A Challenge for Advertising Ethics2
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Culture Jamming
Acknowledgements First and foremost, I would like to thank Vincent de Jong for introducing me to the intricacy of the easyCity action, and for taking the time to answer my questions along my exploration of the case. I also want to thank Robin van t’ Haar for his surprising, and unique, contribution to my investigations of the easyCity action. Rozalinda Borcila, the insights you have shared with me have been a crucial reminder of my own privilieged position – your reflections, I hope, also became a marker in what I have written. Also, I would like to thank others that somehow made my fieldwork possible, and influenced my ‘learning’ of activism and culture jamming. Of these I would especially like to thank Nina Haukeland for introducing me to the politics of activism, Kirsti Hyldmo for reminding me of the realities of exploitation, Åse Brandvold for a skilled introduction to the thoughts and tools of culture jamming, and Maria Astrup for showing me the pleasures and powers of aesthetics. Also, I would like to thank the Norwegian Adbusters Network, and the editorial groups of Vreng. To my main advisor Professor Kristian Stokke, I would like to thank you for the excellent support you have given me throughout my master studies. Your insights have been of grate value, and I cannot thank you enough for continually challenging me. Also, the feedback from Olve Krange, my second advisor, was crucial at the early stage of developing the thesis, to defining its object of inquiry, and finally when writing my conclusion. I would also like to express my appreciation to Professor Oddrun Sæther for an excellent introduction to the field of cultural studies, to Professor Matt Sparke at the University of Washington for demonstrating the intriguing complexities of political geography, and to PhD candidate Stephen Young, for proof reading and fruitful inputs at the final stage of writing. -
“What I'm Not Gonna Buy”: Algorithmic Culture Jamming And
‘What I’m not gonna buy’: Algorithmic culture jamming and anti-consumer politics on YouTube Item Type Article Authors Wood, Rachel Citation Wood, R. (2020). ‘What I’m not gonna buy’: Algorithmic culture jamming and anti-consumer politics on YouTube. New Media & Society. Publisher Sage Journals Journal New Media and Society Download date 30/09/2021 04:58:05 Item License https://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623570 “What I’m not gonna buy”: algorithmic culture jamming and anti-consumer politics on YouTube ‘I feel like a lot of YouTubers hyperbolise all the time, they talk about how you need things, how important these products are for your life and all that stuff. So, I’m basically going to be talking about how much you don’t need things, and it’s the exact same thing that everyone else is doing, except I’m being extreme in the other way’. So states Kimberly Clark in her first ‘anti-haul’ video (2015), a YouTube vlog in which she lists beauty products that she is ‘not gonna buy’.i Since widely imitated by other beauty YouTube vloggers, the anti-haul vlog is a deliberate attempt to resist the celebration of beauty consumption in beauty ‘influencer’ social media culture. Anti- haul vloggers have much in common with other ethical or anti-consumer lifestyle experts (Meissner, 2019) and the growing ranks of online ‘environmental influencers’ (Heathman, 2019). These influencers play an important intermediary function, where complex ethical questions are broken down into manageable and rewarding tasks, projects or challenges (Haider, 2016: p.484; Joosse and Brydges, 2018: p.697). -
Between Semiotic Democracy and Disobedience: Two Views of Branding, Culture and Intellectualproperty
Fordham Law School FLASH: The Fordham Law Archive of Scholarship and History Faculty Scholarship 2012 Between Semiotic Democracy and Disobedience: Two views of Branding, Culture and IntellectualProperty Sonia K. Katyal Fordham University School of Law, [email protected] Follow this and additional works at: https://ir.lawnet.fordham.edu/faculty_scholarship Part of the First Amendment Commons, and the Intellectual Property Law Commons Recommended Citation Sonia K. Katyal, Between Semiotic Democracy and Disobedience: Two views of Branding, Culture and IntellectualProperty, 4 Wipo J. Intell. Prop. 50 (2012) Available at: https://ir.lawnet.fordham.edu/faculty_scholarship/618 This Article is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Between Semiotic Democracy and Disobedience: Two views of Branding, Culture and Intellectual Property Sonia K. Katyal* Joseph M. McLaughlin Professor of Law, Fordham