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Which clippings match Simon Perkins' concept of 'Recombinatory Practice' pg.1 of 22
01 SEPTEMBER 2017

Truth In Advertising: Guerrilla Art in Santa Cruz 1980-1985

"The photographs in this exhibit are of actual altered billboards that appeared on the streets of Santa Cruz, California from 1980 to 1985. The photographs have been adjusted for brightness, contrast, and parallax, but no content changes were made.

The billboards were made over by a clandestine network of midnight billboard editors operating under the name of Truth In Advertising, or TIA for short.

This exhibit of their historic work was first presented in 2007 at the Santa Cruz Museum of Art and History. The exhibit is made up of 12 billboards presented in the order in which they appeared on the streets of Santa Cruz. The sequence also tells the story of Truth in Advertising, and documents publicity and commentary."

(Bob Stayton)

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TAGS

1980sactivismadadvertising billboardsadvertising hijackingappropriation practicesbillboardbillboard bandit • Bob Stayton • brandalismcritical cultural hijackingculture jammingdetournement publicitaireguerrilla artguerrilla tacticsmedia hijacking • media reinterpretation • re-purposerecombinatory practiceridicule • Santa Cruz • transformative works • Truth in Advertising (TIA) • William Board (pseudonym)

CONTRIBUTOR

Simon Perkins
22 AUGUST 2017

ReorderTV: a mixtape of playful, critical and absurd video cut-ups

ReorderTV is an online platform created by Simon Perkins designed as a curated collection of video cut-ups, which challenge, engage and entertain. The collection showcases a variety of clips: some distinctly playful, others critical and some simply absurd.

The site doesn't have traditional menu to make user-selections, instead clips simply begin playing full-screen in reverse-chronological order, from the most recent to the much older. While each clip has an associated permalink for sharing, play-progress is maintained to enable users to restart watching where they left off.

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CONTRIBUTOR

Simon Perkins
04 JUNE 2017

Girl Talk's Gregg Gillis On Copyright, Curation and Making Mashups Rhyme

"When you listen to the recorded version of Girl Talk's music, it's hard not to get involved with the 'Name That Tune' game of it. ...

You might think that someone who uses other people's music so freely would disdain any notion of copyright, but Gillis, in fact, has a very balanced and contemporary viewpoint. 'I basically believe in that idea [of Fair Use], that if you create something out of pre-existing media, that's transformative, that's not negatively impacting the potential sales of the artist you're sampling, if it's not hurting them in some way, then you should be allowed to make your art and put it out there. I think, even in the years of doing this, the conversation has shifted a good bit.' Gillis has found himself a mashup artist in a mashup culture, and he no longer has to explain what he's doing or defend it. It is telling that no artist that has been sampled by Girl Talk has ever complained."

(Anthony Wing Kosner, 7 October 2012, Forbes)

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TAGS

2012copyrightderivative worksfair useForbesGirl Talk (music artist) • Illegal Art (record label) • mash-up • mash-up artist • mash-up culture • metatextuality • music remix • music samplingremix culture • sample-based music • transformative works

CONTRIBUTOR

Simon Perkins
11 APRIL 2017

This Unruly: a repository of video cut-ups (clips and literature reviews)

This Unruly is an evolving web repository of theory and practice related to recombinatory video appropriation practices involving video re-purposing, re-mixing, collage and cut-up techniques. The site includes examples of YouTube clips as well as a literature review of articles and academic papers, which relate to the subject. Content within the site has been organised using a provisional taxonomy that centres on formal aesthetic, creative and experimental features. In doing so this marks a departure from more conventional approaches, which generally seek to locate works according to established art historical developments and stylistic conventions. The site, which was created by Simon Perkins is an extension to posts about the practice of video cut-ups that were initially made to the Folksonomy.co in 2016.

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CONTRIBUTOR

Simon Perkins
15 FEBRUARY 2017

Silent-era avant-garde artist-filmmakers disrupting the new realities of mass media (rather than replicating them)

"Around the time Shub started her documentary experiments, 20th century avant-garde artists likewise began using repurposed chunks of mass-produced ephemera. Picasso and Braque threw bits of newspaper into paintings; Max Ernst cut up Victorian illustrations to create proto-surrealist collages; Walter Benjamin, T. S. Eliot, and James Joyce pushed the literary practice of quotation into the realm of pastiche; Marcel Duchamp pioneered sculptural assemblage with his readymades; and photomontage blossomed in the graphic works of John Heartfield, Hannah Höch, and Alexander Rodchenko. These works rearranged reality to suit their artists' purposes but, unlike the compilation films, did not try to hide that manipulation. Whether Cubist, Dada, or Constructivist, these artists chose to disrupt the new realities of mass media rather than replicate them, savoring the illogic of dreamlike disjunctions and precipitating new ways to see all-too-common images."

(Ed Halter, 10 July 2008, Moving Image Source)

TAGS

20th centuryAlexander Rodchenkoavant-garde artistsavant-garde cinemaconstructivistcubismcut-up techniqueDadadisruptiondocumentary experiments • dreamlike disjunctions • Ed Halter • Esther Shub • experimental film • found-footage • Georges Braque • Hannah Hochinfluential artistsJames JoyceJohn Heartfield • literary practice • Marcel Duchampmass media • mass-produced ephemera • Max Ernst • new realities • Pablo Picassopastichephotomontagepioneering filmmaker • proto-surrealist collages • quotationreadymade • repurposed archival material • Russian constructivism • sculptural assemblage • Thomas Stearns Eliot • Victorian illustrations • Walter Benjamin

CONTRIBUTOR

Simon Perkins
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