Crypto Logo Jihad Black Metal and the Aesthetics of Evil by Daniel van der Velden
Prof. Madad
Minimum three paragraphs.
Due 10.23 by midnight.
anne chiang
find out what the song "War" by Burzum was. As I was listening to the
first few seconds of it, I thought it might be a pretty good crazy
screaming metal song, but it was just horrible. Then I found the song
to be quite hilarious after I was listening to this song and reading
the piece, "it sounds like a muppet being strangled." Then the song
had a whole other meaning to it after I found that the singer had
murdered someone and was a pyromaniac. To me, it sounded a bit
psychotic, it sounded demonic and I had to turn off the song.
"This type of music is very far from the musical idiom of the people
who are imprisoned there. Even to Western ears, it can literally sound
devilish. Most people will go crazy if you force them listen to that
sort of music... Particularly the so-called "grunting" brings out
something devilish that is probably recognizable in other cultures
too. I don't know for sure, of cure, but I think that this way of
singing refers cross culturally to very dark things. That is why it is
so effective. It could also be music that is popular amongst the
prison guards there." Knowing that Black metal music is used in this
way, it's kind of inhumane almost, to force someone to listen to
screaming metal music.
"A logo plays a huge part in the image of a company or product. This
is also certainly the case with bands... In black metal particularly,
there is a certain revered aesthetic, like spikiness, illegibility,
intricacy; to those things are added that intangible element that
tells the connoisseur "this is a cult album that is worth your time."
I think I kind of encountered this while trying to represent myself,
not necessarily creating a logo but while creating my images. It was
really hard to try and create an image that would be a 'password',
that would tell the viewers everything in that single image.
The definition of simulacrum is 'an image or representation of someone
or something / an unsatisfactory imitation or substitute'. I think
that while I was creating images, I was kind of creating images that
was a simulacrum, which made sense to me because I created them for my
own personal mythology, but when I brought them to class, others
didn't fully grasp what it meant. "Captchas are word pictures
generated without human intervention, which must be retyped by a
computer user (for instance, when setting up a free e-mail account) in
order to guarantee that this is person and not a machine, so as to
prevent improper use by spammers. For this reason, such word pictures
must be practically illegible. The words that are found in the
captchas are often abstract combinations of letters that mean
'nothing'." I feel like the images that I created have that purpose,
it has a purpose as to why I created them, but if others were to look
at it, they probably mean nothing. Like when I brought in what I
created, to others, there was probably no meaning to it but there was
a purpose as to why I created it.
NoraG
previously it wasn't something I payed much attention to. But it makes
sense that a musical form that is such a departure from popular
culture and societal norms would have its own rich history and
thoughtful aesthetic choices. And the more I read, the more I could
picture the jagged, unintelligible logos of some metal bands, some
that I'm aware of and some that I can just imagine.
Since i was never an interested fan of many metal bands, especially
radical black metal bands that the author refers to (some guy in a
band killed another guy in a band?!!), it never occured to me that
even hard rock's stylistic influenced sometimes referred to the third
reich, which is very radical indeed. I've often heard that Great White
Sharks like to listen to Metallica, so it was interesting when I read
that its also a known torture device for prisoners in Guananamo Bay.
What most interested me was the notion that metal coincides with
politics, and more concisely in terms of "polarizing, of articulating
differences". It is the way the music is heard and used that they
creators are thinking. It is black in its description and its uses.
The Possessed album cover which depicts the band "swathed in spikes
and leather, with blood, guitars and amplifiers" sounds like any other
metal album that I would roll my eyes at. But in fact their tactics
are trying to exemplify power that is embodied in the music and the
power that the band has (or wants to think they have). With power
comes the money, the women, the adoration and ability to conquer. If
that is the message the bad wants to put forth with their music, then
the album cover, logo and personalities must match. They don't want
listeners to question authority, or write to their congressmen about
legalizing weed...they want to recruit listeners to their regime of
metal. That's why the author makes these connections amongst metal
bands and dictators, violence and power. Its surprising to think how
overlooked it is by many that Fraktur and other fonts that are
associated with the horrors of WWII and the holocaust are so widely
spread in music. Not just music, but newspapers and periodicals. But
it works for the band's aims, to remind listeners of fear, violence,
and power worship.
I don't think I've ever thought twice about the Captchas that
appear on almost every website you must create a username for...and
this author used it as a comparison for black metal band names! Van
der Velden makes it seem as if they go hand in hand, and his list of
illegible band names surely makes them seem like brothers. Its the
illegibility, messiness and inaccessibilty that makes a listener feel
connected to the band, and thus the band acts as a leader to the
listeners. The idea that a name, or a logo are passwords makes sense.
