By Marilyn DeLaure, Moritz Fink, Mark Dery
The essays, interviews, and artistic paintings assembled during this detailed quantity discover the moving contours of tradition jamming via plumbing its heritage, mapping its changes, checking out its strength, and assessing its efficacy. Revealing how tradition jamming is instantaneously playful and politically transgressive, this available assortment explores the measure to which tradition jamming has fulfilled its innovative goals. that includes unique essays from favorite media students discussing Banksy and Shepard Fairey, foundational texts akin to Mark Dery’s tradition jamming manifesto, and paintings through and interviews with noteworthy tradition jammers together with the Guerrilla women, The definite males, and Reverend Billy, Culture Jamming makes an important contribution to our figuring out of inventive resistance and participatory tradition.
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Extra resources for Culture Jamming: Activism and the Art of Cultural Resistance
I just happened to be traveling through California shortly after reaching out to Marilyn in early 2011, so we were able to meet in person at the beautiful University of San Francisco campus. Marilyn’s key role in developing the project can’t be emphasized enough. She suggested we put out a call for new scholarly essays, created the idea for the Culture Jammers’ Studio section, and was not only an excellent proofreader (taking care of more than just my ESL issues) but also a great manager of the project as a whole.
The term “jamming” here was borrowed from the vernacular of CB (citizens band) radio, where it refers to the rogue practice of interrupting broadcasts and interfering with conversations. ” Dery offered a first conceptual account of “cultural jamming” in his review of a new generation of media-savvy guerrilla artists—Robbie Conal, Jerry Johnson, and Joey Skaggs, as well as art collectives like Church of the SubGenius—who used semiotic appropriation, sociopolitical satire, and media hoaxes to articulate dissent.
Debord commits the Rousseauvian sin of harking back to an Edenic “authenticity,” when the word and the thing, representation and reality were one, but he’s dead on when he decries the Spectacle as the commodification of lived experience and the privatization of community. (How many Facebook “friends” do you have? How many Twitter “followers”? ) Following Debord, culture jamming reminds us that what Marshall McLuhan called the “folklore of industrial man”—the shared mythology of brands and pop songs and TV shows and movie franchises and online communities that is our common culture—is, more often than not, wholly owned by multinational corporations.