Culture jamming (sometimes guerrilla communication
) is a protest used by many anti-consumerist social movement
["Investigating the Anti-consumerism Movement in North America: The Case of Adbusters';" Binay, Ayse; (2005); dissertation, University of Texas]
to disrupt or subvert media culture
and its mainstream
cultural institutions, including corporate advertising
. It attempts to "expose the methods of domination" of a mass society
Culture jamming is a form of subvertising
Many ''culture jams'' are intended to expose questionable political assumptions behind commercial culture
. Culture jamming makes use of the technique ''détournement
'', which uses the language and rhetoric
of the mainstream paradigm or culture to subversively critique that paradigm or culture. Tactics include editing logo
s to critique the company, product or concept they represent, or wearing fashion
statements that criticize the current fashion trends by deliberately clashing with them.
[Boden, Sharon and Williams, Simon J. (2002) "Consumption and Emotion: The Romantic Ethic Revisited", Sociology 36(3):493–512]
Culture jamming often entails using mass media
to produce ironic
commentary about itself, commonly using the original medium's communication method.
Culture jamming is a reaction against social conformity
. Prominent examples of culture jamming include the adulteration of billboard advertising
by the Billboard Liberation Front
and contemporary artists
such as Ron English
. Culture jamming may involve street parties and protest
s. While culture jamming usually focuses on subverting or critiquing political and advertising messages, some proponents focus on a different form which brings together artists, designers, scholars, and activists to create works that transcend the status quo rather than merely criticize it.
[LeVine, Mark (2005)'' Why They Don't Hate Us: Lifting the Veil on the Axis of Evil''. Oxford, UK: Oneworld Publications.]
Origins of the term, etymology, and history
The term was coined in 1984 by Don Joyce
of the sound collage
, with the release of their album ''JamCon '84
[Lloyd, Jan (2003]
''Culture Jamming: Semiotic Banditry in the Streets''
, in ''Cultural Studies Department'': University of Canterbury,
[Dery, Mark (2010) New Introduction and revisited edition o]
''Culture Jamming: Hacking, Slashing, and Sniping in the Empire of the Signs
', October 8, 2010
The phrase "culture jamming" comes from the idea of radio jamming
that public frequencies can be pirated and subverted for independent communication, or to disrupt dominant frequencies. In one of the tracks of the album, they stated:
Origins and preceding influences
According to Vince Carducci
, although the term was coined by Negativland, culture jamming can be traced as far back as the 1950s.
[Carducci, Vince (2006) "Culture Jamming: A Sociological Perspective", Journal of Consumer Culture 6(1): 116–138]
One particularly influential group that was active in Europe was the Situationist International
and was led by Guy Debord
. The SI asserted that in the past humans dealt with life and the consumer market directly. They argued that this spontaneous way of life was slowly deteriorating as a direct result of the new "modern" way of life. Situationists saw everything from television to radio as a threat
[Lasn, Kalle (1999) Culture Jam: How to Reverse America's Suicidal Consumer Binge – And Why We Must. New York: HarperCollins]
and argued that life in industrialized areas, driven by capitalist forces, had become monotonous, sterile, gloomy, linear, and productivity-driven. In particular, the SI argued humans had become passive recipients of ''the'' ''spectacle
'', a simulated reality that generates the desire to consume, and positions humans as obedient consumerist cogs within the efficient and exploitative productivity loop of capitalism.
Through playful activity, individuals could create ''situations
'', the opposite of spectacles. For the SI, these situations took the form of the ''dérive
'', or the active drift of the body through space in ways that broke routine and overcame boundaries, creating situations by exiting habit and entering new interactive possibilities.
The cultural critic Mark Dery
traces the origins of culture jamming to medieval carnival, which Mikhail Bakhtin
interpreted, in ''Rabelais and his World,'' as an officially sanctioned subversion of the social hierarchy. Modern precursors might include: the media-savvy agit-prop of the anti-Nazi photomonteur John Heartfield
, the sociopolitical street theater and staged media events of 1960s radicals such as Abbie Hoffman
, Joey Skaggs
, the German
concept of Spaßguerilla
, and in the Situationist International
(SI) of the 1950s and 1960s. The SI first compared its own activities to radio jamming
in 1968, when it proposed the use of guerrilla communication
within mass media
to sow confusion within the dominant culture. In 1985, the Guerrilla Girls
formed to expose discrimination and corruption in the art world
Mark Dery's ''New York Times
'' article on culture jamming, "The Merry Pranksters And the Art of the Hoax"
[Dery, Mark (199]
''The Merry Pranksters And the Art of the Hoax''
NYtimes article, December 23, 1990.
