I think there's some merit in looking at what the effect of "x-punk," movements have on culture. The idea of punk itself was the DIY music aspect that moved int

I think there's some merit in looking at what the effect of "x-punk," movements have on culture. The idea of punk itself was the DIY music aspect that moved into clothing and zines, and built an aesthetic that spawned a network of cafes and bars and really is a subculture. The idea of an anti-establishment movement is one that is really just vying for establishment influence by defecting from it instead of negotiating within it, but it's still very much a part of it. What I call "punk privilege," is that almost no punks were ever really poor, and it was a way for the poor to elevate themselves into an anti-middle class that was appendent to the middle class. In the 80's and 90's, punk and other subcultures were actually a path out of the underclass and into (the almost exclusively white) bohemian culture, and a way for technocratic up and comers to signify their skills. (e.g. "I'm so good the establishment tolerates my green hair") It's been through generations of co-opting, where now old punk aesthetics are a signal of membership in the new establishment, with pink and green haired people operating the administrative layers of academia and government, and the "real punk," that is, the independent creative networks that diverge from this new establishemnt are attracting outsiders and creating a primordial soup for the next wave of culture and innovation. What is surely true is that it will be a divergent reaction to the current establishment. I don't think this particular Solar punk aesthetic has enough grit to survive, but not being a part of it, it's not for me, it's for the people who do it and participate, which is ultimately what makes it punk.