際際滷shows by User: PaulHollins / http://www.slideshare.net/images/logo.gif 際際滷shows by User: PaulHollins / Tue, 13 Dec 2016 12:25:14 GMT 際際滷Share feed for 際際滷shows by User: PaulHollins Never mind the paradox /slideshow/never-mind-the-paradox/70093215 nevermindtheparadox-3-161213122514
In this paper the author provides a brief history of Atelier Populaire or Popular workshop and the situationist political movement responsible for its creation. The workshop was established to design and produce art to inspire and support situationist objectives during the Paris political protests and uprising of May 1968. The protests, resultant strikes and insurrection caused the temporary breakdown of functioning government in France. These events came to influence many of those who were to be involved in the establishment of the punk movement emerging in London during the mid 1970s including Malcolm McLaren and Jamie Ried. McLaren, allegedly, a participant in the riots and the artist Jamie Reid were aligned politically and openly sympathetic to situationist objectives and both cited the movement as being critically influential on them and the future visual aesthetic of punk. The author suggests the influence of the work of Atelier Populair extends beyond that of 1968 and the punk aesthetic of the 1970s evident in the posters and record sleeves designed by Reid for McLaren and the Sex Pistols, the fashion and Vivienne Westwoods designs sold through Seditionaries and the emergent fanzine art reproduced in publications such as Sniffin glue. Atelier Populaire, or more accurately, the artists themselves have, in a strictly anti-capitalist stance, continually resisted approaches to exhibit or reproduce their work. In contrast, Never Mind the Paradox, the artefacts of the punk continue to be commodified and exploited for commercial gain and influence politics, art, fashion and culture today.]]>
In this paper the author provides a brief history of Atelier Populaire or Popular workshop and the situationist political movement responsible for its creation. The workshop was established to design and produce art to inspire and support situationist objectives during the Paris political protests and uprising of May 1968. The protests, resultant strikes and insurrection caused the temporary breakdown of functioning government in France. These events came to influence many of those who were to be involved in the establishment of the punk movement emerging in London during the mid 1970s including Malcolm McLaren and Jamie Ried. McLaren, allegedly, a participant in the riots and the artist Jamie Reid were aligned politically and openly sympathetic to situationist objectives and both cited the movement as being critically influential on them and the future visual aesthetic of punk. The author suggests the influence of the work of Atelier Populair extends beyond that of 1968 and the punk aesthetic of the 1970s evident in the posters and record sleeves designed by Reid for McLaren and the Sex Pistols, the fashion and Vivienne Westwoods designs sold through Seditionaries and the emergent fanzine art reproduced in publications such as Sniffin glue. Atelier Populaire, or more accurately, the artists themselves have, in a strictly anti-capitalist stance, continually resisted approaches to exhibit or reproduce their work. In contrast, Never Mind the Paradox, the artefacts of the punk continue to be commodified and exploited for commercial gain and influence politics, art, fashion and culture today.]]> Tue, 13 Dec 2016 12:25:14 GMT /slideshow/never-mind-the-paradox/70093215 PaulHollins@slideshare.net(PaulHollins) Never mind the paradox PaulHollins In this paper the author provides a brief history of Atelier Populaire or Popular workshop and the situationist political movement responsible for its creation. The workshop was established to design and produce art to inspire and support situationist objectives during the Paris political protests and uprising of May 1968. The protests, resultant strikes and insurrection caused the temporary breakdown of functioning government in France. These events came to influence many of those who were to be involved in the establishment of the punk movement emerging in London during the mid 1970s including Malcolm McLaren and Jamie Ried. McLaren, allegedly, a participant in the riots and the artist Jamie Reid were aligned politically and openly sympathetic to situationist objectives and both cited the movement as being critically influential on them and the future visual aesthetic of punk. The author suggests the influence of the work of Atelier Populair extends beyond that of 1968 and the punk aesthetic of the 1970s evident in the posters and record sleeves designed by Reid for McLaren and the Sex Pistols, the fashion and Vivienne Westwoods designs sold through Seditionaries and the emergent fanzine art reproduced in publications such as Sniffin glue. Atelier Populaire, or more accurately, the artists themselves have, in a strictly anti-capitalist stance, continually resisted approaches to exhibit or reproduce their work. In contrast, Never Mind the Paradox, the artefacts of the punk continue to be commodified and exploited for commercial gain and influence politics, art, fashion and culture today. <img style="border:1px solid #C3E6D8;float:right;" alt="" src="https://cdn.slidesharecdn.com/ss_thumbnails/nevermindtheparadox-3-161213122514-thumbnail.jpg?width=120&amp;height=120&amp;fit=bounds" /><br> In this paper the author provides a brief history of Atelier Populaire or Popular workshop and the situationist political movement responsible for its creation. The workshop was established to design and produce art to inspire and support situationist objectives during the Paris political protests and uprising of May 1968. The protests, resultant strikes and insurrection caused the temporary breakdown of functioning government in France. These events came to influence many of those who were to be involved in the establishment of the punk movement emerging in London during the mid 1970s including Malcolm McLaren and Jamie Ried. McLaren, allegedly, a participant in the riots and the artist Jamie Reid were aligned politically and openly sympathetic to situationist objectives and both cited the movement as being critically influential on them and the future visual aesthetic of punk. The author suggests the influence of the work of Atelier Populair extends beyond that of 1968 and the punk aesthetic of the 1970s evident in the posters and record sleeves designed by Reid for McLaren and the Sex Pistols, the fashion and Vivienne Westwoods designs sold through Seditionaries and the emergent fanzine art reproduced in publications such as Sniffin glue. Atelier Populaire, or more accurately, the artists themselves have, in a strictly anti-capitalist stance, continually resisted approaches to exhibit or reproduce their work. In contrast, Never Mind the Paradox, the artefacts of the punk continue to be commodified and exploited for commercial gain and influence politics, art, fashion and culture today.
Never mind the paradox from Paul Hollins
]]> 263 4 https://cdn.slidesharecdn.com/ss_thumbnails/nevermindtheparadox-3-161213122514-thumbnail.jpg?width=120&height=120&fit=bounds presentation Black http://activitystrea.ms/schema/1.0/post http://activitystrea.ms/schema/1.0/posted 0 https://cdn.slidesharecdn.com/profile-photo-PaulHollins-48x48.jpg?cb=1593689182 An experienced academic ,self directed, self motivated professional . I have extensive experience at Directorial level of a combination of the Education and digital industries sectors with particular interests in digital and applied games. I have undertaken various management roles and have an established track record of academic research, publication, teaching and project management spanning a number of domains. Specialties: Education Management (Higher and Further) ,Online and distance Learning, e-learning, Educational Technologies, Technology Enhanced Learning , Cybernetics , Business and Management studies,Serious Games, Multi User Virtual Environments (MUVE), Organizational struct... http://jisc.cetis.ac.uk/