Folksonomy | Guerrilla Tactics is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Sun, 29 Oct 2017 20:09:05 +1000 Sun, 29 Oct 2017 20:09:05 +1000 Constellations 2.0 60 Michael Glassco Contested images the politics and poetics of appropriation The dissertation traces the tactics of appropriation of Barbara Kruger The Billboard Liberation Front and Shepard Fairey as exemplars of transgression and commodification within the changing commercial conditions of neo-liberalism Their works tactics and strategies are emphasized as points of insight into the practices and conditions of subversion as well as the limits of hegemonic containment that reproduces the political and economic structure within which they operated The dissertation furthers and contributes to the theoretical and methodology of critical cultural studies as it emphasizes the role of the economy and ideology in reproducing the prevailing hegemonic order Critical cultural studies hinges on the concepts of hegemony as lived discursive and ideological struggles over meaning and communication resources within historically specific and socially structured contexts This framework emphasizes the poetics of appropriation - the use meaning and spaces of articulation of visual representations with the politics - the socio-economic and discursive conditions that reproduce the dominant social order Michael Glassco 2012 University of Iowa Sun, 29 Oct 2017 20:09:05 +1000 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 Fri, 01 Sep 2017 14:20:00 +1000 Sonic Outlaws Documentary 1995 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 Thu, 13 Apr 2017 16:08:09 +1000 Guerrilla Gardening Seed Bombs amp Seed Balls I ve been following guerrilla gardening on Twitter for quite some time and have become familiar with the term seed bombing as a result It s an idea that s always appealed to me ndash it s a kind of eco ndash friendly bee ndash friendly slightly radical anti ndash vandalism activism ndash but it s just one of those things that I d never pursued So how do they work It s a simple process really ndash the seeds I bought are encased in a ball of peat ndash free compost dried clay and chilli which are hand ndash rolled in North London yes really and no it s not what you re thinking The dried clay acts as a protective casing from common seed predators such as ants mice and birds When enough rain permeates the clay the seeds inside begin to germinate ndash helped along by the nutrients and minerals contained within the balls So it s like a tiny self ndash sufficient seeding system Maya http www mayaproject org have added chili powder to the mix to help to deter predators while the seed ball slowly degrades and eventually the seeds sprout Lucy Small 5 April 2013 Fri, 12 Apr 2013 17:54:00 +1000 The pop-up shop phenomenon Pop ndash ups are the epitome of our high ndash speed short ndash attention ndash span culture They are restaurants bars clubs and shops that spring up in unexpected locations cause a storm and disappear just before the fashion crowd moves on to the next big thing Comme des Gar ccedil ons started the trend in 2004 with its guerrilla stores Now London is totally pop ndash up ndash tastic Following the success of the Reindeer restaurant the Bistrotheque boys have now decamped actually and aesthetically from Bethnal Green to Burlington Gardens Flash their grown ndash up restaurant in the Royal Academy will be over in just that Tyler Br ucirc l eacute has turned shopgirl in his design ndash led roving microstore for Monocle magazine Blink and you d have missed Mary Portas s hyper ndash pop ndash up open for just one hour to sell vintage clothes in Bishopsgate earlier this month Then there s the Foundry flogging quirky homewares in different spaces around the capital Atelier Mo euml t on Bond Street where you can customise champagne bottles although its last day is today and the Proud Gallery which started off as merely a marquee over a car park It s a perfect concept for our hype ndash heavy society Nowhere can be the hottest place to be seen in for more than six months so by pulling it down and starting again businesses can be constantly reinvented Because they are temporary pop ndash ups can take risks They don t need as much polish so they don t need as much investment ndash perfect for recessionistas Damian Barr 28 December 2008 Times Online Fri, 08 Jul 2011 00:45:35 +1000 Band re-purpose CCTV cameras to create low-fi music video Unable to afford a proper camera crew and equipment The Get Out Clause an unsigned band from Manchester city decided to make use of the cameras seen all over British streets They set up their equipment drum kit and all in eighty locations around Manchester ndash including on a bus ndash and proceeded to play to the cameras