A genre of fantastic literature that aims to reveal all the potential capabilities of a particular technology that dominated in a certain time period or in a certain civilization. The genre is represented by models that also include “timepunk” in the group (steampunk, dieselpunk, atompunk, cyberpunk, nanopunk, biopunk), as well as a hybrid subgenre of techno-fantasy, depicting a technically advanced civilization, but with the main attributes of the fantasy genre.

Technopunk is very close to alternative history, but the fundamental difference is that this is a stylistic reconstruction, not a historical one. Technopunk is not looking for bifurcation points at which little external intervention or other choices have been made historical figure, could change the development of humanity. Typically, technopunk depicts an already established civilization, developing for a long time in the direction that led it to current state, and the reader can only guess where the discrepancy began, and in the case of techno-fantasy, he is deprived of this possibility.

(Timepunk) - subgenre science fiction, simulating a world at some other technological level, which most often implies different laws of society. This term is a general term for large quantity related areas of fiction, often derived from cyberpunk and steampunk (which itself originally appeared as a separate direction as a parody of cyberpunk), and is quite close in meaning to the concepts of technopunk, techno-fantasy and alternative history.

Types of Timepunk:

(Stonepunk) is a genre of science fiction that simulates a world at the technological level of the Stone Age.

Bronzepunk(Bronzepunk) is a genre of science fiction that simulates a world at the technological level of the Bronze Age.

Sandalpunk(Sandalpunk) is a genre of science fiction that simulates a world at the technological level of late antiquity.

Plaigpunk(Plaguepunk), also Middlepunk(Middlepunk) and rarely Candlepunk(Candlepunk) is a genre of science fiction that simulates a world at the technological level of the Middle Ages.

Clockpunk(Clockpunk) is a genre of science fiction that simulates a world at the technological level of the Renaissance and Baroque eras: court engineers, courtesans, guardsmen.

(Steampunk) - a genre of science fiction that simulates a world that has mastered technology to perfection steam engines.

(Gasopunk) (Dieselpunk) - a genre of fiction describing technological world level of the 20-50s of the XX century.

Atomicpunk(Atomicpunk) and transistorpunk(Transistorpunk) is a genre of science fiction that simulates a world at the technological level of 1945 - 1990.

(Cyberpunk) is a subgenre of science fiction that describes a world of the near future, in which high technological development coexists with deep social stratification, poverty, lawlessness, and street anarchy in urban slums.

(Post-Cyberpunk) is a genre of science fiction that developed from cyberpunk, which, like its predecessor, describes the technical development of society in the near future and the processes occurring during this process (universal penetration of information technology, genetic and molecular engineering, modification technologies human body etc.), however, unlike “classical” cyberpunk, the main characters of the works actively strive to improve social conditions or, by at least, to prevent the degradation of society.

Types of Post-Cyberpunk (also included in the types of Timepunk):

(Nanopunk) is a trend in science fiction (a type of post-cyberpunk) dedicated to the social and psychological aspects of the use of nanotechnology.

(Biopunk) - a direction in science fiction (a type of post-cyberpunk), dedicated to the social and psychological aspects of the use of genetic engineering and biological weapons.

Spacepunk(Spacepunk) - a mixture of cyberpunk and space opera, differs from space opera not only in its cyberpunk surroundings, but often in a tougher and more cynical world.

(Splatterpunk) is a literary and cinematic genre on the verge of fantasy and horror, which appeared in the mid-1980s. Splatterpunk is short works with a cynical description of violence in large modern cities. Splatterpunk heroes are antisocial, alienated misfits. Antiheroes are serial killers, psychopaths and maniacs.

(Post-Apocalyptic) is a genre of science fiction in which action takes place in a world after a global catastrophe.

There are also a number of other interesting directions, related to this topic:

(Stitchpunk) (from stitch - “sewing stitch” and punk - “something useless, unnecessary; rubbish, trash”) - a direction of science fiction. A derivative of cyberpunk and steampunk, which considers an alternative version of the development of humanity or the material traces of its habitation, in a post-apocalyptic world, the main inhabitants of which, as a rule, are dolls, plush toys, etc. The stitchpunk style is more parodic and not as pessimistic as cyberpunk or steampunk, although it has similar features of social dystopia.

