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Safety Pin as a Metaphor: From Hard Rebellion to Equipment for a Modern Individualised Youth Identity.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Safety Pin as a Metaphor: From Hard Rebellion to Equipment for a Modern Individualised Youth Identity./
作者:	Neill, Julia.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	153 p.
附註:	Source: Masters Abstracts International, Volume: 82-04.
Contained By:	Masters Abstracts International82-04.
標題:	Cultural anthropology. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28241809
ISBN:	9798684645495

Safety Pin as a Metaphor: From Hard Rebellion to Equipment for a Modern Individualised Youth Identity.
Neill, Julia.

Safety Pin as a Metaphor: From Hard Rebellion to Equipment for a Modern Individualised Youth Identity. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 153 p.

Source: Masters Abstracts International, Volume: 82-04.

Thesis (M.Phil.)--Royal College of Art (United Kingdom), 2019.

This item must not be sold to any third party vendors.

Throughout the post-war period in the UK, young people have formed or joined groups that reflect their views, values, ideologies and interests. These groups grew from physical meetings in clubs and on the streets to become a visible part of their members' identities, influencing the clothes they wore and how they presented themselves to the rest of society. Over time, the collective identity of each movement became instantly recognisable and particular items became symbolic of the ideology of the people that wore them to such an extent that a safety pin worn on an item of clothing today is instantly associated with a punk aesthetic, attitude and ideology. As a symbol that become synonymous with a subcultural group identity, the safety pin and its association with the punk subculture is regularly referenced throughout this paper. It is used as an example of a subculture with strong aesthetic and compared with the views and behaviours of the current youth generation. The safety pin itself is also examined from a purely semiotic perspective to understand the characteristics that make an object ideally suited to carry a deeper meaning, and what the equivalent of the safety pin could be for the current youth generation. The explosion of social media and its widespread use by today's youth generation means groups, tribes and movements can form outside of physical spaces and exist and grow entirely digitally. Additionally, the ability for individuals to exercise a higher degree of control over their online identities means they can project different versions of themselves online to how they present themselves physically. This brings into question whether today's young people will form or align with subcultural movements in the same way, and if they will carry the same type of aesthetic identifiers or symbols that made previous movements instantly recognisable. Young people today are growing up surrounded by very different societal conditions, a need to define and curate multiple identities both offline and online and the apparent absence of a dominant ideologically driven subculture. This raises a question that I kept returning to throughout my research and practice: What, if anything, will be this generation's safety pin? Fashion and jewellery have long been identifiers of groups and a method of connection for subcultures in society from early tribes and religious groups, to the aesthetically driven cultural movements that have defined the post-war era, such as mods, rockers, rude boys, punks, skinheads and ravers. As John Clarke observed, "together, object and meaning constitute a sign, and, within any one culture, such signs are assembled, repeatedly, into characteristic forms of discourse." (Clarke, 1976 p.104). This research seeks to explore subcultural youth movements in the social media age, the form they take and how they are identified through objects and symbols. It will also look more deeply at social media's impact on the development of individual identity both online and offline and the relationship between the two worlds. Through primary research conducted in focus groups of 12-14 year old girls, I will explore whether today's young people feel a strong association with a group or tribe and how that impacts how they present themselves, both physically (in the clothes and items they wear) and digitally (through their posts on social media). I will also explore attitudes towards symbolism and iconography to understand whether the tribes and subcultural groups that exist among today's youth generation will be as visually identifiable through objects as the iconic groups and tribes of the post-war period. The findings will be contextualised by secondary research from leading commentators on subculture and symbolism including Dick Hebdige, Alan Warde, Kevin Hetherington, J. Patrick Williams and J.A. MacArthur, and presented in three distinct areas: the historic use of iconography and symbols in tribalism and the tribes that young people identify and relate to today; people's primal need to be a part of a collective and how social media is causing a shift from physical to digital; and the overarching impact of social media on defining an individual or group identity. Theoretical and workshop research is brought to life by practice, creating a series of pins that act as equipment for a modern identity. The word equipment has been carefully chosen here and as the title for the research to elevate the practice beyond the design and creation of an accessory or piece of decorative jewellery. The practice aims to create a symbol or set of symbols that can remain relevant to the complex identities of the current youth generation and respond to the particular needs and social pressures of young people growing up in a hyperconnected on- and off-line world. The word 'equipment' suggests that the practice has a use beyond their aesthetic, as will be made clear throughout the research. The pins were created through an iterative design process informed by theory and feedback from participants in the workshops, and is the visual representation of knowledge gained throughout the research. The practice led outcome of this research was presented at the Royal College of Art's inaugural research exhibition in 2018 as an installation of metalwork and photography. Each pin symbolises a characteristic that makes up a part of an individual's modern identity. They can be worn as individual pieces or combined with others to show a more complete picture of the individual wearer's identity.