As the world widens every decade, especially with the internet, people
feel a greater need to stand out amongst a world full of people. A
password, a band name that only true fans can decifer and understand
makes the fan feel powerful, almost as powerful as the band, who has
created a group of secret followers.
I guess in the same way that black metal bands appropriate evil
symbols and cryptic messages to get their messages across, doing the
Personal Mythology project is an exercise in understanding the message
that has to get across to other people in order to recruit them.
Although I might not use images that resemble Nazi Germany to show
people what I am about, I could use images and symbols that others can
associate with so that I can get them to understand my affiliations.
The gritty, ragged, type, the red, black or grey colors, the imagery
of multiation, violence and misery, speak to all of us. So I guess
color, form, intention, and relatability are all important in the
images I make...which is pretty challenging.
On Oct 18, 9:16 am, "Prof. Madad" <ama...@gmail.com> wrote:
> Read *Crypto Logo Jihad Black Metal and the Aesthetics of Evil *by Daniel
> tactics that are adopted by the bands van der Velden describes in the
> yourself?
>
> Minimum three paragraphs.
> Due 10.23 by midnight.
>
> 156KViewDownload
Mathieu C.
Jessica Mazur
itself. I have to start of by saying that heavy metal is the last type
of music i would ever listen to. To me it just sounds like an angry
person screaming. I really do not understand this type of music other
than it being a way for the artist to get out their own aggression i
do not find it pleasing to listen to. One line in the passage that
stuck with me was
" A metal concert is a celebration by people with problems."
I truly agree with this statement that people who play heavy metal or
listen to it use it as a form of getting out their own anger or
agression.
David Saunders
This was one of the stranger readings that we’ve had. Perhaps I’ve just never thought about black metal music or logos connoting the nazi regime, but I have now. In general, I thought van der Velden had some interesting conclusions. I do think there is a tangible relationship between metal music and personal expression, much more so than other genre’s of music. While I don’t know anything about van der Velden, his quotes by Roelstraete were very interesting and provided a much more in-depth examination of the relationship between metal and the individual. One interesting idea that can be accredited to van der Velden was the idea that “The artist who introduces black metal aesthetics thus refers to a phenomenon that is considered to be taking place beyond the consciousness of the viewer” (van der Velden, 2). This seems to be one of the most interesting concepts he mentions. I think that this effect is what is driving alot of the recent cultural changes. The individual desires to see something they haven’t seen, as well as something with personality. People would like to be introduced to an idea/concept/genre, but not drowned in it. As a result, personal expression becomes more potent as a conceptual foundation. Which I believe directly relates to the appeal of black metal as a vehicle of self-empowerment and personal euphoria.
While I had never paid attention to metal band logos before, i did a quick google search of the bands he mentions throughout this article. While I don’t particularly find them appealing, perhaps that is just the effects of social/cultural conditioning that I have endured for 22 years now. Rather than a password, I think the logos act more like a gate, or as “a boundary” as he states. Regarding the use of the Fraktur font and it’s many usages in culture, the choice of font is only a small part of the decision process when branding something. Arguably more important than the typeface is the way the typeface is presented, black on white, white on black, upside down, big, small, etc. Depending on your predilections, you might find the logo expressing your inner emotions of revolt and personal empowerment. Or, as I do, you might find them interesting to look at, but not something you’d study. The jaggedness aesthetics seems to fit the function of a barbed wire gate more aptly. And as a result, I think the bands achieve the effects they want- an aesthetic protest and conscious statement of “no” to those who view it. All serving to the effect of telling “the connoisseur “this is a cult album that is worth your time”.
In the process of building my Personal Mythology, i’ve come across issues similar to the black metal logo quandary. How do I present a raw emotion/idea with a verbal language that is familiar yet placed in such a way that it would seem unfamiliar. Rather than depicting an idea, how could one embody it. I think in this way, the logos of the black metal genre succeed as visual connotations of their tone. Their logos embody their emotional expressions while using a common visual vocabulary. The relationship between Black Metal logos and CAPTCHA's serve the most accurate analogy for what is necessary to get to the emotional connotational core of the simplest idea.
Chris Kelsch
points of visual language. Something does not have to be blatant and
literal to communicate a powerful statement. As well just because one
element has been used for a certain reason, does not mean that element
only represents the one definition. Example of design as a universal
language is with the direct relation that Fraktur has with the Nazis,
and despite this it is used also fittingly used on wedding
invitations, certificates, and other highly ornamental occasion.
Anything can have multiple meanings but an audience can be directed
with application.
