Etos swakriya: Perbedaan antara revisi

Musik swakriya komersial mulai muncul bersama dengan lahirnya [[punk rock]] 1970-an.{{R|diyspace}} Swakriya lahir untuk mengimbangi [[industri musik]] arus utama.{{R|albini}} Dengan mengendalikan secara swadaya produksi dan distribusi, grup musik swakriya dapat menjalin hubungan yang dekat antara band dan penggemar. Etos swakriya betul-betul memberikan kontrol penuh atas produk akhir tanpa harus berurusan panjang dengan pihak label.{{R|albini}}

Sesuai dengan estetika punk, orang dapat menggerakkan ekspresi dan berkarya dalam ruang terbatas.<ref>[[David Byrne]], Jeremy Deller (2010) [http://www.davidbyrne.com/news/press/articles/modernpainters_2010.php ''Audio Games''], in ''[[Modern Painters (magazine)|Modern Painters]]'', March 1, 2010. "I think I embrace a bit of the punk aesthetic that one can express oneself with two chords if that’s all you know, and likewise one can make a great film with limited means or skills or clothes or furniture. It’s just as moving and serious as works that employ great skill and craft sometimes. Granted, when you learn that third chord, or more, you don’t have to continue making 'simple' things, unless you want to. Sometimes that’s a problem."</ref> Contoh yang paling awal adalah pergerakan musik punk tahun 1970-an.<ref>{{Cite web|url=http://jdh.oxfordjournals.org/cgi/content/abstract/19/1/69|title=Oxford Journal of Design History Webpage|access-date=2007-09-24|quote="Yet, it remains within the subculture of punk music where the homemade, A4, stapled and photocopied fanzines of the late 1970s fostered the ‘do-it-yourself’ (DIY) production techniques of cut-n-paste letterforms, photocopied and collaged images, hand-scrawled and typewritten texts, to create a recognizable graphic design aesthetic."}}</ref>

Riot grrrl, yang terkait dengan feminisme gelombang ketiga, juga mengadopsi etos swakriya punk dengan meningkatkan komunikasi secara kreatif melalui [[zine]] dan proyek-proyek lainnya.<ref>{{Cite news|last=Bennet|first=Andy|author-link=|last2=Peterson|first2=Richard A.|title=Music scenes: local, translocal and virtuas|pages=116–117|year=2004|url=https://books.google.com/books?id=zrGa3vYOoZgC&pg=PA115&sig=rBBTiX8e-j6Q0u57_HabZje6gJQ&q=do%20it%20yourself%20riot%20grrrl}}</ref>

Bahkan pengikut etos swakriya dapat bergerak secara kolektif. Misalnya, CD Presents milik penyelenggara ajang David Ferguson Presents adalah jaringan produksi konser, studio rekaman, serta [[label rekaman]].<ref>{{Cite news|last=Jarrell|first=Joe|author-link=|last2=|first2=|title=Putting Punk in Place--Among the Classics|work=[[San Francisco Chronicle]]|pages=PK–45|date=26 September 2004|url=http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2004/09/26/PKGVR8RVV91.DTL}}</ref>

* Smith, G. and Gillett, A. G., (2015). [http://artivate.hida.asu.edu/index.php/artivate/article/download/82/36 "Creativities, innovation, and networks in garage punk rock: A case study of the Eruptörs"] {{Webarchive|url=https://web.archive.org/web/20161006040945/http://artivate.hida.asu.edu/index.php/artivate/article/download/82/36 |date=2016-10-06 }}. ''Artivate: A Journal of Entrepreneurship in the Arts'', 9-24

* {{cite book |last=Wall|first=Derek|title=Earth First and the Anti-Roads Movement: Radical Environmentalism and Comparative Social Movements|url=https://archive.org/details/earthfirstantiro0000wall|year=1999|publisher=Routledge|location=London|isbn=0-415-19064-9}}