ISBN: 9798684645495Subjects--Topical Terms:

2122764
Cultural anthropology.
Subjects--Index Terms:

Social media

Safety Pin as a Metaphor: From Hard Rebellion to Equipment for a Modern Individualised Youth Identity.
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The safety pin itself is also examined from a purely semiotic perspective to understand the characteristics that make an object ideally suited to carry a deeper meaning, and what the equivalent of the safety pin could be for the current youth generation. The explosion of social media and its widespread use by today's youth generation means groups, tribes and movements can form outside of physical spaces and exist and grow entirely digitally. Additionally, the ability for individuals to exercise a higher degree of control over their online identities means they can project different versions of themselves online to how they present themselves physically. This brings into question whether today's young people will form or align with subcultural movements in the same way, and if they will carry the same type of aesthetic identifiers or symbols that made previous movements instantly recognisable. Young people today are growing up surrounded by very different societal conditions, a need to define and curate multiple identities both offline and online and the apparent absence of a dominant ideologically driven subculture. This raises a question that I kept returning to throughout my research and practice: What, if anything, will be this generation's safety pin? Fashion and jewellery have long been identifiers of groups and a method of connection for subcultures in society from early tribes and religious groups, to the aesthetically driven cultural movements that have defined the post-war era, such as mods, rockers, rude boys, punks, skinheads and ravers. As John Clarke observed, "together, object and meaning constitute a sign, and, within any one culture, such signs are assembled, repeatedly, into characteristic forms of discourse." (Clarke, 1976 p.104). This research seeks to explore subcultural youth movements in the social media age, the form they take and how they are identified through objects and symbols. It will also look more deeply at social media's impact on the development of individual identity both online and offline and the relationship between the two worlds. Through primary research conducted in focus groups of 12-14 year old girls, I will explore whether today's young people feel a strong association with a group or tribe and how that impacts how they present themselves, both physically (in the clothes and items they wear) and digitally (through their posts on social media). I will also explore attitudes towards symbolism and iconography to understand whether the tribes and subcultural groups that exist among today's youth generation will be as visually identifiable through objects as the iconic groups and tribes of the post-war period. The findings will be contextualised by secondary research from leading commentators on subculture and symbolism including Dick Hebdige, Alan Warde, Kevin Hetherington, J. Patrick Williams and J.A. MacArthur, and presented in three distinct areas: the historic use of iconography and symbols in tribalism and the tribes that young people identify and relate to today; people's primal need to be a part of a collective and how social media is causing a shift from physical to digital; and the overarching impact of social media on defining an individual or group identity. Theoretical and workshop research is brought to life by practice, creating a series of pins that act as equipment for a modern identity. The word equipment has been carefully chosen here and as the title for the research to elevate the practice beyond the design and creation of an accessory or piece of decorative jewellery. The practice aims to create a symbol or set of symbols that can remain relevant to the complex identities of the current youth generation and respond to the particular needs and social pressures of young people growing up in a hyperconnected on- and off-line world. The word 'equipment' suggests that the practice has a use beyond their aesthetic, as will be made clear throughout the research. The pins were created through an iterative design process informed by theory and feedback from participants in the workshops, and is the visual representation of knowledge gained throughout the research. The practice led outcome of this research was presented at the Royal College of Art's inaugural research exhibition in 2018 as an installation of metalwork and photography. Each pin symbolises a characteristic that makes up a part of an individual's modern identity. They can be worn as individual pieces or combined with others to show a more complete picture of the individual wearer's identity.
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