In the section, Simulacrum, it is interesting to think about the
execution of a such a logo that is appropriate yet entirely encrypted
to the normal viewer. Instead of reaching out to a broad audience, as
one usually proceeds when designing a piece that visually
communicates, such scene attracts an individual society, one that
conflicts the normal approved language, and that requires its own form
of encryption to express its essence.
In my own mythology it has been very hard to relay my own encrypted
memories and experiences into a form that is not so inclusive. When it
comes to designing a piece for any other person, it is easier to
analyse and intemperate a more universal solution. But when creating
something about my self for my self by my self, I can get lost in my
own interpretations.
michael
decisive and binding moments (such as graduation or marriage) does not
conflict with its use as a symbol of power. And the gothic logos of
the various brewery giants refer to their craftsmanship, tradition and
origin, to a mode of production which precedes that of organized
industry,whose true quality can only be appreciated by connoisseurs."
Fraktur may be repurposed to identify a variety of different
practicalities, but whether it is written on a wedding invitation or
plastered over satanic imagery its voice is one of power and grandure.
In the same way that Fraktur can draw a singular overarching response
from its viewers, we too are trying to develop visuals that tug at
specific heart-strings no matter who the viewer may be. Black Metal,
albeit fairly easy to visually represent, is very clearly personified
through its graphic identities and elements. While representing the
individual may be a far more complicated task, it would be great if we
were able embody the sprit of a trait or quality or story from our
lists even half as successfully.
Visual simulacra should direct the viewer in a specific direction. I'd
like to look at my imagery as capsules encasing gems. The capsules
being the visual stimuli that make you think and feel "outsider",
"chameleon", 'meticulous', sensitive, sexual, persuaded, self
critical, etc. What I am working on now is how the capsules should
embody or represent not only the raw element (gem 1), but also how
that element manifests its self in my life (gem 2?), as I'm not sure
how much I can represent "empowerment" universally and voice my
version of empowerment at the same time without diluting the message.
*thoughts*
Passwords ar normally guarded...that being said, a successful logo
should do more than invite a viewer in, the logo should show the
viewer the importance of the entity it represents.
Simulacra are sort of like passwords "cheating out", (theatrical
term).
> Read *Crypto Logo Jihad Black Metal and the Aesthetics of Evil *by Daniel
> tactics that are adopted by the bands van der Velden describes in the
> yourself?
>
> Minimum three paragraphs.
> Due 10.23 by midnight.
>
> 156KViewDownload
Jessie Oh
music itself. We have visual expectations from different genre's and
time periods, thus branding of music is an embodiment of culture. The
followers of black metal certainly have an appreciation for dark
symbols and colors, that these aesthetics have developed a strong bond
with the genre of music. It has been a relationship that has lasted
for long enough that it takes a second to consider secondary
connotations. For instance, the overuse of Comic Sans in elementary
handouts and preteen blogs, have led designers to disrespect and
disregard the typeface for the sake of its characteristics as well as
the inevitable associations. This idea of widespread interpretation of
a certain aesthetic is especially essential in logos, for it has to
create it's own culture by using existing associations. These
relationships are ever changing and never permanent. It is a process
that is slow but never stagnant.
The use of black metal as torture is Guantanamo Bay struck me
instantly. Black metal has not only created a subculture of outsiders,
but now has a relationship to modern political failure. These are
incidents that slowly trigger change in the language of visual
symbolism. Sometimes this language is consistent internationally, and
sometimes cross-cultural interpretation is completely disregarded. The
stark comparison of Fraktur in the Nazi regime and in The New York
Times is hilarious. Who would've thought? These are important but
subtle ideas that designers have to be hypersensitive about in
communication design. Branding myself while disregarding these ideas
is to design without an audience.
> Read *Crypto Logo Jihad Black Metal and the Aesthetics of Evil *by Daniel
> tactics that are adopted by the bands van der Velden describes in the
> yourself?
>
> Minimum three paragraphs.
> Due 10.23 by midnight.
>
> 156KViewDownload
Sabrina
Above all else, van der Veldan's piece is a great lecture on branding, and the importance of establishing a concept - then representing this idea visually, in the most clear and deliberate way possible. Crypto Logo directly relates to what we're doing in this class because it discusses how to relate/tell a story and emit it's mood and emotion. In this instance, the brand is actually a genre - black metal, one of the more successful examples and certainly one I wouldn't initially think of.
However after concluding my reading of Crypto Logo, I realized every aspect of a successful brand is important, but it certainly starts with the logo, the first thing someone typically sees.
"A logo plays a huge part in the image of a company or product. This is also certainly the case with bands… In back metal particularly, there is a certain revered aesthetic, like spikiness, illegibility, intricacy; to those things are added and intangible element that tells the connoisseur 'this is a cult album that is worth your time'."
