Orientation

When designing for a known person or group, infrastructure and access to technology may be prescribed. Typically the context must be understood in order to know what is suitable. For example Australia has a high level of smartphone market penetration, and if targeting residential gardens, there are a likelihood of highcspeed Internet access. This would allow for the use of rich media and high levels of interconnectivity.

Communities on the other hand, such as Northey Street City Farm or Permablitz Brisbane, are limited in time and money to invest in additional technology or infrastructure. In these instances it is important to understand what technology community members already use or what infrastructure is already in place, and how is it currently used. With this understanding, the ability to repurpose, or make use of technology as part of a design, will become clear. Understanding the role technology plays in the lives of gardeners, and when they have access to technology, will result in a more inclusive design (Heitlinger et al., 2013).

Socially conscious or political hip hop narratives are not new to the industry, on the contrary they were more prevalent in the early years of hip hop in the 80s. Inspired by poets and preachers of the late seventies, such as The Last Poets and Gil Scott-Heron, young black musicians rapped about what they saw in their communities and started a trend. in 1982, Grandmaster Flash and Furious Five featured one such song--”The Message”, widely regarded as the first socio-political hip hop song--on their first studio album. This song would inspire many more like it for generations to come and effectively dislodge hip hop from the house party environment and into the realm of social commentary. Paving the way for artists like NWA, Public Enemy, and Rage Against the Machine that took this a step further and made all their music socially and politically relevant. Doubtless, much of hip-hop’s dark imagery is autobiographical expression, a cathartic act that all people—and especially those from underprivileged backgrounds—have the right to. But this message has become confused or manipulated, turning a criminal lifestyle from the starting point into the goal. Rap Stars affiliation to very-real city gangs adds to the pressure for inner city youth to join gangs. that is not to say that one would join a gang simply due a rappers allegiance. Indeed most are pushed into gang membership by regional survival necessity and a lack of healthy alternatives. Kitwana, Bakari writes, “For many both in and outside of street gangs and cliques, selling drugs is one of the most viable “job” options in the face of limited meaningful employment...high imprisonment rates due to increased policing focused on drug crimes have landed nearly 1 million Black men, many of them hip-hop generation's, behind bars” (39-40). 2

Largely the public education system has failed young black americans. Today there are more young black high school dropouts in prison or jail than those with paying jobs. Black men are more likely to go to prison than to graduate with a four-year college degree or complete military service and the population of incarcerated peoples in America is in a significant majority black men. These statistics indicate a community under attack and in need of hope. Across Americas notorious history of oppression against the black community--from Slavery to the assassination of MLK and Malcolm X -- to the current overpopulation in prisons. Music and rhythm has been a community strength and vessel to carry messages of hope, solidarity, and culture. Like the spirituals that provided hope amid the ultimate despair of slavery, socially conscious hip hop and rap music that reflect current struggles within the black community can provide messages of healing and do so in a form popular among young black people. with tremendous detail and articulation.

Today socially conscious rap artists dominate mainstream hip hop charts--Kanye West, Kendrick Lamar, CNas, common, Jay-Z,-but whether the same holds true in underground circles remains to be determined. But by comparison the artists that choose to speak about the institutional failings that have and continue to negatively impact the black community seem to garner a much less attention than those that choose (or are instructed) to rap about money, “hoes” and [insert product placement]. More and more new artists are embracing these same conscious perspectives and transforming hip hop simply by being different and gaining popularity for it. Macklemore is an interesting example of new avenues being paved in hip hop music--he is white, dresses extravagantly, created a hit song about gay love and together with Ryan Lewis recorded, produced and released their album, The Heist, which debuted at #1 on itunes. But hip hop is not only becoming more racially diverse it is also having to confront deeply held prejudices such as homophobia--Frank Ocean was one of the first major artists to announce he had fallen in love with someone of the same sex, prompting many in the hip hop community to speak out in support of Ocean and the many silent fans whom his actions might inspire. following his open letter Russell Simons was widely quoted saying “Today is a big day for hip-hop. It is a day that will define who we really are. How compassionate will we be? How loving can we be? How inclusive are we?”

The following are lyrics from Canadian producer and rapper“had..In the song Brother (Watching) he raps “​(Saturated with negative images and a limited range of Possibilities is strange...)And it's sad cause that naturally do/ Sort of condition your mind and over time/ That's what's attractive to you/ So young blacks don’t see themselves in/ Scholastic pursuits/ Or the more practical routes/ It's makin tracks or it's hoops/ Or God-forbid movin packs for the loot/Even with this music we so limited - it's rap or produce/ And that narrow conception of what's black isn't true/ Of course, still we feel forced to adapt to this view/ Like there's something that you're havin to prove/ Now add that to the slew/ Of justification the capitalists use/ For the new blaxploitation/..​.”