Folksonomy | Detournement Publicitaire is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Fri, 01 Sep 2017 14:20:00 +1000 Fri, 01 Sep 2017 14:20:00 +1000 Constellations 2.0 60 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 On the Passage of a few People through a Rather Brief Moment in Time The Situationist International 1956-1972 The Situationist International SI was an international organization of social revolutionaries the exclusive membership of which was made up of avant-garde artists intellectuals and political theorists active from its formation in 1957 to its dissolution in 1972 The intellectual foundations of the Situationist International were derived primarily from anti-authoritarian Marxism and the avant-garde art movements of the early 20th century particularly Dada and Surrealism Overall situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism The situationists recognized that capitalism had changed since Marx s formative writings but maintained that his analysis of the capitalist mode of production remained fundamentally correct they rearticulated and expanded upon several classical Marxist concepts such as his theory of alienation In their expanded interpretation of Marxist theory the situationists asserted that the misery of social alienation and commodity fetishism were no longer limited to the fundamental components of capitalist society but had now in advanced capitalism spread themselves to every aspect of life and culture They resolutely rejected the idea that advanced capitalism s apparent successes mdash such as technological advancement increased income and increased leisure mdash could ever outweigh the social dysfunction and degradation of everyday life that it simultaneously inflicted Essential to situationist theory was the concept of the spectacle a unified critique of advanced capitalism of which a primary concern was the progressively increasing tendency towards the expression and mediation of social relations through objects The situationists believed that the shift from individual expression through directly lived experiences or the first-hand fulfillment of authentic desires to individual expression by proxy through the exchange or consumption of commodities or passive second-hand alienation inflicted significant and far-reaching damage to the quality of human life for both individuals and society Another important concept of situationist theory was the primary means of counteracting the spectacle the construction of situations moments of life deliberately constructed for the purpose of reawakening and pursuing authentic desires experiencing the feeling of life and adventure and the liberation of everyday life When the Situationist International was first formed it had a predominantly artistic focus emphasis was placed on concepts like unitary urbanism and psychogeography Gradually however that focus shifted more towards revolutionary and political theory The Situationist International reached the apex of its creative output and influence in 1967 and 1968 with the former marking the publication of the two most significant texts of the situationist movement The Society of the Spectacle by Guy Debord and The Revolution of Everyday Life by Raoul Vaneigem The expressed writing and political theory of the two aforementioned texts along with other situationist publications proved greatly influential in shaping the ideas behind the May 1968 insurrections in France quotes phrases and slogans from situationist texts and publications were ubiquitous on posters and graffiti throughout France during the uprisings Tue, 29 Aug 2017 10:25:24 +1000 ReorderTV a mixtape of playful critical and absurd video cut-ups 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 Tue, 22 Aug 2017 18:32:17 +1000 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 Tue, 11 Apr 2017 15:31:35 +1000 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 mdash 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 Sun, 04 Nov 2012 10:45:31 +1000 Situationist cinema attempt to critique capitalist consumption practices Debord s mode of cinematic situation construction owes much to Marx s understanding of the relationship between production and alienation especially as articulated in the Economico-Philosophical Manuscripts of 1844 For Marx the commodification of labour in a capitalist society means the loss of reality for the worker in turn the subsequently produced commodity ensures her simultaneous loss of and bondage to the object produced Situationist cinema reverses this trend by refusing to produce any new filmic work any reified artifact for consumption whose potential exchange value might negate the use-value acquired in its spatio-temporal projection and the subsequent construction of an indeterminately meaningful event Debord picks up Marxian concepts that the Marxist tradition hitherto had all but ignored frequently echoing Marx s conclusion that alienation appears as the true induction into civil life and even more significantly his observation and critique of commodity fetishism in capitalist society 3 The spectacle Debord argues thrives on the repetition of commodity form reinvesting the structure with seemingly new products and images By compiling image after image of the commodification of life by consumer capitalism female bodies political figures product advertisements popular films and so on his films expose this oppressive repetition and artificial sense of the new and as if to help along one of the most problematic concepts in Marx s work Society of the Spectacle 1973 ponders the commodity s metaphysical subtleties while sequentially imaging automobile showrooms and naked cover girls Ricky Crano 2007 Crano R 2007 Guy Debord and the Aesthetics of Cine-Sabotage Senses of Cinema Fri, 17 Oct 2008 13:18:04 +1000 The Theory of The D eacute rive In a d eacute rive literally drifting one or more persons during a certain period drop their relations their work and leisure activities and all their other usual motives for movement and action and let themselves be drawn by the attractions of the terrain and the encounters they find there Chance is a less important factor in this activity than one might think from a d eacute rive point of view cities have psychogeographical contours with constant currents fixed points and vortexes that strongly discourage entry into or exit from certain zones Guy Debord 1956 Tue, 07 Dec 2004 00:00:00 +1000