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Culture jamming
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Culture jamming
Culture jamming (sometimes also guerrilla communication) is a form of protest used by many anti-consumerist social movements to disrupt or subvert media culture and its mainstream cultural institutions, including corporate advertising. It is often described as a way of drawing attention to the methods through which mass society and media institutions shape public perception.
Culture jamming employs techniques originally associated with the Letterist International and later with the Situationist International, including détournement. It uses the language and rhetoric of mainstream culture to critique the social institutions that produce that culture. Tactics include editing company logos to critique the companies, products, or concepts they represent, or using fashion statements that deliberately clash with current fashion trends. Culture jamming often uses mass media to produce ironic or satirical commentary about mass media itself, commonly by adopting the communication methods of the original medium. Culture jamming is also a form of subvertising.
Culture jamming is generally intended to highlight and challenge political assumptions within commercial culture, and has been discussed as a response to socially imposed conformity. Prominent examples include the alteration of billboard advertising by the Billboard Liberation Front and works by contemporary artists such as Ron English. Culture jamming may also involve street parties and protests. While it often focuses on subverting or critiquing political and advertising messages, some proponents emphasize forms that bring together artists, designers, scholars, and activists to create works that go beyond criticism of the status quo. In addition to these political and cultural aims, researchers have noted that pleasure and humor can play an important role in sustaining participation. Analysts have argued that fun can connect individual acts of subversion to a broader, imagined protest community, helping separate actions appear as part of a shared project. This affective style has been interpreted as both drawing on and resisting the dominant emotion regime of late capitalism, with emotional engagement functioning as both a tactic and an aim.
The term was coined by Don Joyce of the American sound collage band Negativland, in connection with their album JamCon '84. The phrase "culture jamming" derives from the idea of radio jamming, in which public frequencies can be used for independent communication or to disrupt dominant frequencies used by governments. In one of the tracks of the album, Joyce stated:
As awareness of how the media environment we occupy affects and directs our inner life grows, some resist. The skillfully reworked billboard... directs the public viewer to a consideration of the original corporate strategy. The studio for the cultural jammer is the world at large.
According to Vince Carducci, although the term was coined by Negativland, the practice of culture jamming can be traced as far back as the 1950s. One influential group active in Europe was the Situationist International, led by Guy Debord. The SI argued that earlier forms of everyday life and social interaction were being transformed by modern consumer society. Situationists regarded mass media, including television and radio, as central elements of this transformation. They argued that life in industrialized areas, shaped by capitalist forces, had become increasingly monotonous, standardized, and productivity-driven. In particular, the SI argued that humans had become passive recipients of the spectacle, a mediated social reality that generates the desire to consume and positions people within the productivity loop of capitalism. Through playful activity, individuals could create situations, understood as alternatives to spectacles. For the SI, these situations took the form of the dérive, or the active drift of the body through space in ways that broke routine and overcame boundaries, creating situations by exiting habit and entering new interactive possibilities.
The cultural critic Mark Dery traces the origins of culture jamming to medieval carnival, which Mikhail Bakhtin interpreted, in Rabelais and His World and other writings, as an officially sanctioned inversion of the social hierarchy. Other possible modern precursors include the media-oriented agit-prop of the anti-Nazi photomonteur John Heartfield, the sociopolitical street theater and staged media events of 1960s radicals such as Abbie Hoffman and Joey Skaggs, the German concept of Spaßguerilla, and the Situationist International (SI) of the 1950s and 1960s.[citation needed] The SI first compared its own activities to radio jamming in 1968, when it proposed the use of guerrilla communication within mass media to sow confusion within the dominant culture.[citation needed] In 1978 the Vacant Lot of Cabbages was planted which used media to generate a large profile for greening the centre of Wellington City - an early Guerrilla garden later followed by anti adverts called rADz in both New Zealand and the UK. In 1985, the Guerrilla Girls formed to expose discrimination and corruption in the art world.
Dery's 1990 New York Times article on culture jamming, "The Merry Pranksters And the Art of the Hoax" was an early mainstream media discussion of the phenomenon; Dery later expanded on this article in his 1993 Open Magazine pamphlet, Culture Jamming: Hacking, Slashing, and Sniping in the Empire of the Signs, an influential essay on the history, politics, and theory of culture jamming. Adbusters, a Canadian publication espousing an environmentalist critique of consumerism and advertising, began promoting aspects of culture jamming after Dery introduced founder and editor Kalle Lasn to the term through a series of articles he wrote for the magazine. In her critique of consumerism, No Logo, the Canadian cultural commentator and political activist Naomi Klein examines culture jamming in a chapter that focuses on the work of Jorge Rodriguez-Gerada. Through an analysis of the Where the Hell is Matt viral videos, researchers Milstein and Pulos analyze how the disruptive power of culture jamming can be affected by commercial incorporation. For example, T-Mobile used Liverpool Street Station to host a flashmob to promote its mobile services.
