"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)
 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].
"Tactical Media emerged when the modest goals of media artists and media activists were transformed into a movement that challenged everyone to produce their own media in support of their own political struggles. This "new media" activism was based on the insight that the long-held distinction between the 'street' (reality) and the 'media' (representation) could no longer be upheld. On the contrary, the media had come to infuse all of society.
To challenge dominant (strategic) structures in society, it was necessary develop new (tactical) means of producing and distributing media. Not a specialised task separate from the social movements, but a key activity around which social movements could coalesce. And of equal importance, the media environment characterised by a broadcast logic of geography was being supplemented with an environment characterised by a many-to-many logic of access.
Though much has changed these insights remain as valid today as they did in the early 1990s."
(Eric Kluitenberg and David Garcia)
Fig.1 Image from: Critical Art Ensemble, Digital Resistance: Explorations in Tactical Media, 2001. http://critical-art.net/books/digital
"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)
"Comux UK was created in 2011 by Ed Hall. In 2013 it was awarded the licence by Ofcom to operate the digital transmission infrastructure. Comux offers an equitable, cost–efficient and community–driven approach to provide a wide range of services to local TV broadcasters in the UK.
We believe our approach creates a commercially sustainable and robust solution to the unique challenges facing local TV operators, and has the potential to provide an attractive return to the licence holders, and to the local TV industry as a whole. In particular we believe our model addresses the key challenge that local TV faces, which is the financial barrier to launching and successfully maintaining a local TV channel."
"ShortsTV is the global home to short film, where short stories come to life in stunning high definition. Available across the USA and Europe, the channel brings audiences captivating contemporary short form content from filmmakers across six continents. Following unprecedented growth in the demand for short films, it is now available to 40 million homes and is successfully entertaining over 11 million subscribers. ShortsTV is a world–leading short film media group, designed with movie enthusiasts and experimental 'lean forward' viewers in mind. Combining cutting edge short films with new spectacular HD technology, audiences of all ages can expand their viewing pleasure from the comforts of their own home, or on the move through mobile devices. ShortsTV obtains only high quality live action, animation, and documentary movies from the world's most famous film festivals and independent suppliers. Through the acquisition of these films, the channel offers professional short filmmakers an unparalleled commercial medium to develop their careers.
ShortsTV is owned and operated by Shorts International Ltd, headquartered in London with its US head office in Los Angeles. Since 2006, Shorts International has produced the OSCAR Nominated Short Film theatrical release, distributing it to cinemas across North America and Europe with its special global media partners. In 2008, Shorts International became one of the earliest iTunes movie partners, bringing hundreds of the world's best independent shorts to the iTunes audience, years before the iTunes Movie Store launched. The films are now available in 54 countries worldwide."