Chaos in Portugal: aesthetics,

illustration, punk and art

Ana Oliveira, Institute of Sociology, University of Porto, KISMIF Portugal
Paula Guerra, Faculty of Arts, Institute of Sociology, University of Porto, Griffith
Centre for Cultural Research, KISMIF Portugal
Punk and
Visual
Sociology
Only a picture can carry such
a volume of data in such a
small space. Furthermore, all
that data () can be thought
about in many different ways at
many different levels of analysis
ranging from the
contemplation of general overall
patterns to the detection of very
fine (...) detail. Edward Tufte |
1983 | The visual display of
quantitative information
PUNK ROCK:
DENIAL of the dominant trends in popular music
OPOSITION to organizational tendencies of the dominant society
Feelings of ANGER and determination to PROVOKE
Own language
New ways of comunication
Flyers
Fanzines / E-zines
RECORD COVERS
T-shirts
Posters
Language of Visual Resistance (Heather
Horst & Larissa Hjorth, 2014)
Why the analysis of punk visual language?
(Favero, 2014)
Identification of visual codes expressing elements of punk
movement caracterization
Stylistic, geographical and chronological mapping
- evolution of the design strategies
- identification of patterns
Elements of
caracterization of punk
culture
Elements of visual language
Aggressiveness / Humor Images with strong impact
and political engaged
Authentic / Urgent Imperfection, non oficial,
improvised elements,
handmade
Why record covers?
They use graphic design to communicate
particular visual messages to a specific
audience
They represent the 1st contact of the
bands with their fans and followers
They are the 1st impression for the
establishment of a visual relation
between creator and consumer
Metodology
Object of analysis and
information gathering
The object of analysis of records presented here is the result of a process of
gathering and systematization occurred until 20th March 2014. Its an on going
and unfinished process and it results of the collection of the following :
1. Phonographic records acquired by the project;
2. Phonographic records from decades of 1970, 1980, 1990 and 2000 from
personal files available to the project;
3. Phonographic records fruit of research on virtual platforms (Under
Review, Bandcamp, Blogs - Rock no Liceu, DJ Billy -, among others) and collected
fromthe interviewed (by scanning the covers of their personal records).
Systematization
Database to performa systematic analysis of the record covers
Create a unique archive on punk in Portugal, which will be housed in the Library of
the Faculty of Arts, University of Porto and in the website of the project
This database, as well as all the fanzines, posters, flyers, photographs and other
documents and iconographic elements collected will be available for consultation
by all those wishing to pursue the study of the punk movement in Portugal
Visual Matrix (Russel Bestley, 2007)
- analytical method
- way of visual organization
Interviews with covers authors
Model of Comprehensive Analysis
Relationship between graphic shapes,
subcultural groups and spaces in a given
temporal context
Qualitative Approach
Visual Matrix and
Patterns
(1977-1996)
1990 1991 1992
South
Center
North
To represent the members of the
subculture
Simple, highly caricatured drawings
Drawings with humorous trend
Cartoon
Compilation | Anarchist & Peace, 1993
Vmito | 30 Minutos, 1988
Corroso Catica | Unio e Ocupao, 1992
Frequently handmade
Intention of destruction of the
convencional typography
Letters with visual noise and corrosion
Typography
Aqui del Rock | H Que Violentar o Sistema, 1978
Subcaos | Genocdio, 1992
Reltih | Morte ao Mete Nojo, 1996
Scant use of photography to represent the elements
of the bands or members of the "tribe
When it happens, its mostly in straight-edge bands,
following the tradition of American hardcore
Photography
UHF | Jorge Morreu, 1979
Peste e Sida | Eles Andam A,
1992
X-Acto| The New Child, 1996
Tilt| Bolinhas de Sabo, 1981
To represent situations of war, conflict, military forces
It is a tradition in punk - photography as a report of a real situation and as a way to
encourage change of scenery represented
Photography
Booby Trap | Brutal
Intervention, 1993
605 Forte | Forte Agonia, 1996
No Opression| If This is Civilization, 1994
Photos of the bands do not seem to follow the pattern of the punk photos -
"Ramones Style " - in which the bands are shooted in urban environments with
some degradation
In the pictures the bands look at the camera and are inserted in neutral
environments
Photography
UHF| Mau Rapaz, 1982
Aqui del Rock| Dedicada (a Quem
nos Rouba) e eu no sei, 1979
Thank you!
kismif.geral@gmail.com
http://www.punk.pt/pt/