The genre of music (and more generally, the cultural movement) known as Riot Grrrl has a deep connection to fanzine culture. Here are some links to sites that document, preserve, or otherwise describe the zines associated with Riot Grrl:

Here’s a link to the Barnard Zine Library, an online academic zine collection.

Here’s a site devoted to Eccentric Sleeve Notes, a music fanzine published between 1981 and 1984. Note features good and bad.

The POC Zine Project tumblr.

Here are some links to zine distributors (or “distros”):

Microcosm Publishing

Stranger Danger Zine Distro

You can also find zines by searching on Etsy.com, and at stores like Reading Frenzy in Portland and Quimby’s in Chicago.

 

Ask and the internet shall deliver. After getting some questions about what constitutes an appropriate post for the “Searcher” role, I logged into Facebook to discover that several professor friends had posted a link to this Buzzfeed post making the rounds: Post-Structuralism Explained with Hipster Beards.

In the post, the author, Chris Rodley, works through some of the basic concepts of structuralist (and then post-structuralist) theory using the example of the hipster beard. For instance, in order to explain the concept of the sign– that basic building-block of language– Rodley distinguishes between “the signifier (the face-fur itself), and the signified (the idea of the pretentious PBR-drinker who lives in Bushwick [Brooklyn]. (In class, I’d used the more canonical example of the word “tree” as signifier, and the picture of a tree as signified; this is the example employed by Saussure himself). In the case of trees, beards, trees that look like beards, or for that matter, any other sign you can think of, the point is that the tree/beard/sign isn’t just a reference to something– what Rodley describes as a “label”– the sign is how we understand the thing. According to structuralists, there is no way to access anything more elemental; the sign is as close as we get.

Rodley nicely summarizes Derrida’s beef with structuralism, although without referring to the “Archive Fever” essay. (In truth, it’s a minor essay in the grand scheme of things). Instead, he cites Derrida’s conception of the “violent hierarchy”– the idea that binaries are rarely equal and opposite, but rather, hierarchical. It’s the job of the reader, then, to dismantle this hierarchy, and place competing meanings on equal planes. Derrida, in “Archive Fever,” doesn’t specify which meaning of the word “archive”– commencement or commandment– sits at the top of the hierarchy. But it’s interesting to think about which one he might place there– and which one we might, as well. Is history– that is, the story of events– what holds the greatest authority? Or is it the author, or archon, his or herself, who is truly in control?

 

 

 

The GT Archives, where we’ll be meeting on Tuesday, are located between the Hinman Building and the Crosland Tower. On this map, it’s the yellow pin:


View Georgia Tech Library in a larger map

This is a course about why people keep things, how people keep things, and the things that, try as they might, people cannot keep at all. From archives of documents to archives of junk, we will explore the concept of “the archive” and how it is transformed in the digital age. We will examine theoretical formulations of– and challenges to– the archive through the lens of literary accounts of archives and artistic representations of archives, as well as examples of archives, both print and digital, from Georgia Tech Archives and the greater Atlanta area. We will interrogate the meaning of the archive in the context of a range of media forms, as well as the issues of materiality that those forms engage. We will explore the social and political forces that underlie archives’ construction. Finally, we will explore current issues and concerns with respect to digital archival design. As a final project, we will work together as a class to design and implement a digital archive of science fiction fanzines from the Bud Foote Science Fiction Collection here at Georgia Tech.