Philosophy – Subcultures, Aesthetics, Punk Rock
Subversive Semiotics, Present Absence, Bricolage/Bricoleurs
Aug 28, 2009
Dick Hebdige's Subculture: The Meaning of Style is an essential philosophical/sociological text that focuses primarily on the punk rock movement in Britain during the 1950s and onward – a culture consumed by bands like the Sex Pistols, the Clash, and by notions of revolt, rebellion, and subversive thought against the status quo.
Some of the more intriguing themes among the myriad of discussions present in the text concern the semiotic notion of punk culture formed as a present absence, and the aesthetic/semiotic meaning of bricolage perpetrated by punk bricoleurs.
Subversive Semiotics – Punk Cultured Formed Around a Void, as a Present Absence
Hebdige discusses the formation of the punk sound as being intrinsically linked with the incorporation of the reggae sound and politic that influenced it so heavily, saying, "Reggae and punk were audibly opposed. Where punk depended on the treble, reggae depended on the bass. Where punk launched frontal assaults on the established meaning systems, reggae communicated through ellipsis and allusion … To use a term from semiotics, we could say that punk includes reggae as a 'present absence' – a black hole around which punk composes itself.” (pp. 68)
While Hebdige is referring directly to the medium of music and the actual compositional structure of these musical genres in imparting their social message (in particular, punk being a formation of what reggae is not) – it could easily be argued that the entire punk culture, that of piercings, cacophony, and blatant disregard for established norms and cultural values to be indicative of another, deeply rooted cultural present absence.
The formation of punk culture as a vibrant, rebellious antagonist to the black hole of normative society could also be argued as a form of present absence, in that punk culture requires a status quo to rebel against, a standard against which to base their subversive views.
A subculture, especially a subversive counter-culture, requires a normative culture to encircle and reject. The definition of punk culture is in essence defined as exactly that which what normative culture is not.
The Punk Aesthetic, Style – An Appeal to Bricolage by Bricoleurs
Bricolage, when used in a discussion of philosophy and aesthetics can be used to refer to man's innate reaction to an object and, at times, the divide between the seemingly “natural order,” natural usage or placement, of an object or image and the actual usage of that entity as presented in front of him.
Bricolage can also extend to the usage of items beyond their immediate uses, the use of found objects to fulfill a role that other objects traditionally fill, or simply the juxtaposition of strange and foreign objects beside more mundane counterparts.
Aesthetically, when an item is removed from it's “natural” context or usage and adapted to another form, it presents a cognitive dissonance at the most basic level that can contribute to feelings of shock or unease. Those who might disturb the natural social order by placing an object out of place might be provocative bricoleurs – persons who use objects beyond the intentions of their natural contexts, or who are willing to juxtapose remote distant relatives in order to create new meaning.
Hebdige writes, “Together, object and meaning constitute a sign, and, within any one culture, such signs are assembled, repeatedly, into characteristic forms of discourse. However, when the bricoleur re-locates the significant object in a different position within that discourse, using the same overall repertoire of signs, or when that object is placed within a different total ensemble, a new discourse is constituted, a different message conveyed.” (pp. 104)
Examples of Punk Bricolage, Umberto Eco
The punk movement's most famous example of the use of bricolage would be the safety pin. Initially used in common context to hold together a diaper or other pieces of cloth safely without being stuck or jabbed – the safety pin emerged during the punk rock era to be an entirely different symbol. Used to pierce human lips and ears as well as to hold patches and flags onto torn “rags” - the safety pin became an icon for the fringe movement.
Punks were exemplary populist bricoleurs, removing “safe” objects from their normal context and remaking them in their own image in a form of“semiotic guerilla warfare” as posited by semiotician Umberto Eco – a transference of symbols from mundane (such as a metal comb turned honed razor) and commercial (a mod punk rocker wearing a suit and tie to a rock show) into their own altered messages in the underground community, rejecting their conventional uses and symbolism.
Style as aesthetic expression was one of the most influencial subtexts of the punk movement, as well as a continued movement in contemporary subculture. Succintly described by Eco in Hebdige's Subculture: The Meaning of Style, saying, “I speak through my clothes.” (pp. 100)
Other Articles Pertaining to Philosophy, Sociology, Academics, and Social Justice
Those interested in a more personal look at how individuals form their identities may like to read up on Cooley's Theory of the Looking Glass Self.
Sociological theory buffs might also be interested in Robert Merton's Social Strain Theory.
For something a little lighter and entertaining related to the punk movement, perhaps it's time to Learn Punk Rock Songs on Bass Guitar.
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