While I appreciate PJ bringing in terrific new theorists to this discussion, linking authenticity and agency with hipsters and technology, I think he focuses too much on the technologies themselves and not enough on the processes of identity; too much on the signified and not where the real action is in our post-modern, consumer society: the signs and signifiers. (more…)
Nathan Jurgenson and I were discussing why low-tech devices have a seductive quality. Consider the popularity of, for example, fixed-gear bicycles or vintage cameras (such as the Kodak Brownie or the Polaroid PX-70 [correction: SX-70]). Though I think this phenomenon is probably overdetermined (in the Freudian sense of having multiple sufficient causes), I came up with a theory that seems worth further consideration: namely, that hipsters’ obsession with antique devices reflects a desire to escape the complex and highly-interdependent socio-technical systems that characterize contemporary society and return to time in which technology appeared to be something that humans could master and, thus, use to affirm their individual agency. In short, the fetishization of low-tech is about the illusion of agency; it provides affirmation for the hipster whose identity is defined by the post-Modern imperative to be an individual, to be unique.
Since Sarah posted on Kony yesterday, I though I would throw in my two cents on the matter. I would like to discuss claims that the Kony 2012 is a hipster movement.
Why are people claiming the movement against Kony is a hipster movement? I think it is because of three main reasons. 1) people are using social media to spread it; 2) Invisible children plays into the whole Toms shoes, suburban college student social justice movement; and 3) individuals are claiming allegiances to this social justice movement as a form of social distinction. (more…)
A few of us here at Cyborgology have a running joke going about #HipsterStudies, so I thought I would compile a couple comics that likewise intellectualize this subcultural movement. The first, sent in by reader Letta Wren Page, is a comic by Dustin Glick:
Dustin Glick's "Theory of Hipster Relativity"
This image does a great job illustrating the inherent relativity of the hipster label. That is, as a largely pejorative label, one can only be deemed a hipster by comparison. Much like Thornton (1996) discovered in her study of UK youth raves, where club kids used pejorative labels to denote the bounds of group membership, the hipster as label serves to undermine attempts to mimic subcultural forms (and hence, it serves as a way to deny these actors any semblance of subcultural capital). (more…)
Since these hipster blog posts are generating so much great discussion I thought I would bring you another example of the subculture. I came across this website after my girlfriend attempted to get me to listen to some folk bands or something that she liked. I can’t exactly recall how it happened, but I do recall her sending this website to me.
The entire website for Plan-It-X Records is a simple .jpg image seen above.
This post is somewhat of a stretch, but I think it remains applicable nonetheless. Below I have embedded three video clips, each dealing with “the hipster” as a relatively recent subcultural form and social type.
Second, we have a short clip from the “2 Broke Girls” a new CBS television series focusing on the epicenter of the hipster subculture, the gentrified Williamsburg neighborhood of Brooklyn, NY. In the clip we see the confluence of hipsters and homelessness, which ultimately serves to as a satire on the “Poor Chic” fashion trends of New York’s urban hipsters (Halnon 2002). We also notice the association between hipsters and personal hygiene (or lack thereof), a stereotype that has also been foisted upon the #Occupy protestors.
There are no more media in the literal sense of the word (I’m speaking particularly of electronic mass media) – that is, of a mediating power between one reality and another, between one state of the real and another. Neither in content, nor in form. Strictly, this is what implosion signifies. The absorption of one pole into another, the short-circuiting between poles of every differential system of meaning, the erasure of distinct terms and oppositions, including that of the medium and of the real… Circularity of all media effects. Hence the impossibility of meaning in the literal sense of a unilateral vector that goes from one pole to another. One must envisage this critical but original situation at its very limit: it is the only one left us… the medium and the real are now in a single nebula whose truth is indecipherable.
Jean Baudrillard, Simulacra and Simulation
Halloween is said to be a secularized celebration of the traditional Christian holiday, All Hallows Eve (itself appropriated from pagan ceremonies to remember the dead). This, of course, is false. Symbols of death and of our connection to what lies beyond (e.g., pumpkins, jack-o-lanterns, ghosts, witches, etc.) do little more than provide a textured backdrop to masses of fantasy heroes/heroines, sexy [fill-in-the-blank], cross-dressers, and, increasingly, it seems, racial/cultural appropriators. During Halloween, we do not celebrate our traditions; we cannibalize them. And, that is what makes Halloween unique. Halloween is a celebration of the present–a reveling in the zeitgeist of our time. Halloween is the quintessence of our post-Modern cultural logic. (more…)
The idea that technology and techno-scientific urbanization/development is making life more noisy is not new. Luigi Russolo wrote about this in his famous futurist manifesto The Art of Noise. “In antiquity,” he argues, “life was nothing but silence. Noise was not really born before the 19th century, with the advent of machinery. Today noise reigns supreme over human sensibility” (4). Russolo’s manifesto was written in 1913. “ON IT” like usual, The New York Times published a couple of stories about it last week.
Not all of NYC’s noise was bad.
While it’s certainly not news that cities are noisy, the Times article does suggest that the politics of urban noise have changed significantly since Russolo’s time. Urban noise works (or produces political effects) differently because it is understood differently–it’s not industrial and machinic, but post-industrial and affective. (more…)
We did it! According to the Editors* of n+1, Sociology—in fact, the underdog coming from behind, Critical Sociology—has won the cultural debate. Critical thinking about power and how it constructs individuals is now universally applied. The bad news is that critical thinking about power hasn’t solved inequalities, and therefore we have “Too Much Sociology.” The Editors of n+1 fail to understand their topic, fail to cite accurately, and, fundamentally, have written a piece that is logically flawed from even its own position.
There are many good reasons to dismiss this essay, but let’s first skip over the most inaccurate parts to explain why the essay does not even make sense on its own terms. There is a good argument that Bourdieusian theorizing can be used for regressive ends. But: that is a Critical Sociology argument! Interrogating exactly how an episteme can be co-opted, even by that of which it is critical, is what critical sociology does. The article uses critical sociology as its method, as its logic, in order to conclude—against its own logic—against doing critical sociology. Hilariously, the essay is a work of critical sociology about critical sociology that is critical of critical sociology. (more…)
We live in a cyborg society. Technology has infiltrated the most fundamental aspects of our lives: social organization, the body, even our self-concepts. This blog chronicles our new, augmented reality.