Afterwards they wrote to the companies or organisations involved and asked for the footage under the Freedom of Information Act Only a quarter of the organisations contacted fulfilled their obligation to hand over the footage ndash perhaps predictably bigger firms were reluctant while smaller companies were more helpful ndash but that still provided enough for a video with 20 locations Tom Chivers 08 May 2008 Sun, 28 Dec 2008 23:36:21 +1000 Peter Kennard photomontage activist Peter Kennard has spent most of his life in London and has been considerably more involved than most in the capital 39 s political gatherings during the last 25 years His two major subjects quickly emerged armaments and poverty This was the early eighties with 3 million unemployed Thatcher in her first term girding her loins for the Falklands War and the CND at the height of its popularity Kennard had an audience 39 The point of my work is to use easily accessible iconic images but to render them unacceptable To break down the image of the all ndash powerful missile after breaking them to show new possibilities emerging in the cracks and splintered fragments of the old reality 39 His belief at this time was that photomontage had the power to show the causes rather than the results In recent times however he seems to have had his doubts 39 There is a problem with montage in that you see it everywhere now because of digital technology There is so much transformed imagery around that people accept constructed images without questioning their meaning I think my work was losing impact because of that 39 David Palmer Sun, 16 Nov 2008 22:02:35 +1000 John Heartfield Short extract from America 39 s Ovation TV on pioneering photomontage activist John Heartfield Sun, 16 Nov 2008 21:46:39 +1000 Giant Corporation Insinuates Itself Through Guerrilla Tactics Microsoft unleashed a swarm of large adhesive butterflies in Manhattan They settled yesterday morning on sidewalks and doorways traffic signals stop signs and planters They alighted on the bluestone paving around Grand Army Plaza and the granite corners around Grand Central Terminal Their blue green orange and yellow wings had spans of 12 to 20 inches the larger ones accompanied by a caption ndash ndash It s better with the Butterfly ndash ndash advertising Microsoft s new MSN 8 Internet service This is nothing more than corporate graffiti said Vanessa Gruen director of special projects for the Municipal Art Society a civic organisation that has long battled commercialisation of public space It s no better than all those kids out there tagging subway cars A single summons was issued with a US 50 penalty though each butterfly could have been subject to a 50 fine said Tom Cocola the assistant commissioner for public affairs at the transportation agency He said the city s chief goal was seeing to it that the decals slickers are removed Microsoft for its part insisted that it was authorised to place the decals David W Dunlap New York Times October 25 2002 Pioneering example of guerrilla marketing tactics employed by Microsoft across Manhattan in 2002 Sun, 16 Nov 2008 21:23:53 +1000 Ad Campaign Appropriates Activism and Direct-Action Here 39 s an ad campaign for Adidas new eco range Grun that is bringing together quite a few green concepts into one curious melange First we 39 ve got the product ndash ndash Adidas has a a new line of shoes which are made from recycled and natural materials They are also making clothing from hemp and bamboo the new Reground range is fully biodegradable including the first ever completely biodegradable zipper Their Recycled line is made of materials such as old tyres Then the advertising and green link they have joined up with dazed 38 confused magazine to encourage people to do guerilla gardening in grim and ugly places swapping spray cans and tags for seeds and bulbs Submit a picture of your efforts and the ten winners get a discount on any Adidas gear Then they have added a sculptural art element ndash ndash this sinister looking hand pictured made of wicker and wire is 12 feet high and is perched on a shop roof overlooking a busy street in London 39 s hip east end as part of the promotion Another creation now gone was a skip full of flowers They are planning ten more of these around town It 39 s all interesting but what it adds up to is a bit of a confusing mish mash of green elements Bonnie Alter London on 04 21 08 Sun, 16 Nov 2008 20:12:38 +1000 Guerilla Gardening revitalising urban spaces Guerilla gardening has been given its name because it 39 s not about going through tonnes of red tape to ask the Government permission to do something with the land they 39 ve ignored or forgotten about Guerilla gardening is about taking matters into your own hands to make your