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Culture jamming
Culture jamming (sometimes also guerrilla communication) is a form of protest used by many anti-consumerist social movements to disrupt or subvert media culture and its mainstream cultural institutions, including corporate advertising. It is often described as a way of drawing attention to the methods through which mass society and media institutions shape public perception.
Culture jamming employs techniques originally associated with the Letterist International and later with the Situationist International, including détournement. It uses the language and rhetoric of mainstream culture to critique the social institutions that produce that culture. Tactics include editing company logos to critique the companies, products, or concepts they represent, or using fashion statements that deliberately clash with current fashion trends. Culture jamming often uses mass media to produce ironic or satirical commentary about mass media itself, commonly by adopting the communication methods of the original medium. Culture jamming is also a form of subvertising.
Culture jamming is generally intended to highlight and challenge political assumptions within commercial culture, and has been discussed as a response to socially imposed conformity. Prominent examples include the alteration of billboard advertising by the Billboard Liberation Front and works by contemporary artists such as Ron English. Culture jamming may also involve street parties and protests. While it often focuses on subverting or critiquing political and advertising messages, some proponents emphasize forms that bring together artists, designers, scholars, and activists to create works that go beyond criticism of the status quo. In addition to these political and cultural aims, researchers have noted that pleasure and humor can play an important role in sustaining participation. Analysts have argued that fun can connect individual acts of subversion to a broader, imagined protest community, helping separate actions appear as part of a shared project. This affective style has been interpreted as both drawing on and resisting the dominant emotion regime of late capitalism, with emotional engagement functioning as both a tactic and an aim.
The term was coined by Don Joyce of the American sound collage band Negativland, in connection with their album JamCon '84. The phrase "culture jamming" derives from the idea of radio jamming, in which public frequencies can be used for independent communication or to disrupt dominant frequencies used by governments. In one of the tracks of the album, Joyce stated:
As awareness of how the media environment we occupy affects and directs our inner life grows, some resist. The skillfully reworked billboard... directs the public viewer to a consideration of the original corporate strategy. The studio for the cultural jammer is the world at large.
According to Vince Carducci, although the term was coined by Negativland, the practice of culture jamming can be traced as far back as the 1950s. One influential group active in Europe was the Situationist International, led by Guy Debord. The SI argued that earlier forms of everyday life and social interaction were being transformed by modern consumer society. Situationists regarded mass media, including television and radio, as central elements of this transformation. They argued that life in industrialized areas, shaped by capitalist forces, had become increasingly monotonous, standardized, and productivity-driven. In particular, the SI argued that humans had become passive recipients of the spectacle, a mediated social reality that generates the desire to consume and positions people within the productivity loop of capitalism. Through playful activity, individuals could create situations, understood as alternatives to spectacles. For the SI, these situations took the form of the dérive, or the active drift of the body through space in ways that broke routine and overcame boundaries, creating situations by exiting habit and entering new interactive possibilities.
The cultural critic Mark Dery traces the origins of culture jamming to medieval carnival, which Mikhail Bakhtin interpreted, in Rabelais and His World and other writings, as an officially sanctioned inversion of the social hierarchy. Other possible modern precursors include the media-oriented agit-prop of the anti-Nazi photomonteur John Heartfield, the sociopolitical street theater and staged media events of 1960s radicals such as Abbie Hoffman and Joey Skaggs, the German concept of Spaßguerilla, and the Situationist International (SI) of the 1950s and 1960s.[citation needed] The SI first compared its own activities to radio jamming in 1968, when it proposed the use of guerrilla communication within mass media to sow confusion within the dominant culture.[citation needed] In 1978 the Vacant Lot of Cabbages was planted which used media to generate a large profile for greening the centre of Wellington City - an early Guerrilla garden later followed by anti adverts called rADz in both New Zealand and the UK. In 1985, the Guerrilla Girls formed to expose discrimination and corruption in the art world.
Dery's 1990 New York Times article on culture jamming, "The Merry Pranksters And the Art of the Hoax" was an early mainstream media discussion of the phenomenon; Dery later expanded on this article in his 1993 Open Magazine pamphlet, Culture Jamming: Hacking, Slashing, and Sniping in the Empire of the Signs, an influential essay on the history, politics, and theory of culture jamming. Adbusters, a Canadian publication espousing an environmentalist critique of consumerism and advertising, began promoting aspects of culture jamming after Dery introduced founder and editor Kalle Lasn to the term through a series of articles he wrote for the magazine. In her critique of consumerism, No Logo, the Canadian cultural commentator and political activist Naomi Klein examines culture jamming in a chapter that focuses on the work of Jorge Rodriguez-Gerada. Through an analysis of the Where the Hell is Matt viral videos, researchers Milstein and Pulos analyze how the disruptive power of culture jamming can be affected by commercial incorporation. For example, T-Mobile used Liverpool Street Station to host a flashmob to promote its mobile services.
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