The hipster counter culture searches for alternative to the mainstream culture. Often seen as “snobbier and more annoying about their taste in «alternative» things” (Urban Dictionary, ’Hipster’, 2013), a judgmental definition giving a bad image of hipsters, it’s through the spectrum of digital and analogue technology that their philosophy is revealed.

One of the main attraction to analogue medium is its physical aspect. The buttons, and the mechanical aspect of the object allows a more organic experience, and therefore the object is reassuring. Polaroid, super 8 or film in general allows imperfection and randomness, in comparison of digital which is sees as too perfect and cold. There is something more human to the experience because the mechanics can be understood and easier to access if you want to repair it yourself. In comparison to electronic and digital technology, the object doesn’t need an update. Analogue already reached its peak in technology, and doesn’t need to be constantly improved.

There is something else about the object itself : its use. It has no other function than what is is design for, it doesn’t multitask. In the case of vinyl, physically owning the object, in contrast with owning a digital music library, reassures. Like a collection of books tells a lot about someone’s personality, so does a collection of vinyl. It helps built social interaction.

Wearing vintage is a social statement. Vintage rejects the throwaway attitude of consumerism, the habit of constantly shopping. Vintage shows a will to recycle and reuse instead of buying more new materials. The vintage aesthetic refers also to a “simpler time”.

The world we live in seems to be in a rush to change all the time (fashion, technology). The attraction to analogue is part of this uneasiness to fit. Analogue refers to a time where technology didn’t take over people’s life, where things were slower. They feel nostalgia for a time where things were more authentic.

The loss of authenticity is especially felt with the usage of social media. The world is hyper connected and this never ending connection to the rest of the world and to everyone else everywhere could be distracting from the present and from real relationship with others. There is a clear desire to unplug and to be detach from technology. It’s an active choice t be part of the moment without external distraction.

In all case, the limitation of technology, as a choice, is seen as a good thing. It allows the human to be the centre of the interaction and to live in the present.

The hipster’s desire for authenticity, imperfection and disconnection seems
to come from an insecurity or uneasiness to exist in a worlds that goes too fast. The hipster counterculture is a statement against consumerism (if done right). But, like many nostalgia, the original message is often forgotten or drowned by fashion and trend. What was criticised in the Urban Dictionary definition shows a lack of understanding and research on the philosophy behind the counterculture. When the referential is lost, so does the meaning of the actions.

The hipster’s desire for authenticity, imperfection and disconnection seems
to come from an insecurity or uneasiness to exist in a worlds that goes too fast. The hipster counterculture is a statement against consumerism (if done right). But, like many nostalgia, the original message is often forgotten or drowned by fashion and trend. What was criticised in the Urban Dictionary definition shows a lack of understanding and research on the philosophy behind the counterculture. When the referential is lost, so does the meaning of the actions.

Reference:

– ‘Hipster’, (2013) Urban Dictionary. Available at : https://www.urbandictionary.com/define.php?term=hipster (Accessed: 2019).

– Knowles, K. (2015). ‘Locating Vintage’, Necsus, 4 (2), pp. 73-84. doi: 10.5117/NECSUS2015.2.KNOW.

– Thorén, c. et al. (2017). ‘The hipster’s dilemma: What is analogue or digital in the post-digital society?’, Convergence: The International Journal of Research into New Media Technologies, 25 (2), pp. 324-339. doi:10.1177/1354856517713139