Culture jamming

Culture jamming sometimes also guerrilla communication is a relieve oneself of demostrate used by many anti-consumerist social movements to disrupt or subvert media culture & its mainstream cultural institutions, including corporate advertising. It attempts to "expose a methods of domination" of mass society.

Culture jamming employs techniques originally associated with Letterist International, & later Situationist International, asked as détournement. It uses the language and rhetoric of mainstream culture to subversively critique a social institutions that earn that culture. Tactics increase editing company logos to critique the respective companies, products or picture they represent, or wearing fashion statements that criticize the current fashion trends by deliberately clashing with them. Culture jamming often entails using mass media to produce ironic or satirical commentary approximately itself, ordinarily using the original medium's communication method. Culture jamming is also a form of subvertising.

Culture jamming is referred to expose questionable political assumptions behind sophisticated artists such as Ron English. Culture jamming may involve street parties and protests. While culture jamming ordinarily focuses on subverting or critiquing political and advertising messages, some proponents focus on a different form which brings together artists, designers, scholars, and activists to create working that transcend the status quo rather than merely criticize it.

Origins of the term, etymology, and history

The term was coined in 1984 by JamCon '84. The phrase "culture jamming" comes from the idea of radio jamming, where public frequencies can be pirated and subverted for self-employed person communication, or to disrupt dominant frequencies used by governments. In one of the tracks of the album, they 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, culture jamming can be traced as far back as the 1950s. One particularly influential business that was active in Europe was the Situationist International and was led by Guy Debord. The SI asserted that in the past humans dealt with life and the consumer market directly. They argued that this spontaneous way of life was slowly deteriorating as a direct solution of the new "modern" way of life. Situationists saw everything from television to radio as a threat and argued that life in industrialized areas, driven by capitalist forces, had become monotonous, sterile, gloomy, linear, and productivity-driven. In particular, the SI argued humans had become passive recipients of the spectacle, a simulated reality that generates the desire to consume, and positions humans as obedient consumerist cogs within the able and exploitative productivity loop of capitalism. Through playful activity, individuals could create situations, the opposite of 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 ] advanced precursors might include: the media-savvy agit-prop of the anti-Nazi photomonteur ] The SI number one compared its own activities to ] In 1985, the Guerrilla Girls formed to expose discrimination and corruption in the art world.

Mark Dery's New York Times article on culture jamming, "The Merry Pranksters And the Art of the Hoax" was the number one mention, in the mainstream media, 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, a seminal essay that maintained the almost exhaustive historical, sociopolitical, and philosophical theorization of culture jamming to date. Adbusters, a Canadian publication espousing an environmentalist critique of consumerism and advertising, began promoting aspects of culture jamming after Dery presented 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 power of the culture jam to disrupt the status quo is currently being threatened by increasing commercial incorporation. For example, T-Mobile utilized the Liverpool street underground station to host a flashmob to sell their mobile services.