The Pranksters and the Golden Phallus
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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. -
Portrait of the Activist As a Yes Man: Examining Culture Jamming and Its Actors Through the Circuit of Culture Derrick Shannon
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Portrait of the Activist as a Yes Man: Examining Culture Jamming and Its Actors Through the Circuit of Culture Derrick Shannon Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION AND INFORMATION A PORTRAIT OF THE ACTIVIST AS A YES MAN: EXAMINING CULTURE JAMMING AND ITS ACTORS THROUGH THE CIRCUIT OF CULTURE By DERRICK SHANNON A Thesis submitted to the School of Communication and Information in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Spring Semester, 2011 The members of the Committee approve the thesis of Derrick Shannon on April 01, 2011. ______________________________ Andrew Opel Professor Directing Thesis ______________________________ Donna Marie Nudd Committee Member ______________________________ Jennifer Proffitt Committee Member Approved: _______________________________________ Steve McDowell, Chair, Department of Communication _______________________________________ Larry Dennis, Dean, College of Communication The Graduate School has verified and approved the above named committee members. ii For Dad iii ACKNOWLEDGEMENTS The author would like to primarily thank Dr. Andy Opel, Dr. Bill Lawson, and my father Sam Shannon for supporting me through this project, and for pushing me to finish. Without their encouragement and generosity I would not have been able to see this to an end. I would also like to thank Dr. Nudd and Dr. Proffitt for taking part in this and lending their time. Finally, I would like to thank my mother, Ginger Shannon, who is the kindest most inspiring person I know. -
"Art Should Comfort the Disturbed and Disturb the Comfortable:" Examining Twenty-First Century Aesthetics Through Banksy's Socially Engaged Art
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2015 "Art Should Comfort the Disturbed and Disturb the Comfortable:" Examining Twenty-First Century Aesthetics Through Banksy's Socially Engaged Art Margaret Henry Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Henry, Margaret, ""Art Should Comfort the Disturbed and Disturb the Comfortable:" Examining Twenty-First Century Aesthetics Through Banksy's Socially Engaged Art" (2015). Graduate Student Theses, Dissertations, & Professional Papers. 4476. https://scholarworks.umt.edu/etd/4476 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. “ART SHOULD COMFORT THE DISTURBED AND DISTURB THE COMFORTABLE:” EXAMINING TWENTY-FIRST CENTURY AESTHETICS THROUGH BANKSY’S SOCIALLY ENGAGED ART By MARGARET LOUISE HENRY Bachelor of Arts in English Teaching, University of Montana, Missoula, MT, 2011 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in English Literature The University of Montana Missoula, MT May 2015 Approved by: Sandy Ross, Dean of The Graduate School Graduate School Dr. Kathleen Kane, Chair Department of English Dr. Brady Harrison Department of English Dr. H. Rafael Chacón Department of Art History and Criticism © COPYRIGHT by Margaret Louise Henry 2015 All Rights Reserved ii ABSTRACT Henry, Margaret, M.A., Spring 2015 English Literature "Art should comfort the disturbed and disturb the comfortable:" Examining Twenty-First Century Aesthetics via Banksy’s Socially Engaged Art Chairperson: Dr. -
Anti-Globalization Movement - Wikipedia, the Free Encyclopedia Page 1 of 13 Anti-Globalization Movement
Anti-globalization movement - Wikipedia, the free encyclopedia Page 1 of 13 Anti-globalization movement From Wikipedia, the free encyclopedia The anti-globalization movement is critical of the globalization of capitalism. The Anti-consumerism movement is also commonly referred to as the global justice movement[1], alter- globalization movement, anti-corporate globalization movement[2], or movement against neoliberal globalization. Corresponding terms in other languages are mouvement altermondialiste[3] (French), globalisierungskritische Bewegung (German), or Movimento no-global (Italian). Participants base their criticisms on a number of related ideas.[4] What is shared is that participants stand in opposition to the unregulated political power of large, multi-national corporations and to the powers exercised through trade agreements Ideas and theory and deregulated financial markets. Specifically, corporations are accused of seeking Society of the Spectacle · to maximize profit at the expense of sabotaging work safety conditions and Culture jamming · standards, labor hiring and compensation standards, environmental conservation Corporate crime · Media principles, and the integrity of national legislative authority, independence and bias · Buy Nothing Day · Alternative culture · sovereignty. Recent developments, seen as unprecedented changes in the global Simple living · Do it economy, have been characterized as "turbo-capitalism" (Edward Luttwak), "market yourself · fundamentalism" (George Soros), "casino capitalism" (Susan Strange),[5] -