(Apocalyptic) is a genre of science fiction that tells about the onset of some kind of global catastrophe. The first works of this genre appeared in the era of romanticism in the very early XIX century, but the real heyday of the genre came in “ cold war", in connection with which the classic plot of this genre tells about thermonuclear war.

(Dystopia) - direction to fiction and cinema, in the narrow sense description totalitarian state, in a broad sense - any society in which negative development trends prevailed

(Alternative History) is a genre of fiction dedicated to depicting the reality that could have been if history, at one of its turning points (bifurcation points, or fork points) had taken a different path. This should not be confused literary genre with alternative historical theories that propose to consider the picture of the past depicted historical science, partially or entirely erroneous.

A genre of science fiction, a subgenre of fantasy, describing a world in which technology and magic coexist side by side. The genre has several variations of worlds.

A term that combines the concepts of “retro” and “futurism” (also futurology). Retrofuturism is how people imagined the future in the past.

Contrary to the general belief that the mohawk was invented by representatives of the punk culture of England, this hairstyle appeared in ancient times in Indian tribes with the same name Iroquois. Now the descendants of this tribe live in America in the states of Oklahoma and Ontario and lead an ordinary peaceful life.

But their ancestors at one time, in particular the Cherokee Indians, were one of the most prominent representatives The tribe led a military lifestyle, and the Iroquois was a kind of symbol of courage, aggression, readiness to fight for their territories and the lives of their families. The Indians made large, bright mohawks, decorating them in various colors, demonstrating strength and ruthlessness. By the way, they were helped to create a mohawk by a special substance similar in consistency and viscosity to resin.

Revival of the Iroquois

The 70s of the last century were marked by the emergence of various subcultures both in Russia and abroad. Among them, punk culture stood out especially clearly. The so-called punks were full of colorful clothes and tall mohawks painted in all the colors of the rainbow. This hairstyle has become the most important and defining symbol of punk culture. It is noteworthy that the means for creating a mohawk were water and soap, and among modern Russian youth there are rumors that the best remedy there was ordinary borscht.

Among famous representatives of that time, those who preferred the mohawk to the classic hairstyle can be distinguished The group Exploited, born in Scotland. In Russia, one of the country's main punks was and remains to this day the group "Purgen", at whose concerts you can still see mohawks on the heads of both the musicians themselves and their listeners.

Mohawk today

Today, those who want to wear a mohawk do not have to use such “deadly” means as resin or borscht, since store shelves are filled with various fixing agents. These include hair sprays, gels, and mousses. In addition, the mohawk as a symbol of protest and struggle has long lost its relevance.

Today, such a hairstyle is just a symbol of individuality and a means to emphasize style. Famous foreign representatives of sports and show business from time to time shock the public with mohawks of various lengths, heights and colors. And this is perceived only as following fashion - no aggression and no desire for anarchy.

Subcultures have existed at all times. Young people, in the hope of expressing their individuality, tried to dress in a special way, not like everyone else. Clothes were followed by special thinking, and in the end it all grew into ideology. The world was covered by a wave of hippies, disco, grunge and punk. Punks are considered one of the most provocative of all movements. Everyone has heard about them, and yet there are still people wondering: who are punks? Let's try to figure this out.

From music to subculture

Punks owe their appearance to the musical movement of the same name - punk rock. This style of music appeared in the 70s of the last century in the United States of America and Great Britain. The musicians rebelled against all other styles of rock, which at that time had become too lyrical and depressive. This is how punk rock appeared, preserving the fervor of good old rock and roll combined with primitive playing of the musical instruments. The primitiveness of the game was deliberate, because punk rock is something that is available to everyone.

In the 70s, the world recognized more and more new groups: Pink Floyd, Deep Purple, Yes, Led Zeppelin, Genesis. They quickly received universal recognition, and after this, large fees for concerts. Members of these groups lived in expensive mansions and rode in luxury limousines with personal bodyguards. They gradually lost what united them with punk youth. They were 12 minutes long and performed to a soundtrack simply did not resemble what the teenage street rebels loved so much.

On November 6, 1975, the London College of Art was rocked by the performance of a provocative punk rock band with an equally provocative name. It was the Sex Pistols. They subsequently became a punk idol. They had what it took to make real punk rock: simple chords, primitive playing that didn't require much effort, affordable concerts.