was the first mention, in the mainstream media, of the phenomenon; Dery later expanded on this article in his 1993 Open Magazine pamphlet, ''Culture Jamming: Hacking, Slashing, and Sniping in the Empire of the Signs'',
[Dery, Mark (1993]
', in ''Open Magazine Pamphlet Series'', 1993
a seminal essay that remains the most exhaustive historical, sociopolitical, and philosophical theorization of culture jamming to date. ''Adbusters
'', a Canadian publication espousing an environmentalist critique of consumerism and advertising, began promoting aspects of culture jamming after Dery introduced founder and editor Kalle Lasn
to the term through a series of articles he wrote for the magazine. In her critique of consumerism, ''No Logo
'', the Canadian cultural commentator and political activist Naomi Klein
examines culture jamming in a chapter that focuses on the work of Jorge Rodriguez-Gerada
. Through an analysis of the Where the Hell is Matt
viral videos, researchers Milstein and Pulos analyze how the power of the culture jam to disrupt the status quo is currently being threatened by increasing commercial incorporation.
For example, T-Mobile utilized the Liverpool street underground station to host a flashmob to sell their mobile services.
Culture jamming is a form of disruption that plays on the emotions
of viewers and bystanders. Jammers want to disrupt the unconscious thought process that takes place when most consumers view a popular advertising and bring about a détournement
Activists that utilize this tactic are counting on their meme
to pull on the emotional strings of people and evoke some type of reaction. The reactions that most cultural jammers are hoping to evoke are behavioral change and political action. There are four emotion
s that activists often want viewers to feel. These emotions – shock
, and anger
– are believed to be the catalysts for social change.
[Summers-Effler, Erika (2002) "The Micro Potential for Social Change: Emotion, Consciousness, and Social Movement Formation", Sociological Theory 20(1): 41–60]
The basic unit in which a message is transmitted in culture jamming is the meme
. Memes are condensed images that stimulate visual, verbal, musical, or behavioral associations that people can easily imitate and transmit to others. The term meme was coined and first popularized by geneticist Richard Dawkins
, but later used by cultural critics such as Douglas Rushkoff
, who claimed memes were a type of media virus
[Rushkoff, Douglas (1996) Media Virus! New York: Ballantine]
Memes are seen as genes
that can jump from outlet to outlet and replicate themselves or mutate upon transmission just like a virus.
[Dawkins, Richard (1989) The Selfish Gene. Oxford: Oxford University Press]
Culture jammers will often use common symbols such as the McDonald's golden arches or Nike swoosh to engage people and force them to think about their eating habits or fashion sense.
[Center for Communication and Civic Engagement](_blank)
Seattle, Washington Retrieved November 20, 2009
In one example, jammer Jonah Peretti
used the Nike symbol to stir debate on sweatshop child labor and consumer freedom. Peretti made public exchanges between himself and Nike over a disagreement. Peretti had requested custom Nikes with the word "sweatshop" placed in the Nike symbol. Nike refused. Once this story was made public, it spread worldwide and contributed to the already robust conversation
Business Insider Retrieved February 9, 2015
and dialogue about Nike's use of sweatshops,
which had been ongoing for a decade prior to Peretti's 2001 stunt. Jammers can also organize and participate in mass campaigns. Examples of cultural jamming like Perretti's are more along the lines of tactics that radical consumer social movements would use. These movements push people to question the taken-for-granted assumption that consuming is natural and good and aims to disrupt the naturalization of consumer culture; they also seek to create systems of production and consumption that are more humane and less dominated by global corporate late capitalism
[Princen, Thomas, Maniates, Michael and Conca, Ken (2002) Confronting Consumption. Cambridge, MA: MIT Press.]
Past mass events and ideas have included Buy Nothing Day
, virtual sit-ins and protests over the Internet, producing ‘subvertisements' and placing them in public spaces, and creating and enacting ‘placejamming' projects where public spaces are reclaimed and nature is re-introduced into urban places.
[Harold, Christine (2004) `Pranking Rhetoric: "Culture jamming" as Media Activism', Critical Studies in Media Communication 21(3): 189–211]
The most effective form of jamming is to use an already widely recognizable meme to transmit the message. Once viewers are forced to take a second look at the mimicked popular meme they are forced out of their comfort zone. Viewers are presented with another way to view the meme and are forced to think about the implications presented by the jammer.
More often than not, when this is used as a tactic the jammer is going for shock value. For example, to make consumers aware of the negative body image that big-name fashion brands are frequently accused of causing, a subvertisement of Calvin Klein's 'Obsession' was created and played worldwide. It depicted a young woman with an eating disorder throwing up into a toilet.