University School of Law Brand names; Civil disobedience; Culture; Democracy; Intellectual property Nearly 20 years ago, a prominent media studies professor, John Fiske, coined the term “semiotic democracy” to describe a world where audiences freely and widely engage in the use of cultural symbols in response to the forces of media.1 A semiotic democracy enables the audience, to a varying degree, to “resist”, “subvert” and “recode” certain cultural symbols to express meanings that are different from the ones intended by their creators, thereby empowering consumers, rather than producers.2 At the time, Fiske’s concept was revolutionary; it promised a complete reversal of the monopolistic hierarchy of the author and the presumed passivity of the audience in receiving meaning. -
Banksy at Disneyland: Generic Participation in Culture Jamming Joshua Carlisle Harzman University of the Pacific, [email protected]
Kaleidoscope: A Graduate Journal of Qualitative Communication Research Volume 14 Article 3 2015 Banksy at Disneyland: Generic Participation in Culture Jamming Joshua Carlisle Harzman University of the Pacific, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/kaleidoscope Recommended Citation Harzman, Joshua Carlisle (2015) "Banksy at Disneyland: Generic Participation in Culture Jamming," Kaleidoscope: A Graduate Journal of Qualitative Communication Research: Vol. 14 , Article 3. Available at: http://opensiuc.lib.siu.edu/kaleidoscope/vol14/iss1/3 This Article is brought to you for free and open access by OpenSIUC. It has been accepted for inclusion in Kaleidoscope: A Graduate Journal of Qualitative Communication Research by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. Banksy at Disneyland: Generic Participation in Culture Jamming Cover Page Footnote Many thanks to all of my colleagues and mentors at the University of the Pacific; special thanks to my fiancé Kelly Marie Lootz. This article is available in Kaleidoscope: A Graduate Journal of Qualitative Communication Research: http://opensiuc.lib.siu.edu/ kaleidoscope/vol14/iss1/3 Banksy at Disneyland: Generic Participation in Culture Jamming Joshua Carlisle Harzman Culture jamming is a profound genre of communication and its proliferation demands further academic scholarship. However, there exists a substantial gap in the literature, specifically regarding a framework for determining participation within the genre of culture jamming. This essay seeks to offer such a foundation and subsequently considers participation of an artifact. First, the three elements of culture jamming genre are established and identified: artifact, distortion, and awareness. Second, the street art installment, Banksy at Disneyland, is analyzed for participation within the genre of culture jamming. -
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Globalization and the Transformation of Cultures & Humanity: A Curriculum and Toolkit for the Efflorescence of Ecological Literacy in Legal and Business School Education Robert Alan Hershey* AIt=s noble to be good, and nobler to teach others to be good, and less trouble.@ BMark Twain “We are the great abbreviators. None of us has the wit to know the whole truth, the time to tell it if we believed we did, or an audience so gullible as to accept it.” -Huxley “I’m all for progress. It’s change I can’t stand.” -Mark Twain * Robert Alan Hershey is a Professor on both the Law and American Indian Studies Faculties and Director of Clinical Education for the Indigenous Peoples Law & Policy Program at the University of Arizona. He received his law degree from the University of Arizona College of Law in 1972. In 1972 and 1973, he worked as Staff Attorney for the Fort Defiance Agency of Dinebeiina Nahilna Be Agaditahe (DNA Legal Services) on the Navajo Indian Reservation. Thereafter, as a sole practitioner, Professor Hershey specialized in Indian affairs. From 1983 to 1999, he served as Special Litigation Counsel and Law Enforcement Legal Advisor to the White Mountain Apache Tribe, and, from 1995 to 1997, as Special Counsel to the Pascua Yaqui Tribe. Professor Hershey has also served continuously from 1989-present as Judge Pro Tempore for the Tohono O=odham Judiciary, and he is a past Associate Justice for the Yavapai-Prescott Indian Tribal Court of Appeals. He has been a member of the White Mountain Apache, Hopi, Pascua Yaqui, and Tohono O=odham Tribal Courts. -
Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide -
Culture Jamming: Ads Under Attack by Naomi Klein Bill Gates And
