I spent part of the weekend exploring Thurston Moore‘s and Abby Bank’s evocative book, Punk House. The book largely features Abby Bank’s photographs of punk houses across the U.S. Thurston Moore, of Sonic Youth fame, provides a short introduction where he talks about the punk house phenomenon, the practice of squatting associated with the most radical expression of the punk lifestyle, and the aesthetic of the punk interpretation of the DIY approach to home decoration. All of these practices speak to the radical politics behind punk rock as a movement. The rejection (or total disregard for) private property made squatting an appealing alternative to ownership, and the collective house represented a more domesticated (and less risky) alternative.
Squatting, Archaeology, and Abandonment
Squatting is essentially an archaeological phenomenon; archaeologists are squatters who occupy and savor the abandoned corners of a society. While archaeology tends to be a form of high impact squatting which often leads to the destruction, punk squatting represents a whole series of ephemeral practices that can go almost undetected by subsequent visitors to the space. Like archaeology itself, the practice squatting challenge any simple view of abandonment and in turn challenges the notion of ownership, possession, and use that are vital in some way to our understanding of function within an archaeological context. So while archaeologists are squatters, like punks, the practice of squatting undermines basic assumptions that allow archaeology to function. Archaeologists, like squatters, put spaces in the margins of the mainstream world into use.
Recent attention to the practice of abandonment both within the archaeological record and in the American cities wracked by the recent economic downturn has tended to view the spaces of abandonment as tragic expressions of the ultimate futility of human efforts to transform the landscape or the false optimism of progress. Abandoned monumental architecture – especially hospitals, prisons, factories, churches, or public works – provided evidence for the cynicism of the punk world view as well as the backdrop for their ability live without these amenities.
Archaeological evidence for so-called squatters in the period of history that I study, Late Antiquity, almost beg such ideological questions. Were the Late Antique squatters in the monumental architecture of the earlier, Classical, era proto-punks who recognized and celebrated the futility of their predecessors? Should we view their re-use of abandoned spaces as critique?
At the same time the modern archaeologist as squatter likewise searches for fragments of the past – something useful among the neglected corners of society – in a utopian and ideological quest to produce a singular, uninterrupted world.
Formation Process and Provisional Discard
Bank’s photographs capture the layered, weathered, look of group houses that both support the impecunious lifestyles of their punk residents as well as the chaotic, multi-generation application of DIY practices. The rooms that Bank’s photographed were filled with objects out of context – junk – deployed to support lifestyles at the margins of capitalism. The houses stand as living testimony to the value quintessential archaeological practice of provisional discard. The pattern of occupation produces a stratigraphic space as each resident adds a layer of interpretation to what went before.
These houses take what archaeologists have sometimes seen as an almost subconscious or deeply structured processes of discard into a performative critique of society. Short term habitation practices, in turn, transform a series of practical choices into the chaotic pastiche of lived stratigraphy.
The link between these houses and punk music is clear. As we have observed before, punk music is a nostalgic, utopian, critique that seeks a more profound authority than punks observe from the world around them. The punk houses, the temporary residence of squatters, and the archaeology of a stratified, provisional existence, forms a physical counterpoint to the archaeological overtones in punk music.