[Bordwell, Marilyn (2002) `Jamming Culture: Adbusters' Hip Media Campaign against Consumerism', in Thomas Princen, Michael Maniates and Ken Conca (eds) Confronting Consumption, pp. 237–53. Cambridge, MA: The MIT Press]
Another way that social consumer movements hope to utilize culture jamming effectively is by employing a metameme. A metameme is a two-level message that punctures a specific commercial image but does so in a way that challenges some larger aspect of the political culture of corporate domination.
An example would be the "true cost" campaign set in motion by ''Adbusters''. "True cost" forced consumers to compare the human labor cost and conditions and environmental drawbacks of products to the sales costs. Another example would be the "Truth" campaigns that exposed the deception tobacco companies used to sell their products.
Following critical scholars like Paulo Freire
, Culture jams are also being integrated into the university classroom "setting in which students and teachers gain the opportunity not only to learn methods of informed public critique but also to collaboratively use participatory communication techniques to actively create new locations of meaning."
For example, students disrupt public space to bring attention to community concerns or utilize subvertisements to engage with media literacy
* Billboard hacking
* Broadcast signal intrusion
* Flash mob
* Practical joke topics
* ''Steal This Book
* Guerrilla Girls
* The Yes Men
* Billboard Liberation Front
* Merry Pranksters
* Operation Mindfuck
* Billboard Utilising Graffitists Against Unhealthy Promotions
Culture jamming is sometimes viewed as artistic appropriation
or a form of vandalism
. The intent of those participating in culture jamming sometimes differs from that of people whose intent is either artistic or merely destructive. While there are some clear differences, such as culture jamming usually being political while vandalism tends to aim for destruction, the lines are not always clear-cut; some activities, notably street art
, may be deemed culture jamming, artistic appropriation, vandalism, or even all three.
Some scholars and activists, such as Amory Starr and Joseph D. Rumbo, argue that culture jamming is easily co-opted and commodified by the market, which tends to "defuse" its potential for consumer resistance.
[Rumbo, Joseph D. (2002) "Consumer Resistance in a World of Advertising Clutter: The Case of Adbusters", ''Psychology & Marketing'' 19(2): 127–48.]
Others claim that the culture jamming strategy of rhetorical sabotage, as used by ''Adbusters'', can be incorporated and appropriated by clever advertising agencies
, and thus is not a very powerful means of social change.
Some practitioners have called for moving beyond the current sense of "jamming" to a newer understanding of the term that would encourage artists, scholars and activists to come together and create innovative, flexible, and practical mobile art pieces that communicate intellectual and political concepts and new strategies and actions.
* Doppelgänger brand image
* Critical theory
* The Firesign Theatre
* Minority influence
* Tactical media
* Branwyn, Gareth (1996). ''Jamming the Media: A Citizen's Guide - Reclaiming the Tools of Communication''. California: Chronicle Books
* Dery, Mark (1993). ''Culture Jamming: Hacking, Slashing, and Sniping in the Empire of Signs''. Open Magazine Pamphlet Series: NJ.
* King, Donovan (2004). University of Calgary''Optative Theatre: A Critical Theory for Challenging Oppression and Spectacle''
* Klein, Naomi (2000). ''No Logo'' London: Flamingo.
* Lasn, Kalle (1999) ''Culture Jam''. New York: Eagle Brook.
* LeVine, Mark (2005)'' Why They Don't Hate Us: Lifting the Veil on the Axis of Evil''. Oxford, UK: Oneworld Publications.
* LeVine, Mark (2017) "Putting the 'Jamming' into Culture Jamming: Theory, Praxis and Cultural Production During the Arab Spring," in DeLaure, Marilyn; Fink, Moritz; eds. (2017). ''Culture Jamming: Activism and the Art of Cultural Resistance''. New York University Press.
* Tietchen, T. ''Language out of Language: Excavating the Roots of Culture Jamming and Postmodern Activism'' from William S. Burroughs' ''Nova'' Trilogy ''Discourse: Berkeley Journal for Theoretical Studies in Media and Culture.'' 23, Part 3 (2001): 107–130.
* Milstein, Tema & Pulos, Alexis (2015). "Culture Jam Pedagogy and Practice: Relocating Culture by Staying on One's Toes". Communication, Culture & Critique
' 8 (3): 393–413.
*DeLaure, Marilyn; Fink, Moritz; eds. (2017). ''Culture Jamming: Activism and the Art of Cultural Resistance''. New York University Press.
Category:Activism by type