Culture Jamming: Ads Under Attack By Naomi Klein Bill Gates and Microsoft aren't the only corporate giants suffering a backlash against their superbrands. Last month, computer hackers invaded Nike's Web site in the latest protest against the company's alleged sweatshop practices, redirecting visitors to a site concerned with "the growth of corporate power and the direction of globalization." Similar rants have been directed at McDonald's--from the student who waved a sign with the arch logo at the World Trade Organization protest in Seattle to the axe-wielding vandal--now a cultural hero--who tried to thwart the opening of a McDonald's in the tiny town of Millau, France. For their brilliance at building their brands, the marketers behind the likes of Nike, McDonald's, Wal-Mart and Starbucks now find themselves at the center of journalist Naomi Klein's avowed "next big political movement" in No Logo: Taking Aim at the Brand Bullies from Picador/St. Martin's Press. Reporting everywhere from university campuses to garment factories in Third World countries, Klein depicts the encroachment of big-name brands on our daily lives, and the array of in- your-face counter-measures this has provoked among consumer advocates. One such measure is discussed in the chapter partially excerpted here: "culture jamming," the practice of parodying ads and hijacking billboards to drastically alter their messages. "Something not far from the surface of the public psyche is delighted to see the icons of corporate power subverted and mocked," Klein writes, offering up memorable examples of "adbusting" done to Absolut, Levi's, Ford, Exxon, Apple and others. -
Contentious Politics, Culture Jamming, and Radical
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2009 Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation David Matthew Iles, III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Political Science Commons Recommended Citation Iles, III, David Matthew, "Boxing with shadows: contentious politics, culture jamming, and radical creativity in tactical innovation" (2009). LSU Master's Theses. 878. https://digitalcommons.lsu.edu/gradschool_theses/878 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BOXING WITH SHADOWS: CONTENTIOUS POLITICS, CULTURE JAMMING, AND RADICAL CREATIVITY IN TACTICAL INNOVATION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Political Science by David Matthew Iles, III B.A., Southeastern Louisiana University, 2006 May, 2009 ACKNOWLEDGEMENTS This thesis was completed with the approval and encouragement of my committee members: Dr. Xi Chen, Dr. William Clark, and Dr. Cecil Eubanks. Along with Dr. Wonik Kim, they provided me with valuable critical reflection whenever the benign clouds of exhaustion and confidence threatened. I would also like to thank my friends Nathan Price, Caroline Payne, Omar Khalid, Tao Dumas, Jeremiah Russell, Natasha Bingham, Shaun King, and Ellen Burke for both their professional and personal support, criticism, and impatience throughout this process. -
CAAL/AAAL Conference, Montral, July 17
University of Hong Kong Seminar (Monday February 5th, 2007) (Un)Critical Literacies on the Net? Culture Jamming and the Geopolitics of English Brian Morgan, York University Abstract The Internet has become a crucial site for a wide range of anti-globalization activity: from the mobilization of protesters at IMF and World Bank meetings to digitized forms of “writing/imaging back” that utilize the multimodal and hypermedia environment of the Internet in the subversion of images and texts used to normalize market-based ideologies. The extent to which this latter activity—often termed culture jamming—can undermine global capitalism remains to be seen. Rhetorical techniques of parody subvert by way of humorous appropriation and imitation. Circulated via the Web, however, the localized, intertextual allusions that support these parodic activities can be lost, resulting in weakened or contradictory modes of “writing back”—comedy without critique, in the eyes and ears of the uninitiated. An intriguing example is the presence of websites devoted to collecting, displaying and commodifying interlanguage phenomena, one of the most notable being Engrish.com, a website that celebrates the “error”/creativity of primarily Japanese learners/users of English. The mixed and multiple messages of Engrish.com will be foregrounded in this presentation. Through carnivalistic laughter (cf. Bakhtin), such sites can be seen as subverting the standardized and nativized codes that underpin centre-based dominance of the English Language Teaching industry. Yet, such laughter is bi-directional in that the most humorous—hence exotic, from an Anglo-centric perspective—are selected for branding on t-shirts and other products available for purchase on-line. -
Subvertising Versus Advertising: a Semiotical Analysis Of
