainsi que le contexte du concert live. / This thesis examines the notion of resistance in the straight edge subculture in the context of Quebec, focusing on the place and role of hardcore music through this resistance. It is part of a sociomusicology field study consisting in interviews with participants in the Quebec straight edge subculture. It is interested in the development of straight edge culture in the context of Quebec and its organization on the margins of the mainstream cultural industry. It also explores the relationship of this subculture with the Quebec hardcore scene. This thesis examines the perception of subcultural identity and the representation of the straight edge value system amongst subcultural participants. It also explores, through the analysis of the participants' discourses, their conception of mainstream society, power structures and dominant ideologies in order to understand their conceptions of resistance. The thesis then looks at the aesthetic characteristics of the straight edge hardcore genre through its musical parameters and the production and use of the voice in this genre. Finally, it is shown that hardcore music supports and sustains straight edge subcultural resistance through various performances, compositional and scenic strategies, supported by the vocal and musical parameters of the genre, lyrics, as well as the context of the live concert. Straight edge hardcore punk hardcore résistance sous-culture scène musicale D.I.Y. musique populaire resistance subculture music scene popular music
7	Physical interaction with electronic instruments in devised performance Spowage, Neal January 2016 (has links) This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments. 621.3815
8	The importance of counter-culture in art and life Ortlieb, Paulina Elizabeth 03 February 2015 (has links) Punk rock provided not only a watershed of creativity, innovation and a do-it-yourself spirit to a culture saturated in the mainstream, it physically brought like-minded people together in a community, or rather extended family, which in today’s hyper-d.i.y. culture, is progressively declining. As early as the 1940s, theorists such as Adorno and Horkheimer warned us about alienation in a society increasingly dependent on technology. By looking to punk, and other resilient and robust counter-cultures, perhaps we can find solutions to the pitfalls of the ‘culture industry’ (Adorno, Horkheimer, 1944). My thesis, consisting of a feature-length documentary film and textual analysis, is a culmination of: ethnographic research into the punk scene in my own community; theoretical research into the sociology, ethnography and subculture theory; and my own subjectivity. My personal findings are presented to offer insight into punk philosophy and to spur discourse, rather than deliver an objective account or didactic reproach. / Graduate sub-culture music punk rock counter-culture digital age sociology Victoria BC local ethnography documentary filmmaking film studies music sociology D.I.Y musicology grounded theory etic emic qualitative research Frankfurt school subculture theory Adorno Horkheimer egalitarian democracy culture alienation community hardcore globalism internet mass culture self-identity participant observation culture industry consumerism corporatism Vancouver Island fieldwork World Wide Web freedom of expression rebellion technology constructivist subversion CCCS Chicago School nomeansno embodied oral history Somewhere to Go

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