Folksonomy | Telejusting http://folksonomy.co/?rss=5404 Folksonomy.co is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Sat, 14 Oct 2017 11:17:11 +1000 Sat, 14 Oct 2017 11:17:11 +1000 Constellations 2.0 http://folksonomy.co/?member=2 60 Folksonomy.co http://folksonomy.co/Folksonomy.gif http://folksonomy.co/ Media and Interpellation http://folksonomy.co/?permalink=4318 Many theorists have taken Althusser s notion of ideology and interpellation shifted the focus away from the state and applied it to various kinds of media texts In this vein cultural theorists such as Max Horkheimer and Theodor Adorno have argued that the homogeneity of mass media interpellate passive subjects who desire reoccurring tropes and predictable story lines which only serve to further stultify them 1979 5 They are particularly sympathetic to those exploited in capitalist society lamenting how capitalist production so confines them body and soul that they fall helpless victim to what is offered them Adorno and Horkheimer 1979 8 Yet the common people s acquiesce to the culture industry only perpetuates their conditions and Adorno and Horkheimer proceed to argue immovably they insist on the very ideology which enslaves them The misplaced love of the common people for the wrong which is done them is a greater force than the cunning of the authorities Adorno and Horkheimer 1979 8 Like Althusser Adorno and Horkheimer argue that the proletariat submit to ideologies that interpellate them as passive and thus comply with their own domination Similarly David Gauntlett describes how interpellation occurs when a person connects with a media text when we enjoy a magazine or TV show for example this uncritical consumption means that the text has interpellated us into a certain set of assumptions and caused us to tacitly accept a particular approach to the world Gauntlett 2002 27 Here Gauntlett seems to echo Adorno and Horkheimer s argument that media consumers unquestioningly accept a medium s subject positioning of them as passive viewers Cindy Nguyen The Chicago School of Media Theory http://folksonomy.co/?permalink=4318 Sat, 14 Oct 2017 11:17:11 +1000 ReorderTV a mixtape of playful critical and absurd video cut-ups http://folksonomy.co/?permalink=4307 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 http://folksonomy.co/?permalink=4307 Tue, 22 Aug 2017 18:32:17 +1000 Sonic Outlaws Documentary 1995 http://folksonomy.co/?permalink=4291 Sonic Outlaws a fragmented gleefully anarchic documentary by Craig Baldwin approaches this incident from several directions Some of the film is about the legal nightmare that ensued from Negativland s little joke In a highly publicized case U2 s label Island Records charged Negativland with copyright and trademark infringement for appropriating the letter U and the number 2 even though U2 had in turn borrowed its name from the Central Intelligence Agency SST then dropped Negativland suppressed the record and demanded that the group pay legal fees Trying to remain solvent Negativland sent out a barrage of letters and legal documents that are now collected in Fair Use an exhaustive weirdly fascinating scrapbook about the case Sonic Outlaws covers some of the same territory while also expanding upon the ideas behind Negativland s guerilla recording tactics Guerilla is indeed the word since these and other appropriation artists see themselves as engaged in real warfare inundated by the commercial airwaves infuriated by the propaganda content of much of what they hear and see these artists strike back by rearranging contexts as irreverently as possible Their technological capabilities are awesome enough to mean no sound or image is tamper-proof today http://folksonomy.co/?permalink=4291 Thu, 13 Apr 2017 16:08:09 +1000 This Unruly a repository of video cut-ups clips and literature reviews http://folksonomy.co/?permalink=4290 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 http://folksonomy.co/?permalink=4290 Tue, 11 Apr 2017 15:31:35 +1000 Vidding is a fan-made music video genre using appropriated content http://folksonomy.co/?permalink=4207 http://folksonomy.co/?permalink=4207 Mon, 11 Apr 2016 12:18:57 +1000 Museum of the Moving Image Cut Up exhibition http://folksonomy.co/?permalink=3358 Exhibition Cut Up 29 June ndash 14 October 2013 In the Amphitheater Gallery Organized by Jason Eppink Associate Curator of Digital Media at The Museum of the Moving Image From supercuts to mashups to remixes Cut Up celebrates the practice of re-editing popular media to create new work presenting contemporary videos by self-taught editors and emerging artists alongside landmarks of historic and genre-defining reappropriation Easy access to editing tools and distribution platforms now gives more people than ever before the opportunity to respond to the commercial products that shape our cultural dialogues By plumbing a vast shared vocabulary of image and sound audiences can express affiliation criticize or construct entirely new content using popular media as raw material Re-edited videos are created and shared online daily by publics that spend increasing amounts of social time in front of networked screens As the distinction between consumer and participant becomes ever more fluid re-editing popular media has emerged as a common way of participating in a shared cultural conversation The exhibition presents a selection of short-form video works that take movies music videos television series and news broadcasts as their source material focusing on genres and techniques that have emerged online over the past decade and their on- and offline precedents http://folksonomy.co/?permalink=3358 Tue, 09 Jul 2013 20:46:28 +1000