1 Punk culture 2 Music 3 Skateboarding and cycling 4 Around the world
4.1 United Kingdom 4.2 United States 4.3 Internet
5 See also 6 References 7 Further reading
In the punk subculture, the
Learning bicycle repair rather than taking a bike to a mechanic's shop. (See also: Bicycle cooperative.) Sewing, repairing, or modifying clothing rather than buying new clothes. Vegetable gardening. Reclaiming recyclable products by dumpster diving.
Some educators also engage in DIY teaching techniques, sometimes
referred to as Edupunk.
Main article: DIY music
See also: Independent music
I loved the idea of designing or illustrating something and doing the printing myself. Most of my time is spent in front of the computer so the printing is a great way to get my hands dirty again, so to speak.
In modern society, it is uncommon for people to go more than a part of
a day without interacting with computers or other modern technology.
This leads to disconnect between the person and the physical world
around them - including other people - and is a secondary significant
motivating force in leading people to embrace DIY culture.
Editor in Chief of Craft attempts to describe the DIY
community: "This DIY renaissance embraces crafts while pushing them
beyond traditional boundaries, either through technology, irony,
irreverence, and creative recycling, or by using innovating materials
and processes...the new craft movement encourages people to make
things themselves rather than buy what thousands of others already
own. It provides new venues for crafters to show and sell their wares,
and it offers original, unusual, alternative, and better-made goods to
consumers who choose not to fall in step with mainstream
commerce." Ellen Lupton embellishes these thoughts in her book
D.I.Y. Design It Yourself: "Around the world, people are making things
themselves in order to save money, to customize goods to suit their
exact needs and interests, and to feel less dependent on the
corporations that manufacture and distribute most of the products and
media we consume. On top of these practical and political motivations
is the pleasure that comes from developing an idea, making it
physically real, and sharing it with other people." The
articulation of both Isaacson and Lupton is that DIY activities and
culture not only are unique in a modern world of consumerism, they
give pleasure to its members simply due to the lack of corporate
control or thoughts of profit and marketability which are often
assigned to the act of creation outside the world of fine art.
These views are not universal or without variation, however. In Tsia
Carson's introduction to her book 'Craftivity: 40 Projects for the DIY
Lifestyle,' she muses that "the kind of agency one gains over their
life by making their things is certainly powerful, heady stuff. But I
can't honestly say that is why I make things. Do I make things for
spiritual reasons? I wonder if I'm ready to speak of crafting as a
form of meditation when I compare the crochet hats I make for my
daughter's stuffed monkey to venerable practices like making Tibetan
sand mandalas. We make things for two reasons: pleasure and because we
can." While some ascribe political or social context to their DIY
activities, others ascribe personal or spiritual dimensions.
Matt Maranian, author of 'Pad: The Guide to Ultra-Living,' a guide to
making your own home decor specifically intended not to look like it
was purchased in any store, illustrates another aspect of DIY culture:
"Pad is not a book for the helpless, the aimless, or the clueless, Pad
is a book for the empowered, the inspired, and the creative. It's a
book for people who forge their own trail, and who know how to make
the very most of what they have at hand — or can find cheaply.
Pad is the guerrilla approach to home decorating." Matt
articulates the sense of community and subculture present in DIY
culture, perhaps even hinting at a kind of intellectual succession
from a society deemed "helpless...aimless...clueless."
The first lines of Amy Spencer's 'DIY: The Rise of Lo-Fi Culture' sum
up the juxtaposition of DIY culture's aspects by pointing out "the DIY
movement is about using anything you can get your hands on to shape
your own cultural entity: your own version of whatever you think is
missing in mainstream culture. You can produce your own zine, record
an album, publish your own book — the enduring appeal of this
movement is that anyone can be an artist or creator. The point is to
Technological developments, new internet platforms, applications and
innovations in the last ten years have made it easier for artists,
makers and creators of all types to circumvent professional studios
and create high-quality work themselves. Developments in media
software and the proliferation of high-speed internet access have
given artists of all ages and abilities from across the globe, the
opportunity to make their own films, records, or other creative
content, and distribute it over the web. Such works were usually
displayed on a private homepage, and gained popularity through
word-of-mouth recommendations or being attached to chain letters
(known as viral distribution).
Anarcho-punk Basement show Bricolage Cassette culture Circuit bending Community film Crass D.I.Y. or Die: How to Survive as an Independent Artist Do-It-Yourself (history) Guerrilla gig Hackerspace Homebuilt aircraft Individualism Infoshops Lo-fi music Maker culture Off-the-grid Remodernist Film Self-publishing Underground comix White box (computer hardware)
^ David Byrne, Jeremy Deller (2010) Audio Games, in Modern Painters,
March 1, 2010. "I think I embrace a bit of the punk aesthetic that one
can express oneself with two chords if that’s all you know, and
likewise one can make a great film with limited means or skills or
clothes or furniture. It’s just as moving and serious as works that
employ great skill and craft sometimes. Granted, when you learn that
third chord, or more, you don’t have to continue making 'simple'
things, unless you want to. Sometimes that’s a problem."
^ "Oxford Journal of Design History Webpage". Retrieved 2007-09-24.
Yet, it remains within the subculture of punk music where the
homemade, A4, stapled and photocopied fanzines of the late 1970s
fostered the ‘do-it-yourself’ (DIY) production techniques of
cut-n-paste letterforms, photocopied and collaged images,
hand-scrawled and typewritten texts, to create a recognizable graphic
^ Bennet, Andy; Peterson, Richard A. (2004). "Music scenes: local,
translocal and virtuas". pp. 116–117.
^ Jarrell, Joe (26 September 2004). "Putting Punk in Place--Among the
Classics". San Francisco Chronicle. pp. PK–45.
^ MONO FÜR ALLE ! - Meinung zum Urheberrecht
^ Mumford, Gwilym. "Eagulls, Hookworms, Joanna Gruesome: how UK music
scenes are going DIY". The Guardian. Retrieved 9 June 2015.
^ a b Albini, Steve. "
Thomas Bey William Bailey, Unofficial Release: Self-Released And
Handmade Audio In Post-Industrial Society, Belsona Books Ltd., 2012
Brass, Elaine; Sophie Poklewski Koziell (1997). Denise Searle, ed.
Gathering Force: DIY Culture — Radical Action for Those Tired
of Waiting. London: Big Issue. ISBN 1-899419-01-2.
Kimmelman, Michael (April 14, 2010). "D.I.Y. Culture". The New York
Times Abroad. Retrieved August 4, 2011.
McKay, George (1996). Senseless Acts of Beauty: Cultures of Resistance
since the Sixties. London: Verso. ISBN 1-85984-028-0.
George McKay, ed. (1998). DiY Culture: Party &
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