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Which clippings match 'Recombinatory Practice' keyword pg.1 of 1
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
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
30 OCTOBER 2015

Ephemeral Media: temporal programmatic recombinatory practice

"Kuleshov's insights gave voice to a temporal recombinatory practice that is older than the film medium, evident for example in nineteenth-century programming of magiclantern exhibitions, where showmen learned to build – and to rework – stories from the slides that they happened to have. But these early practices, particularly as they appeared through film's first decade or so, actually made use of recombinatory logic in a double sense. First, in the hands of film-makers such as Edwin S. Porter and D. W. Griffith, the sequence of shots was manipulated to construct overall textual meaning (just as Kuleshov would later theorise and experimentally demonstrate). Second, the positioning of the films of Porter, Griffiths and others into full programmes (complete with lantern slides, actualités and other narratives) could itself radically transform the meanings of individual films. Here, the programmer (usually the projectionist) could, through simple manipulation of film sequence, comment upon or build different frameworks of coherence for a particular film. This metalevel of recombination was not discussed by Kuleshov and, indeed, largely took residual form in exhibition practice. But it was seized upon by television (and radio), where programmatic recombination would emerge as the economic lifeblood of the industry in the form of the rerun. And it provides one of the keys to television's distinctive deployment of ephemeral programme elements. Television's programming logics turn on a triad of organisational principles when it comes to texts, ephemeral and not: sequence, interpenetration and repetition."

(William Uricchio, 2011)

[2] Derek Kompare (2005) offers an excellent overview of this practice.

William Uricchio, "The Recurrent, the Recombinatory and the Ephemeral," in Paul Grainge, ed., Ephemeral Media: Transitory Screen Culture from Television to YouTube (London: British Film Institute / Palgrave MacMillan, 2011): 23-36 [http://www.palgrave.com/page/detail/ephemeral-media-paul-grainge/?isb=9781844574353].

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TAGS

actualites • broadcast era programming • broadcast schedule • careful orchestration of programme units • changing constituency of viewers • commercial television • content recycling • contextualisationcontinuous viewing • David Wark Griffith • displaced micro-programme elements • Edwin Porter • ephemeral media • ephemeral programme elements • exhibition practice • frameworks of coherence • frequency of repetition • iconic footage • interconnect programme elements • interpenetration • interstitials • John Ellis • juxtaposed imagesKuleshov Effect • larger whole • line-up • magic lantern • manipulation of film sequence • mass media • metalevel recombination • metatextNatural Born Killers • news headlines • organisational principles • paratext • Paul Grainge • persuasive logic • programmatic historical framing • programmatic recombination • programme bumpers • programme hooks • programme segments • programme units • projectionist • punctuation of programme sequence • radio • recombinatory logic • recombinatory practice • recycling of footage • recycling programmes • remote controlrepetition • rerun • residual form • rework • rupture engagement • self-programmer • sequence design • sequence of shots • showmen • television and broadcasting • television programmingtelevision studiestemporal contiguity • temporal recombinatory practice • textual meaning • thirty-minute rotation • timed advertisements • transitory screen culture • watching television • William Uricchio • YouTube channel • YouTube segments

CONTRIBUTOR

Simon Perkins
04 NOVEMBER 2012

CollageMachine: An Interactive Agent of Web Recombination

"CollageMachine builds interactive collages from the Web. First you choose a direction. Then CollageMachine will take you surfing out across the Internet as far as it can reach. It builds a collage from the most interesting media it can find for you. You don't have to click through links. You rearrange the collage to refine your exploration.

CollageMachine is an agent of recombination. Aesthetics of musical composition and conceptual detournement underlie its development. The composer John Cage and Dada artists such as Marcel Duchamp and Max Ernst used structured chance procedures to create aesthetic assemblages. These works create new meaning by recontextualizing found objects. Instead of functioning as a single visual work, CollageMachine embodies the process of collage making.

CollageMachine [1] deconstructs Web sites and re-presents them in collage form. The program crawls the Web, downloading sites. It breaks each page down into media elements—images and texts. Over time, these elements stream into a collage. Point, click, drag, and drop to rearrange the media. How you organize the

elements shows CollageMachine what you're interested in. You can teach it to bring media of interest to you. On the basis of your interactions, CollageMachine reasons about your interests; the evolving model informs ongoing choices of selection and placement. CollageMachine has been developed through a process of freely combining disciplines according to the principles of 'interface ecology.'"

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1996 • aesthetic assemblages • agent of recombination • Andruid Kerne • collagecollage art • collage form • collage making • CollageMachine (1996) • conceptual collage • conceptual detournement • create new meaning • detournement • digital collage • evolving model • foundfound object • freely combining • influential works • interactive collage • interface ecology • Internet artInternet artworkJohn CageMarcel DuchampMax Ernst • musical composition • net artnew media • New York Digital Salon • objet trouverecombinationrecombinatory practicerecontextualisationrecontextualising found objects • selection and placement • structured chance procedures • web

CONTRIBUTOR

Simon Perkins
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