Digitalcommons@Bryant
Bryant University Bryant Digital Repository English and Cultural Studies Faculty English and Cultural Studies Journal Articles Publications and Research Winter 2-8-2018 Throwing our Voices: Ventriloquism as New Media Activism Amber Day Bryant University, [email protected] Follow this and additional works at: https://digitalcommons.bryant.edu/eng_jou Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Day, Amber, "Throwing our Voices: Ventriloquism as New Media Activism" (2018). English and Cultural Studies Journal Articles. Paper 85. https://digitalcommons.bryant.edu/eng_jou/85 This Article is brought to you for free and open access by the English and Cultural Studies Faculty Publications and Research at Bryant Digital Repository. It has been accepted for inclusion in English and Cultural Studies Journal Articles by an authorized administrator of Bryant Digital Repository. For more information, please contact [email protected]. 1 Throwing Our Voices: Ventriloquism as New Media Activism Media, Culture, and Society 40.5, 2018. In the fall of 2010, Chevron released an ad campaign designed to respond to consumer worries about the conduct of oil companies. Each ad depicted “customers” voicing rather nonspecific concerns about oil companies, answered by the “We Agree” slogan and information about something positive the company is doing in particular communities. Just before the campaign’s official roll-out, the anti-corporate activist group known as the Yes Men produced a series of sophisticated parody ads that spoke in more detail about the damage the company has done in specific countries. Designed to be mistaken for the real, the dummy campaign was distributed with a fake press release purporting to be from Chevron. -
The Trickster in Politics and Culture
Disruptive Play: The Trickster in Politics and Culture by Shepherd Siegel, PhD Contents The Difference between Playing and Playing Games Introduction: Play as Politics . It’s Not A Game 1 Tricksters and Fools 2 Arturo and Remus, Players among Us The Sin of Sins 3 It’s Ubique! 4 Trickster Meets the Twentieth Century 5 Who is to Blame for dada? 6 Eros, That’s Life! History Doesn’t Repeat Itself, but It Does Rhyme 7 Hearts’ Beat 8 The Counterculture Breaks on Through to the Other Side 9 The Counterculture Breaks 10 Abbie Hoffman, Lone Warrior of Play 11 Andy Kaufman, Holy Fool Presently in the Past 12 Bart and Lisa, Simpsons Libertas 13 Banksy, Anonymous, and the Yes Men 14 The Fremont Solstice Parade 15 Burning Man 16 The Road Ahead The Difference between Playing and Playing Games 1 Introduction: Play as Politics . It’s Not a Game Play is the exultation of the possible. Martin Buber Twickster! You’re the wabbit! Elmer Fudd I remember the first time I saw American Beauty.1 In this Sam Mendes film, Ricky Fitts is the kid who compulsively videotapes everything around him and invites the teenage girl next door into his antiseptic neat white electric- light teenage suburban bedroom. He asks her if she would like to see “the most beautiful thing I’ve ever filmed.” She agrees. In his minutes-long clip, wind plays with a plastic shopping bag, tossing it back and forth on the sidewalk, always staying in range of the camera. “It’s just minutes away from snowing, and there’s this electricity in the air,” he says. -
Exploring Humor and Media Hoaxing in Social Justice Activism