surroundings a better place to live As a guerilla gardener you can be part of a fully ndash fledged green army taking on mighty battles with the city landscape or a lone warrior of peace making small changes here and there You can bring green to the urban desert in a full ndash scale or small ndash scale way You can grow a seed in a pot at home then replant it somewhere in your city or you can join a guerilla gardening association there are loads around and take over a bit of wasteground turning it into a living green community space Magda Knight Sun, 16 Nov 2008 19:57:54 +1000 How did the Guerrilla Girls come to be In 1985 the Museum of Modern Art opened after a renovation they opened with a big international show on sculpture In the show there were I always forget exact numbers there were almost 200 artists and there were only 15 women and there were no artists of colour That was just so blatant and just so in your face And as if that wasn 39 t bad enough the curator then made a statement to the press that anyone who wasn 39 t in the show should rethink his career And that gave us an idea Laughs that there was probably a little bit of discrimination going on here Laughs So a group of us went up to the museum and organised a very ordinary kind of protest with placards and chants and at the end of the day we hadn 39 t really accomplished anything except make a lot of people coming in and out of the museum angry They really didn 39 t want to hear any kind of questioning of the cultural institution of the museum That 39 s when we realised that most people think that the art world or at least at that time most people thought the art world was a meritocracy ndash that whatever ended up in a museum was the best there was We were not exactly sure at that point how it all worked but we knew that there was something wrong And so a group of us decided that day that we were going to figure out some type of technique to expose it and make people think about the issue And also participate in a dialogue about it That 39 s when we decided to have an anonymous organisation and call ourselves Guerrillas like freedom fighters and put up anonymous posters in the middle of the night all over Soho where the galleries were then that just stated the facts We put up posters that went after every sub group of the art world First we did the male artists that have shows in galleries that didn 39 t show women because a lot of them had women in their lives who were artists that weren 39 t given the same opportunities We went after galleries we went after critics we went after directors of museums and we systematically put every separate group in the art world on alert that we were looking at their records and that they better do some explaining Of course everyone wanted to say it was somebody else 39 s problem Artists wanted to say it was the galleries 39 problem The galleries wanted to say it was the critics 39 problem And the critics said Oh no it 39 s the galleries 39 fault because they never showed any women Everyone was passing the buck And we wanted to put them all on alert that they were all participating consciously or unconsciously in a system that discriminated against women and people of colour And that the art world as it existed then in the mid ndash 80s did not fairly represent American culture Celina feministing com Sat, 25 Oct 2008 00:49:12 +1000 Tactical Behaviour Vs Strategic Planning I call a strategy the calculus of force ndash relationships which becomes possible when a subject of will and power a proprietor an enterprise a city a scientific institution can be isolated from an environment A strategy assumes a place that can be circumscribed as proper propre and thus serve as the basis for generating relations with an exterior distinct from it competitors adversaries clienteles targets or objects of research Political economic and scientific rationality has been constructed on this strategic model I call a tactic on the other hand a calculus which cannot count on a proper a spatial or institutional localization nor thus on a borderline distinguishing the other as a visible totality The place of a tactic belongs to the other 20 A tactic insinuates itself into the other s place fragmentarily without taking it over in its entirety without being able to keep it at a distance It has at its disposal no base where it can capitalize on its advantages prepare its expansions and secure independence with respect to circumstances The proper is a victory of space over time On the contrary because it does not have a place a tactic depends on time ndash it is always on the watch for opportunities that must be seized on the wing Whatever it wins it does not keep It must constantly manipulate events in order to turn them into opportunities