SUBVERTISING VERSUS ADVERTISING: A SEMIOTICAL ANALYSIS OF THE CULTURE JAMMING ACT A THESIS SUBMITTED TO THE DEPARTMENT OF GRAPHIC DESIGN AND THE INSTITUTE OF FINE ARTS OF BİLKENT UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS By BANU ÖNAL December, 2005 I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts. Assist. Prof. Andreas Treske (Principal Advisor) I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts. Assist. Prof. Dr. Murat Karamüftüoğlu I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts. Assist. Prof. Alexander Djikia Approved by the Institute of Fine Arts Prof. Dr. Bülent Özgüç, Director of the Institute of Fine Arts ii ABSTRACT SUBVERTISING VERSUS ADVERTISING: A SEMIOTICAL ANALYSIS OF THE CULTURE JAMMING ACT Banu Önal M.F.A. in Graphical Arts Supervisor: Assist. Prof. Andreas Treske December, 2005 This study examines the act of Culture Jamming on the basis of semiotic theory mainly by Ferdinand de Saussure and Roland Barthes. Accordingly, the analysis based on the examination of existing Culture Jamming examples. Depending on the related issues of Culture Jamming as a social phenomenon, history of advertising, ideology and propaganda are explored. -
Subvertising— Print Media Is the Message
Subvertising— Print Media is the Message Context The Media Foundation, a Vancouver based organization has challenged us to make a difference in this world of mass advertisement, mass consumption, and mass production. For their Adbusters campaign, they want us to be culture jammers rather than mindless consumers. This organization wants us to participate in slowing down consumption by making fun of advertisements. Problem Design a print advertisement that spoofs, or subverts, a corporate ad. Design Constraints · Original ad must be a print ad (fashion, food, movies, recreation, vice, etc.) · The spoof ad must be original · Must not involve racially, religiously, or sexually offensive content (text or images) · Subvertisement can be in black and white or in colour, or a combination · Subvertisement must appear on an 8.5 x 11 piece of paper or 3.5 card Design Considerations · Pay close attention to appropriate principles of graphic design and persuasion · Unity and repetition are very important design problems to address · Try to express your own feelings in your ad (funny, playful, spiritual, honest, etc.) · Content is very important and you will be asked to explain your choices (design, gender, environmental, multicultural, political, etc.) · Consult forms of subvertising created by Adbusters and Guerrilla Girls. · Professional Work! Sequence · Choose a print ad to subvert, spoof, or 'bust' (fashion, food, movies, recreation, vice, etc.) · Study the ad closely to determine what is being promoted: WHAT are the messages (obvious and hidden)? -
Interventionist Artworks and the Creative Disruption of the Everyday
Virginia Commonwealth University VCU Scholars Compass High School Resources CSTAE Curriculum Resource 2019 Exploring Public Space: Interventionist Artworks and the Creative Disruption of the Everyday Jack Watson Follow this and additional works at: https://scholarscompass.vcu.edu/cstae_resource_high_school Part of the Art Education Commons Downloaded from https://scholarscompass.vcu.edu/cstae_resource_high_school/2 This Book is brought to you for free and open access by the CSTAE Curriculum Resource at VCU Scholars Compass. It has been accepted for inclusion in High School Resources by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. EXPLORING PUBLIC SPACE Interventionist Artworks and the Creative Disruption of the Everyday PUBLIC SPACE INTERVENTIONS UNIT PLAN Jack Watson BIG IDEA : Public Space and the Creative Disruption of the Everyday SCHOOL/CLASS CONTEXT : Art III (11 th -12 th grade), but could be modified for other contexts CENTRAL QUESTIONS • What is public space? What are the habits, patterns and rules that govern public spaces? How does the physical structure of the space reinforce these rules? • How do artists create actions in public spaces that disrupt the everyday in creative and productive ways? • What role does the spectator play in creating and generating meaning in socially-engaged artworks? OVERVIEW / RATIONALE Attempting to bridge a gap between artist and spectator while also challenging the elitism and preciousness associated with art, artists have long sought ways to blend the art experience into the everyday. From the ephemeral performances and “social sculptures” of 20 th century conceptual art to the culture-jamming interventions of contemporary street art, there is a rich historical context for engaging directly with the spectator in public spaces.