Chaos in Portugal: aesthetics, illustration, punk and art

Ana Oliveira, Institute of Sociology, University of Porto, KISMIF PortugalPaula 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 impactand 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 andinformation gathering

The object of analysis of records presented here is the result of a process ofgathering and systematization occurred until 20th March 2014. It’s an on goingand 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 frompersonal files available to the project;

3. Phonographic records fruit of research on virtual platforms (UnderReview, Bandcamp, Blogs - Rock no Liceu, DJ Billy -, among others) and collectedfrom the interviewed (by scanning the covers of their personal records).

Systematization

Database to perform a systematic analysis of the record covers

Create a unique archive on punk in Portugal, which will be housed in the Library ofthe 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 otherdocuments and iconographic elements collected will be available for consultationby 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 AnalysisRelationship 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

Vómito | 30 Minutos, 1988 Corrosão Caótica | União e Ocupação, 1992

Frequently handmade

Intention of “destruction” of the convencional typography

Letters with visual noise and corrosion

Typography

Aqui d’el Rock | Há Que Violentar o Sistema, 1978

Subcaos | Genocídio, 1992Reltih | Morte ao Mete Nojo, 1996

Scant use of photography to represent the elements of the bands or members of the "tribe“

When it happens, it’s mostly in straight-edge bands, following the tradition of American hardcore

Photography

UHF | Jorge Morreu, 1979

Peste e Sida | Eles Andam Aí, 1992

X-Acto| The New Child, 1996Tilt| Bolinhas de Sabão, 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, 1996No 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, 1982Aqui d’el Rock| Dedicada (a Quem nos Rouba) e eu não sei, 1979

Thank you!

kismif.geral@gmail.com

http://www.punk.pt/pt/