The weak must continually turn to their own ends forces alien to them This is achieved in the propitious moments when they are able to combine heterogeneous elements thus in the supermarket the housewife confronts heterogeneous and mobile data ndash what she has in the refrigerator the tastes appetites and moods of her guests the best buys and their possible combinations with what she already has on hand at home etc the intellectual synthesis of these given elements takes the form however not of a discourse but of the decision itself the act and manner in which the opportunity is seized Michel de Certeau 2011 Michel de Certeau 2011 The Practice of Everyday Life University of California Press 3rd Revised edition edition 11 Nov 2011 20 The works of P Bourdieu and those of M D eacute tienne and J ndash P Vernant make possible the notion of tactic more precise but the socio ndash linguistic investigations of H Garfinkel H Sacks et al also contribute to this clarification See notes 9 and 10 Michel de Certeau makes a distinction between top ndash down strategic planning and structure that impose a proper place and behaviour upon subjects of power ndash for example the classical score is the proper score everything mapped out or at least that s what the powers that be think ndash the conservatorium that I was trained in though that all the musical content of a work was IN and ONLY IN the static permanent score fuck the temporary sounds and performances ndash logos Whereas tactical behaviours comes from the bottom ndash up guerrilla style in which there is no proper place for things no condensation of activities into discursive or commercial commodities Shit happens is kind of what it means Improvisational tactical ways of operating that aren t solely bounded by strategies from above This is the political potential of Jazz freeing up listeners and performers to be with the immediate moments of sound and play What is tactical planning and tactical structure then It must be a minimal way in which to encourage guerrilla behaviour without denying it Blogging and Picture communities on the net might be examples but think then of how corporates try to take over this spontaneous communal grass ndash roots activity and commodify it Wrigley s Juicy Fruit gum tried to market themselves through a corporate blog about how fictional Fred loved it some much and found many tactical uses for it beyond chewing it When Jazz improv becomes codified and taught assimilated into conservatorium schools then it loses its purely tactical nature and becomes strategic Which perhaps is always going to be the case if we agree with Guy Debord that the strategic Spectacle will always come to incorporate the tactical interventionist Fringe Mon, 21 Nov 2005 13:15:46 +1000 Enemy Image where is the human tragedy The Enemy Image traces the development of the image of war on American television from Vietnam to the present day Enemy Image uses outstanding reports and images from American wars of the last 30 years to explore the changing role of the war correspondent and the strange disappearance of dead bodies from the image of war Writer ndash Director Mark Daniels comments This film developed out of my encounter with the remarkable Vietnam War reporting of Wilfred Burchett and Roger Pic They witnessed and reported that war as no other Westerners could and their body of work remains an historical treasure Their films opposed American images of technical and material power with images of revolutionary solidarity improvisation and sacrifice With the War in Iraq ndash journalists 39 embedded 39 with American and British forces brought sights and sounds from the battlefield to the living room live But where was the tragedy Where was the cruelty Where was the heroism The Guardian Sun, 21 Aug 2005 22:16:43 +1000 Heartfield Political Commentary Through Photomontage Exposing Nazism and its leaders to ridicule was John Heartfield 39 s main aim in the 30s 39 The Meaning of the Hitler Salute 39 shows Hitler 39 s right hand accepting a wad of bank notes from a gigantic bourgeois standing behind him 39 39 Little man requests big donation Motto Millions are behind me Heartfield was an early pioneer of photomontage He used it as a political weapon to challenge fascism prior to the 2nd World War For Heartfield 39 39 New political problems demand ed new means of propaganda For this task photography possessed the greatest power of persuasion The Leninist 1992 Fig 1 John Heartfield 1932 Der Sinn des Hitlergrusses Kleiner Mann bittet um gro 223 e Gaben Motto Millonen Stehen Hinter Mir The Meaning of the Hitler Salute Little man asks for big gifts Motto Millions Stand Behind Me 1932 http www metmuseum org toah works ndash of ndash art 1987 1125 8 Fri, 22 Apr 2005 17:27:46 +1000