"The second US presidential debate was characterised by levels of vitriol never before seen on the US political stage.
But while millions of viewers across the world watched in horror as the Donald Trump and Hillary Clinton bloodied themselves over the Trump tapes, Clinton emails, tax, Syria and Obamacare, others saw the opportunity for humour.
Enter the memes.
The combination of microphones and roaming candidates, aided by the town hall-style of the debate in St Louis, proved fertile ground for imagining an alternate reality – one where Clinton and Trump were serenading each other.
As the debate ground on the #debatesongs hashtag spawned memes of the pair singing along to duets from Frozen, Grease and – probably most memorably – Dirty Dancing."
(Bonnie Malkin, 11 October 2016, Guardian Unlimited)
"Giving credence to the theory that our entire country is run by children, Parkinson has taken some of the brattiest members of Australia’s 45th Parliament, including dibber dobber George Brandis, nap-time enthusiast Derryn Hinch and that weird kid named Cory who just wants someone to pay attention to him, and seamlessly inserted them into Arnold Schwarzenegger’s criminally underrated 1990 comedy Kindergarten Cop."
(Tom Clift, 11/9/2016)
"The writer Ken Hollings examines how an artistic device called the 'cut-up' has been employed by artists and satirists to create new meanings from pre-existing recorded words.
Today's digital age has allowed multi-media satirists like Cassetteboy to mock politicians and TV celebrities online by re-editing - or cutting up - their broadcast words. But the roots of this technique go back to the early days of the avant-garde. The intention has always been to amuse, to surprise, and to question.
The founder of the Dadaist movement, the poet Tristan Tzara, proposed in 1920 that a poem could be created simply by pulling random words cut from a newspaper out of a hat. And it was this idea of the random juxtaposition of text, of creating new meanings from pre-existing material, that so appealed to the painter Brion Gysin in the late 1950s when he and his friend, the American writer William S Burroughs, began applying the technique not just to text but to other media too - including words recorded on tape."
"EBN works to harness the power of multimedia audio–visual technology into the most effective electronic behavior control system.
EBN's techniques involve a collection and analysis of massive amounts of randomly recorded audio and video television programming. After a careful screening internal process, the choicest bits are chosen for inclusion in compositions using internal digital sampling and video editing in their own production facility."
(fUSION Anomaly, 12 January 2003)