The meaning of the word "punk"

The word "punk" comes from English spoken word, meaning “bad”, “trashy”. It is not known for certain how exactly the representatives came up with the idea to be called that way: either they called the anarchist rebels that way, or because their music was called that way. One way or another, the word stuck.

Ideology

Punk ideology is based on freedom. The punk subculture stands for the realization of human freedom without any outside pressure. In other words, if a person is free to wear whatever he wants, then he should really be able to walk down the street in torn shoes without getting a finger poked in the back. Freedom of speech is another one important point for them. In their songs, punks do not mince words and use obscene language, because the right to freedom of speech is guaranteed by many human rights conventions.

Despite the judgments of society, punk is not a fashion at all, but an idea that gives meaning to the representatives of this movement. Many consider this to be an age factor, as if it is just something that will pass after the rebellious teenage years. In reality, this is not always the case. A true punk stays that way for the rest of his life.

Characteristic personality traits

The question of what punk is is not entirely correct. It’s better to ask, and then everything will immediately become clear. One true representative of a subculture can give an idea of ​​what the entire movement is like.

A punk is a person striving for independence, in other words, individualism. Such a person, even though he is often among a noisy company, is a loner on his own. He does not care about society with its problems and the needs of other people. Punks are characterized by anarchy, anti-authoritarianism, anti-homophobia, and nihilism. A punk is an asocial person who denies any culture, who does not respect the older generation according to the principle: “If you are old, then they respect you.” He is always against any order, power.

Appearance

The punk subculture has its own character traits, thanks to which it can be distinguished from all others, including external ones. Although appearance It doesn't really matter to punks, they all look the same.

• Iroquois. This hairstyle originated before the advent of punks. The Indians did it during their secret rituals in order to scare everyone around. Punks use different variants. IN classic version the hair is shaved, and only a strip remains long hair along the head. They are placed using varnish like large needles.

• Hairstyle - "garbage dump". Suitable for everyone who doesn't like to bother. Just tousle your hair and your hairstyle is ready.
• Abundance of accessories. These are chains, rivets, stripes, collars, wristbands, pins. They cover the entire image from head to toe according to the rule “the more, the better.”
• Torn pants. They are torn either on purpose, as a sign of protest, or they are not sewn up after a fight at a concert. Even if the piquant areas are visible due to the holes in the pants, this does not bother anyone, because it’s even better. Punk is always about freedom and breaking social norms, and sometimes this can be shocking.
• Leather jackets. What distinguishes them from biker ones is that they are decorated using spray paint. They may have different inscriptions and many rivets.

In the minds of society

Many years of practice have shown that people refuse to understand what punk is and what it wants to show the world. According to surveys conducted at one time by sociologists in the Russian capital, it was revealed that the majority of the population considers them nothing more than people suffering from schizophrenia. They are considered aberrations, sick and ill-mannered.

On the one hand, this point of view is completely justified. Many punks do not show themselves at their best. the best side, committing crimes. Promoting words, actions, thoughts and views, they ultimately did not think about the fact that they themselves were violating the same freedom of other people. This is not to say that all punks are like this, because many of them are worthy of respect. Initially, punk was accessible music and a protest against the dullness of life. Over time, turning into a bunch of real ragamuffins, punk lost its true face.

Alas, they are called scum, just like in the 70s. The youth, who once wanted to gain freedom, ultimately did not find universal recognition. And today there is a decline in the punk movement and its replacement by new directions.

Resistance art and the art of resistance

Special message from Rebel Scene

It seems that some moments of life created by people, the people who created these moments from their lives, were moments only at a certain point in history. Those movements that were resistance to society, which we observed in history, sooner or later lost their former meaning. Many phenomena, such as some autonomous neighborhoods or organized direct action groups, lost their element of threat due to the impossibility of confronting the state, police, and army. And such as hippies, rock and other subcultures simply turned into mass ones. And on the other hand, they were joyfully accepted as they are, because this non-standard and defiant image life could bring income to everyone. They were commercialized and became part of the industry. These subcultures rejected their protest, its ideals ceased to disturb reality, they merged into the established order and finally died.

