Technology is not something always influencing our daily life in an intrusive way: it can be hidden, it can be a passive tool or an artificial entity that reacts autonomously to our needs.Thanks to this feature, technology can play a big role in creating both emotional and functional environments.
Shi Yuan is a chinese designer, interested in visual communication and typography. He developed the project “design with life” where the goal is making everyday objects - that are normally passive - more alive and active. This goal makes this project a good example to inspire sustainable interaction design projects.
Album art for The Rapture constructed from cut paper, representative of the post-punk
and dance music scene. Village Green 2006.
Becks Fusions in association with the ICA transformed
Trafalgar Square for an evening of music and art, incorporating
key characteristics of musical genres. Village Green 2007.
Deadly Avenger Blossoms and Blood albums and single campaign. Village Green 2007.
Urban Tribalism defines a generation where subculture has moved into a different existence, fixated around musical influence.
This new cultural arrangement is less formal and has similarities in common grounds rather than strict ones.
Those groupings which have traditionally been theorised as coherent subcultures are better understood as a series of temporal gatherings characterized by fluid boundaries and floating memberships.
Using Maffesoli's subcultural study theory of 'tribes' refers to contemporary urban dance music's musical and visual style as 'exemplifying the essential eclecticism of post-war youth culture'.
A tableaux of interactive prints that respond to the heat of touch to reveal extended narrative and play with the original narrative, illustrating the fluidity of Urban Tribalism in postsubcultural society, with contrast to the fixed subcultural theory of past years.
A sample book that presents each design beautifully in context with foreword and accompanying written narrative.
- Identify and assess how symbols are used in urban tribal culture to represent and communicate the contemporary existence of
- Create from extensive research of theory and field, visual narratives that accurately and beautifully define and represent our generation and speak about new tribalism in 2010 through a variety of mediums including illustration and photography.
- Communicate formed narratives that exhibit the nature and ideology of urban tribal culture in an evocative way, through interactive print, publication and installation.
In tribal youth culture, constructing identites by appropriating objects - bricolage, is central to personal style as it was in the past. We take items and alter their meanings to represent who we are. In contemporary society this means clothing and music but also technology and digital representation.
Lumberjack Mod &
The modern sphere of youth culture has a reputation for being more materialistic than ever before and postmodern phenomenon such as digital technology and pop culture have become the catalyst for which markets are designed and obsessions are fed. With postmodern perspective coming into play with popular culture, lifestyle choices are more centered around mass consumption than ever. Clothes, speech, leisure, home etc, are regarded as indicators of the sense of style of the owner. Levi-Strauss (1966) identified that groups intentionally fabricate visual ensembles that distinguish them from their surrounding culture. The ways in which subcultural styles are constructed can be explained by the concept of ‘bricolage’.
symbol of endurance and resourcefulness
The fern is a hardy plant that can grow in difficult places. "An individual who wears this symbol suggests that he has endured many adversities and outlasted much difficulty."
Bennett writes about neo-tribes as an alternate to subcultures, drawing from theories of Levi-Strauss and French sociologist Maffesoli, who coined the phrase ‘urban tribe’ and was the first to use the term ‘neo-tribalism’ in a scholarly context. (Maffesoli 1996)
Using Maffesoli's concept of tribus (tribes) and applying this to an empirical study of the contemporary dance music in Britain, I argue that the musical and stylistic sensibilities exhibited by the young people involved in the dance music scene are clear examples of a form of late modern ‘sociality’ rather than a fixed subcultural group. (Bennett 1999)