Introduction

Kaufmann-Buhler, Jennifer; Pass, Victoria; Wilson, Christopher S.

doi:10.5040/9781350051614.0006

Cited by 2 publications

(3 citation statements)

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“…Everyone else came in and saw Jordan dressed up, and the attitude, and it took off from there. She was the Godfather, the Godmother if you like.” (Jarman quoted in Buszek, 2019: 93).…”

Section: Nonsense Diy and Cheap Technologymentioning

confidence: 98%

“…However, there does seem to be a bias in the name-checking when writing about the 1970s and 1980s subculture. About time, then, “to recognize the presence and the style of the punk women who served as crucial intermediaries—between music and fashion, haute-couture and DIY, punk and feminism—at the origins of this explosive moment in popular culture,” as Buszek (2019: 105) demands.…”

Section: Fashion Machines and Music Machinesmentioning

confidence: 99%

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The queens of loud machines: Knitting and making music in West Berlin in the 1970s–1980s

Skov

2023

DIY, Alternative Cultures & Society

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“Those old eco-feminists knitted. But we were using a machine! That was a big difference indeed” (2020, personal interview with the author). That statement was made by musician and knitwear designer Gudrun Gut of the punk girl band Mania D./Malaria! and it cuts out what this article is about: Women knitting and making music on their machines in the subculture of West Berlin in the late 1970s and early 1980s. New and easily accessible technology, such as the Atari console, enabled new Do-It-Yourself strategies. At the same time—within fashion and knitting in particular—there was a shift in feminist generations: Loud, technical, noisy music, and machine-made knitwear signified aggressive, modern, and self-assured women. In West Berlin specifically, punk women musicians and designers looked back in time, and sought to reconnect with the hedonistic avant-garde and the “new women,” the divas, dadaists, and women modernists of Berlin in the 1910s–1930s.

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“…Everyone else came in and saw Jordan dressed up, and the attitude, and it took off from there. She was the Godfather, the Godmother if you like.” (Jarman quoted in Buszek, 2019: 93).…”

Section: Nonsense Diy and Cheap Technologymentioning

confidence: 98%

Section: Fashion Machines and Music Machinesmentioning

confidence: 99%

The queens of loud machines: Knitting and making music in West Berlin in the 1970s–1980s

Skov

2023

DIY, Alternative Cultures & Society

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“…To illustrate this, Kaufmann-Buhler, et al (2019) state the following concerning the tradition of writing and praising "big-name" designers instead of social relations and processes:…”

Section: Adding a Decolonial Perspective To Design Empathy -Who Empat...mentioning

confidence: 99%

Take it Personally: What May it Take to Become Designers for Pluriversality?

Torretta

2023

kepes

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This paper argues that if we aim to Design for pluriversality, we cannot do so from a universalist notion of what it means to be a Designer. This paper briefly describes the efforts of decolonizing Design, then looks into two Design approaches in socially engaged Design methods that frame how Designers connect to place and people: Situated Design and Design Empathy. These discourses are then further nuanced by adding a decolonial lens, nuancing how Designers are situated and engage through the colonial matrix of power. This then serves as a map of aspects to be taken into consideration for nuancing a Designer’s relation place, history, profession and people in the colonial matrix of power. This paper then suggest the notions of awarenessing, an action-oriented reflective awareness on one’s position, flexibility in Design processes and the incorporation of personal aspects into Designing as possible ways to open up for pluriversal Design stances. The paper concludes by outlining potential implications of opening up for such stances in doing, writing and teaching Design.

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Introduction

Cited by 2 publications

References 0 publications

The queens of loud machines: Knitting and making music in West Berlin in the 1970s–1980s

The queens of loud machines: Knitting and making music in West Berlin in the 1970s–1980s

Take it Personally: What May it Take to Become Designers for Pluriversality?

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