The value of your politics at the mainstream level

In many ways, the subculture that we have been observing for more than thirty years has lost, or rather, never acquired the element of threat. But punk rock has always been endowed with spirit, sincerity, and hope. He filled musical content voice of protest. Since the late 70s, he has opened a lot of eyes, revealed the secrets of this world, but in the end, this does not prevent him from becoming the object of sale, speculation and the subject of advertising billboards, often without even knowing it. Bands like Chumbawamba may not have lost their verbal politics, but they have lost their punk spirit. They made compromises with the mainstream industry through the media or labels. They tried to fight them at their own game. And, of course, they lost.

In our consumer world, divided into the elite and everyone else, who are shown how to live, and from childhood this society raises us to be a passive spectator of the “success” of the few, it is very easy to give in to temptation, because everyone wants to achieve “success” , like his idol, seeing the carefree life of music stars. This is exactly what producers and promoters play on, promising large fees, expensive equipment on stage and releases with large circulations in all music stores. This is why many people market themselves as artists. And many of those who call themselves punk. We all know that those subcultures, when they talk about politics from the stage, TV, radio provided for them, they speak not in their own words, but in the words of the mass media, which will not be against it, because these words bring a balance that shows , that in our industry, which is aimed only at profit and supports wars, there is someone who is against this, and everyone seems to feel calmer. So those words of protest only support the existing industry. "The revolution cannot be televised." Do you really think that if these methods were effective, the bosses would not interfere with them? They want you on their newspaper, TV show, festival, big label, because they don't care what they sell - hair gel or radical politics, as long as it sells. Because they must always be presented with something new and “modern”, because they know that the old, in the end, can become boring. And here they are counting on you, because nowhere can the message be as strong as the message from people from the same environment/subculture. When art is reproduced for commercial purposes, be it in cinema, advertising, festivals, words about freedom and ideas lose their meaning or have it only in a certain context created by the industry. And these words cannot be taken as the pure truth, not because they lie, but because they are spoken with the permission of those whom we do not believe. When art reaches the mainstream level, it cannot be explained by small-scale tactics or strategy, it is explained by the transformation of capitalism and the willingness to put into circulation anything that can generate income, and the weakening of the gang's political base. Soul music becomes popular music, sincerity changes to value.

And the question arises: “Do you use your gang to carry politics, or do you use politics to carry your gang?”

How to make punk a threat

Probably again. So how can we not lose our spirit, protest, or cut off our roots? And turn the punk subculture into the longest, largest and most massive, borderless protest ever known in history?

If we want to make a hole in the totalitarian wall of the system with our unique subculture, we must speak and act in such a way that we are not only understood, but also understood. But how can we hope for a correct understanding of the words we said that the state is evil and corporations are shit (which will not change the world, and don’t deceive yourself, you know this very well), if we don’t open up to the person who got into punk for the first time show, alternative lifestyle. If we want to tell people about politics in our punk rock, then everything in it is politics. What you buy, what you wear, what you eat, what instruments you play and how you get them, what company's T-shirts you print your band's logo on - all this is our policy. culture. If we truly want to transform our culture in a completely new way, to create a politically conscious counterculture distinct from other subcultures, buying and selling goods must play a minimal role in our relationships. It becomes clear, if you look at the corporate exploitation of the subcultures of hippies, hip hop, popular punk rock and hundreds of others, that those movements that primarily focus on selling their products, portraying their community, are primarily susceptible to corporate interests. And a person who went to a punk concert for the first time in the hope of discovering a whole new world, based on mutual support, demonstrating cooperation and resistance, and not another society on a capitalist basis, will see that it is another social gathering, equipped only with verbal politics, and which has nothing new to offer. Look at any concert photo and what do you see? A certain style of all the people present there, as if demonstrating that one should wear such certain brands, which are not at all cheap to get involved in hardcore.

The way we live and create can be an example, but boring and predictable words between songs are unlikely. We can hardly count on changing the world if we ourselves cannot invent new ways of life and creativity, and when inventing them, do not remain faithful to these methods and agree to compromises. Probably, we wouldn’t even have to say anything between songs, because people would already see that the concert, the society at it, everything is organized in such a way that we call diy anarcho punk. Remember what you discovered the first time you went to a punk show? A completely different world, a world built on completely different relationships, where everything ran counter to your previously usual ideas about the world, wasn’t it?