I'd have to question though, whether black metal is actually so successful simply because of the band's name and their song titles which easily give the mood and concept away; such as the song titled "War" and band named "Mayhem", "Darkthrone", and "Venom". You know this isn't going to be Barry White singing sweetly about love (not sure why Barry White was the first thing that popped in my head, but I went with it). I'm also wondering if someone could hear the sound of this devilish music if it's logo wasn't illegible, angular, stark and dark, or contained inverted crosses, or spiders, or skulls, as many of them do. This led me to another discussion van der Veldan arrises that I found interesting, and that is the use of the typeface Fraktur.
I never really considered the diverse use of the typeface, and how intriguing that really is. It's peculiar how the same type can be used for an anti-Semitic magazine and is widely associated with the Nazi's, but is also highly used (and more importantly accepted!) in The New York Times and Le Monde… not to mention wedding invitations and diplomas. I'm curious what makes something a chameleon? I suppose it is due partly for the typeface's deeper meaning, the core of its essence… sounds as if we're speaking of a person with a soul; but as Mike said Fraktur's "voice is one of power and grander". This point also links back to our project, to evoke the deeper meaning of our stories, and get to the core of it's essence. (quite the tall order, Ali!)
All that being said though, while the logos of black metal are considered successful due to the fact that they relate the tune of the genre and subject matter it speaks of visually, they're also quite contrived, typical, and "uninventive". After googling some of the logos I didn't previously know, so many are so similar. I feel like the designer says "okay I can only use black white and red" and if all else fails let me throw on a few flames and slap on an inverted cross even if it's not integrated at all. Although I guess their not concerned with winning any great design credibility.. it is black metal after all.
Noah
strangled,” (1) this somewhat dated pop-culture reference pulled me
into the piece right off the bat. I immediately began to ponder what
kind of person could mix such a relatively light reference with such a
bluntly crude title. As I read on, I found myself intrigued with the
overall concept of the password of metal being something as
rudimentary as a logo, and yet it was the epicenter of what metal was
protected by. Upon reaching Simulacrum, I was at first confused as to
how Captcha could relate to metal logos in any way, other than being
damn hard to read. Not only did it soon become clear to me how the two
were related, but I was pulled into yet another realm of curiosity
when “the age of individualization” was brought into the picture.
Immediately thoughts flew through my head, consisting of my
conflicting opinions of who our generation really is, whether we are
moving towards being individual, or, in a much less appearent way,
moving back towards conforment.
As I pulled my thoughts back to the overall concept of a logo as a
password, I recalled an idea van der Velden brought up that began to
shed some light on the question of why. He presents this core idea
through a series of descriptions of who these metal band members
percieved themselves to be. By relying on perception, there needs to
be an element of mystery as well, to support the people should
perception begin to fall through. This mystery that came with the logo
was that support. As metal became more widespread, bands moved away
from the illegible and instead conformed in a sense to black letter, a
completely clear and accessible font that had connotations these bands
were interested in affiliating themselves with. It seemed odd to me
that they would go from complete secrecy to such a bold statement, but
they found a way to use pre-existing stereotypes to make their message
concise in a quick fashion, while giving themselves a name that
unaffiliated them with the Nazis, and yet they made it clear that they
wanted to be affiliated with “evil”. Though perplexing to those whose
brains don’t work in the same realm that theirs did, this technique
was brilliant, as it created a space for people who identified with
the metal scene, and the connotations that came with it. van der
Velden concludes this piece with a quick historical time lapse of
society’s perception of what is affiliated with metal. The way that
van der Velden concludes was brilliant. Though this writing was
incredibly clear for the most part, van der Velden uses his last few
sentences to tie all the loose ends together, making it difficult to
doubt many of his points by the end.
Throughout my life, I have attempted to represent myself in the best
light possible, but over time it has become clear to me that often I
am not percieved in that way. When there is a situation in which I get
angry, it doesn’t come out of nowhere. Though in many instances it is
difficult for other people to fully comprehend why I react the way
that I do, it stems from a place in my head where every possible
outcome has been calculated and considered. When I get angry, and
others have no clue where I am coming from, it is difficult to back
track and calmly explain how and why I got to the thought process that
I did, so instead I yell, which more often then not scares people away
as opposed to gaining their help and respect. I could further attempt
at explaining the concept of my brain, but this element of my anger is
one that I am beginning to completely grasp and deconstruct. The
element of mystery that lies within my brain can be most easily summed
up with a final quote from van der Velden’s piece, “Just like a good
restaurant in Rome is not to be found, the logo of an unknown black
metal band is illegible; it is a symmetrical maze of jagged
forms.” (1)