Democratic Communiqué Volume 28 Issue 2 Article 8 12-16-2019 Exploring Humor and Media Hoaxing in Social Justice Activism Follow this and additional works at: https://scholarworks.umass.edu/democratic-communique Recommended Citation (2019) "Exploring Humor and Media Hoaxing in Social Justice Activism," Democratic Communiqué: Vol. 28 : Iss. 2 , Article 8. Available at: https://scholarworks.umass.edu/democratic-communique/vol28/iss2/8 This Research Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Democratic Communiqué by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. et al.: Exploring Humor and Media Hoaxing in Social Justice Activism D E M O C R A T I C C O M M U N I Q U É Exploring Humor and Media Hoaxing in Social Justice Activism Ian Reilly Humour and satire have figured only marginally in the recent groundswell of activist literature dedicated to the renewal of tools, tactics, and strategies. In an effort to evaluate the effectiveness and appropriateness of humour and media hoaxing as tactics within activist communities—in a moment characterized by increased distrust in news organizations and information—this essay offers insight into artist and activist thinking on a topic rarely discussed in social justice activism circles. In drawing on the views and perspectives of individuals that participated in a weekend-long workshop held in Halifax, Nova Scotia, and run by the Yes Lab for Creative Activism, I argue that humour and media hoaxing are under-utilized tactics and approaches that nevertheless inspire a great deal of discussion and reflection, and retain a distinctly positive charge in their future application to social justice struggle. -
Documentary Artivism in the Digital Age Selmin Kara OCAD University
OCAD University Open Research Repository Film and New Media Studies // Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies 2015 Rebels Without Regret: Documentary Artivism in the Digital Age Selmin Kara OCAD University This article was originally published on February 16, 2015 by Taylor & Francis in Studies in Documentary Film. Article link: http://dx.doi.org/10.1080/17503280.2014.1002250 Suggested citation: Selmin Kara (2015): Rebels without regret: documentary artivism in the digital age, Studies in Documentary Film, DOI: 10.1080/17503280.2014.1002250 Studies in Documentary Film, 2015 http://dx.doi.org/10.1080/17503280.2014.1002250 Rebels without regret: documentary artivism in the digital age Selmin Kara* Faculty of Liberal Arts and Sciences, OCAD University, Toronto, ON, Canada This article takes up the implications of the blurring of art and politics in two documentary contexts: Ai Weiwei’s art activism in China, as documented in Alison Klayman’s award-winning film Never Sorry, and the Gezi protests in Turkey, documented and disseminated virally through the Internet. Drawing parallels between the self-proclaimed hooliganism of Ai Weiwei and the Turkish protesters, who co-opted the hooligan label that the government used to incriminate them and turned it into a tool for resistance, the article argues that hooliganism is just another incarnation of unruly documentary artivism, which has become prevalent in an era of digitally mediated, global social justice movements. As an interpretive framework for understanding how documentary hooliganism operates, the article proposes Tony D. Sampson’s theory of virality and its application of Dawkins’s neo-Darwinian memetic thought contagion model to the way ideas and political gestures spread in the twenty-first century. -
The Yes Men and the Utopian Politics of Satirical Fake News
International Journal of Communication 7 (2013), 1243–1264 1932–8036/20130005 From Critique to Mobilization: The Yes Men and the Utopian Politics of Satirical Fake News IAN REILLY Concordia University To date, communication and media scholars have placed significant emphasis on the professionalized forms of satirical fake news currently operating within the structures of corporate media, pointing to their continued efforts to counter the prevailing attitudes and perspectives proliferated across the dominant channels of public discourse. What follows is a broader examination of how politically motivated and activist-oriented practitioners have deployed satirical fake news to call attention to various causes and sites of struggle and to create opportunities for dissenting perspectives to register with broader publics. Satirical fake news has enjoyed considerable success putting forward a broad range of critical perspectives on the mainstream media and on the elites that give shape to the larger discourses of politics and culture. While the range and sophistication of scholarship on the subject has increased considerably in recent years (as evinced by a recent IJoC “Breaking Boundaries” special section), the primary texts under discussion remain those situated within the more instantly recognizable domains of corporate entertainment media. Importantly, satirical fake news has