How can we expect to be understood when we talk about a punk ethic that denies rock stars, and not dividing between artists and audiences and not making money, when we play clubs and big festivals for pre-commercial gain, with the stage surrounded by security? Performances at thousands of festivals or concerts organized as “musicians” - “public” or selling CDs in shopping centers It may give everyone the opportunity to tell everyone about their political ideas, but the musicians thus still remain in the concept of unattainability, and everything is based on the basis of unattainability, elite, idols, heroes. This maintains the existing division, which benefits the dominant culture because consumers in this situation remain so. Because of their love for music, they are forced to buy CDs (including yours, if you want it) in shopping malls, forced to be a passive observer of you on television, and big concert with security, which reinforces their belief that these are people who will never be met or talked to, that these are gifted musicians with connections in the industry, that it is impossible to take part in this, and so on, instead of the activities of musicians encouraged them to create music, ideas, and communication channels themselves. And our concerts, and distro channels, and labels, made in close cooperation, interaction on a personal level, directly blurring the line between the “stage” and the “public”, will make people understand that everyone can start doing what we do, thereby motivate them to do it themselves and thus our projects can spark another one, and another, and so on down the chain.

We protest against economic and government laws, but without knowing it, or not wanting to suspect it, we bring them into the punk scene. In our scene, where many of us resist work and want to invest money in political projects, we should not be guided by economic canons like “is it okay to sell a CD for this much if it costs this much in the store,” or “this is the ticket price?” equal to the price of two bottles of beer,” because in this case we are moving away from the mainstream economy. The existing economy, aimed at profit, has a basic foundation - buying cheaper and selling more expensive, and, following this logic in our punk scene, we do not create our own environment, we do not go against the mainstream economy, but rather support it. And we force people to go to jobs they don't like, more often and more, in order to pay for our overpriced projects. This is an example of how capitalism affects the punk scene and blunts diversity in spending. When setting prices for a ticket, or a CD, or a zine, or any of our other products, we must keep the prices as low as possible, depending on real costs and development in the future, so that people have little money left to finance their political d.i.y. projects.

In the end, words about politics inspire fear, and ask probably the most important question about our activism: “is it worth believing this, is there any point in this if the musicians themselves are not true to their ideas, otherwise how did they end up at this concert, how did their disc end up in this store?” and so on.

There is another problem with this when punks don't think about such "small" compromises, but think that they will sell themselves as artists only if they are seen on TV, or when they play at a shoe company's festival.

Some notes about the concerts

No matter how much we talk about the protest nature of our punk concerts, after them everyone still goes home, not a trace remains of the concert, and the protest rests in the imagination of the musicians and it’s good if those who came to watch it. No, in Belarus, for example, or in some other places of Eastern Europe, such as Vilnius and not only, a certain role of resistance exists in conditions where the authorities monitor every concert or try to liquidate the places in which these concerts are held. But from the outside, concerts follow a well-established scenario - the beginning, the performance, the musicians-spectators who stand and sometimes dance, the end. Innovations very often cause caution, due to the usual concert framework created by the industry. The concert starts at 11 am or 1 am, gangs that are created right during the concert with an impromptu performance, 15 minutes for a set with a setup for each gang, when gang members would be located along the entire perimeter of the hall in the crowd, and each concert we would come up with new ones dancing. How fun and dynamic would it be if we applied these elements to gigs? Each concert would be interesting, as if it were your first, and would be highly anticipated. So that every concert is like a holiday and a carnival of friends, the main objective which to cheer each other up. Do you still remember how you felt the first time you went to a punk show and how much you looked forward to the next one? Our imagination and ideas would undermine the established standards of the entertainment world. Our stage and concert are like small world the one we dream of. Every concert would show that this is an opportunity to have more fun, more events, more interesting life for everyone, and everyone would complement each other.

The DIY ethic has been around long before punk rock, it's been around for thousands and thousands of years, as long as humanity has existed. Only then it did not have a name, and there was no need to have one, because it was the basis of society. When people created their own infrastructure, they organized concerts around the fire in the evenings, and there was no goal of sales or profit. But this very soon turned out to be impossible with the construction of civilization, which means the first impulses towards power and money, when everything was converted into a commodity form. Nowadays, there are fewer opportunities to create DIY art. We brought DIY into punk/hardcore and began to create relationships, make things and activities alternative to the mainstream culture. In a world of monopolized mass media that support the existing world order, we cannot imagine communication without TV, radio, and newspapers. And there is almost no opportunity to speak and be heard in its entirety. But by creating our own alternative sources of information, such as indymedia or magazines, we ourselves create communication for our community - honest and open. You don't ask for the right to speak, you just do it. You say everything if you want, because, for example, at concerts there is not always enough time and opportunity to do this. With our non-hierarchical and scattered media all over the world, we are undermining the media.

