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widely distributed) Raygun magazine in the early '
). The
latter took illegibility and challenging graphic design to new heights,
or extremes, depending on your point of view, and may have
represented the apogee and possible end of a particular approach.
Since then this style of complex, computer-aided graphic design
has become part of the mainstream visual culture, used in mass
market magazines, such as Wired , on CD covers and publicity for
mainstream music acts, as well as influencing the non-linear multi-
layered graphics widely employed on music television.
Punk may have anticipated advanced technological developments
but in practical musical terms it was resolutely low-tech, eschewing
the complex technologies beloved by other '
90
s (illus.
47
s musicians. But Punk
demonstrated a fascination with technology and machines, not so
much as musical tools, but as symbols both of the passing industrial
era and of the coming information age. Part of the bricolage of
Punk style involved industrial and utilitarian imagery and clothes,
such as boiler suits and workers' boots, as well as the use of stencilled
graphics and industrial-style icons. This element was drawn out in
70
47 Cover of Raygun , 1994.
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