also figured prominently in the articulation of dissent among a wide range of activist practitioners; as I argue in this essay, the appropriation of ironic, parodic, and satirical forms of critique, along with the deployment of emergent mediatory and technological platforms, have facilitated the transmission of dissent for political satirists looking to gain access to broader publics. Indeed, satirical fake news has worked to significantly reframe political discourse on subjects of grave importance to the proper functioning of democracy—from questions regarding the future outcomes of electoral politics to concerns related to the ethical behavior of corporations and governments. -
Banksy at Disneyland: Generic Participation in Culture Jamming Joshua Carlisle Harzman University of the Pacific, [email protected]
CORE Metadata, citation and similar papers at core.ac.uk Provided by OpenSIUC 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. -
1 Arts in a Global World: Contexts and Strategies FA 371, LAS
Arts in a Global World: Contexts and Strategies FA 371, LAS 328 & T D 387D Location: SZB 286 Hours: TTH 12:30 - 2:00 Instructor: Dr. Cristóbal Bianchi G. Email: [email protected] Office Hours: 1 hour and by appointment. Course Description This course combines the critical study of community and socially engaged art, large-scale installations, mixed media arts forms, activism, and biogenetics with skill-building exercises to prepare arts professionals to operate ethically in internationally diverse political, social, and cultural contexts. With equal emphasis on studying work and training students to work internationally, this course incorporates scholarly knowledge and real- world skills for working broadly in global contexts. In general, class meetings offer a combination of lectures, group discussions devoted to readings, video screenings, practical exercises, and student presentations. While case studies are drawn from a wide swath of artistic interventions currently being produced internationally, a majority of these efforts emerge from the Americas. Among the case studies to be featured are: Santiago Sierra (Mexico); CADA (Chile); Casagrande’s “Bombing of Poems” (Chile, Spain, Germany, Poland, Croatia, Italy); Body-Movies by Rafael Lozano-Hammer (Canada, Spain and Mexico); Altars by Thomas Hirschrorn (France); Palas por Pistolas by Pedro Reyes (Mexico); The Skoghall Konsthall by Alfredo Jarr (Sweden); FlashMobs; The Wrap-Reichstag by Christo and Jean-Claude (Germany); It is What it is by Jeremy Deller (Irak, UK and USA); Francis Alyss (Spain-Morocco); Turkish Collective Oda Projesi; The Walled Off Hotel by Banksy (West Bank); The Bhopal Disaster by The Yes Men (France and UK); Exception: Contemporary Art Scene of Pristina (Serbia); Eduardo Kac’s Genetic Art (Brazil). -
The Yes Men Address the Conflict in the Democratic Republic of the Congo
Liminalities: A Journal of Performance Studies Vol. 7, No. 4, December 2011 The iPhone 4CF (Conflict Free) The Yes Men Address the Conflict in the Democratic Republic of the Congo Sonja Mönkedieck “[…] the look and feel of Apple Computer products is an indication of Apple Computer’s commitment to making the world a better place. Because making the world a better place is cool, right? And Apple Computer must be way more committed to a better world, because iPods are so much cooler looking than other MP3 players, which is why they’re so much more expensive and incompatible with other companies’ software, because – well, actually, it’s a little unclear why, in a better world, the very coolest products have to bring the very most obscene profits to a tiny number of residents of the better world. […] I think the iPod is the true face of Republican politics […].” (Franzen 201) Summary Emulating The Yes Men is easier said than done. It all began when Andy Bichlbaum, one of the leading members of The Yes Men – a group of culture jamming activists – instructed a class at Parsons New School for Design in New York City called The Yes Lab. The Yes Lab was formed to conduct experiments – social or breaching experiments1. The students decided to address the war in the Democratic Republic of the Congo (DRC), a conflict fueled by the demand for Congolese minerals resources that are essential to aerospace, military, and technology industries. Minerals extracted in the Democratic Republic of the Congo can be found in most of our electronic devices, including cell-phones, personal computers, pacemakers, and airbags.