Do It Yourself or With Your Friends (DIY/DIWYF) in everything related to music, politics - this is direct action and life. Our anarchist punk rock underground is not an island, our way of life is spreading throughout the world. With our culture, just not included in the framework of the dominant one, we show how a person can live free from the circle of consumption, create art, an economy that is truly free from this capitalist society and its institutions. We show how the mass breaks up into individuals, existing not in a unit, or some other party, held together by some rules or party cards, but in harmony. Resist temptation and compromise to find easy way, and rejecting everything that can bring income to some institutions, and instead - the free play of imagination, the creative creation of elements of the scene, and then our ideas, together with sincerity and, most importantly, being true to our words in all aspects of life and punk , acquire the power ever possible in the world, because the people who see it at concerts, booklets of punk records, barricades at summits, indymedia, themselves acquire the energy and desire to preserve and improve life. We need to create a society where everyone shouts, dances, dresses, plays, organizes, thinks, relates to each other in ways that have never been imagined before. Let's think like, and try to create our own new opportunities to spread our ideas, rather than looking for the easy or profitable way. It is art, punk rock, and the way we make it that makes us all aware of the not yet achieved, but new realities and opportunities, the desire for which creates a “counter” from the subculture, and does not strengthen someone’s business, like everything in this world. Otherwise, our punk rock provides only a niche for people with similar interests and turns into just another social get-together. It becomes not a real property of the soul, but a set of certain inclinations and hobbies that do not bring trouble, as if becoming a moral or religious foundation.

Taken from Minsk anarchist and hardcore/punk action magazineRebel Desire #2

Published: 04/19/2003 14:09

Now it is no longer difficult; progress does not stand still in this simple matter. Computers with hard disk recording and a set of appropriate programs allow you to record right at home (except for drums, of course). Therefore, if among your friends there is at least one hacker with a powerful machine at home, convince him that he needs to acquire all the software necessary for recording, learn how to use the remote control (real or virtual, it doesn’t matter) and start recording.

Typically, the hardest part of recording a rock band is the drums. That is why many take the easy route of “hammering” drums from a rhythm box. For punk and hardcore, this option is bad - the phonogram turns out to be devoid of the necessary “air”, “liveness”. Therefore, the drums must be written “live”.

The easiest way to do this is this: the mini-disc recorder is connected to the rehearsal base with the console, all possible microphones, the drumming points of the installation are sounded, the ideal balance is sought, after which the drummer records all his parts. The resulting requests are uploaded to the hard drive of the hacker’s computer, after which the remaining tools are written at home. If this path is difficult for you, sign up for a concert. You will need a minidisc recorder. In this case, all you have to do is ask the sound engineer at the club to connect your tape recorder, and try to play as best as possible.

In case you have some money, you can produce a demo of very, very decent quality in a cheap studio. The vast majority of phonograms published on the collections of the series “Like punks... and all that!..” were recorded in such places. In order to record 1-2 songs well, you will need about $50.

Professional, “big” studios in Russia are very expensive, but if you have the opportunity and desire to write “expensively”, keep in mind that with all the bells and whistles and incredible equipment, the staff in such studios, as a rule, know nothing about how write guitar heavy correctly. Before recording begins, immerse the sound engineer in “format” music. Let me listen to at least Green Day or Bad Religion. In this case, he will be able to professionally select the necessary combination of equipment to obtain the optimal result for you.

For reference: the budget of the album “No Landing” gr. Cockroaches! = $2500, the result is inconclusive. Budget for the disc “POPKORM (we taught the world to suck)” = $1000. Good album.

Always come to the studio well prepared, rehearse 3-4 times a week a month before recording. Think through all the parts of additional guitars and backing vocals at the base or at home, so as not to waste time on this in the studio.

Your extra studio time money you burned yourself!