Made available in DSpace on 2016-04-29T14:22:49Z (GMT). No. of bitstreams: 1 Juana Ribeiro Diniz.pdf: 1256050 bytes, checksum: 71675c4524e8ec274f886cf92c419cc6 (MD5) Previous issue date: 2010-09-24 / This work has as its study object the culture jamming, a form of contemporary activism which, through practices that blend various art techniques and a boyish trick spirit, subverts advertising messages and leads to situations that criticize media culture and the branding process that this culture helps to produce. The question more frequently discussed about jammer performances regards its revolutionary efficacy. Thus, this research intends to make an analysis of the possibilities that the cyberspace opens, as a new format, to the jammer creation. It begins delineating a panorama of jammer performance, using as major references the analyses of the following authors: Kalle Lasn, Mark Dery and Naomi Klein. The next chapter contextualizes the culture jamming in the cyberspace, using André Lemos', Lúcia Santaella's and Pierre Lévy's theories on such matter. Supported by studies about the aesthetics of technology, it was possible to draw a profile of the jammer aesthetic in the cyberspace and, in this way, to analyze some examples in order to compare their approach in the real space and the virtual one. For this topic, Derrick Kerckhove's, Lúcia Santaella's and Pierre Lévy's theories were used. The examples were chosen regarding the necessity to analyze both their diversity as their repercussion. So, the comparative analyses lead us to remark that the jammer creation in the cyberspace is still coy and not completely aware of the full possibilities offered by it. And because of the complex and dynamic aspects of the web environment, it is difficult to foresee or indicate the entire range of possibilities that the cyberspace has to offer to jammer creation. However, this research leads to believe that the better source to increase and explore the creativity inside the cyberspace is in the paths that have been opened by the cyberart. It is a longtime bet, but everything indicates that the more familiar the jammers get with the virtual space, more capable they will become to explore all the creative aspects granted by the cyberspace / O trabalho proposto aqui tem como objeto de pesquisa a culture jamming que pode ser compreendida como uma forma de ativismo contemporâneo que, através de práticas que misturam diversas técnicas artísticas e o espírito de molecagem, subvertem mensagens publicitárias e criam situações que resultam em uma crítica à cultura midiatizada e às imagens das marcas que esta ajuda a construir. A questão em debate mais recorrente sobre a atuação jammer se refere à sua eficiência revolucionária. Na busca por pistas que contribuam e, juntamente com outros estudos, indiquem uma resposta mais confiável para tal debate, este trabalho se propôs a realizar uma análise do potencial que o ciberespaço abre, como um novo formato, para a criação jammer. Com este objetivo, inicialmente foi traçado um panorama da atuação jammer, utilizando como principais referências as descrições dos seguintes autores: Kalle Lasn, Mark Dery e Naomi Klein. Em seguida, um capítulo foi dedicado à contextualização da culture jamming no ciberespaço, utilizando como embasamento teórico André Lemos, Lúcia Santaella e Pierre Lévy nas considerações referentes ao ciberespaço. Através dos estudos sobre a estética tecnológica, foi possível se traçar um perfil da estética jammer dentro do ciberespaço e assim analisar alguns exemplos de forma comparativa, confrontando a sua abordagem no espaço presencial e no virtual. Os pressupostos teóricos para tanto vieram principalmente das leituras de Derrick Kerckhove, Lúcia Santaella e Pierre Lévy. A escolha das amostras levou em consideração a necessidade de analisar exemplos diversificados tanto em formato, quanto em graus de repercussão. Com as observações encontradas nessa análise comparativa foi possível identificar que a criação jammer no ciberespaço ainda se mostra tímida e não totalmente familiarizada com as novas possibilidades estéticas oferecidas pelo mesmo. Pelo próprio caráter complexo e dinâmico dos caminhos rizomáticos do ambiente em questão fica difícil prever ou mapear toda a gama de possibilidades que o ciberespaço tem a oferecer para a criatividade jammer. No entanto, o observado nesta pesquisa leva a crer que a fonte mais indicada para ampliar e melhor explorar a criatividade dentro do ciberespaço está nos caminhos que estão sendo abertos pela ciberarte. A aposta deste trabalho está no decorrer do tempo. Quanto mais íntimos os jammers estiverem do espaço virtual, maior será a sua capacidade de explorar o aspecto criativo da prática dentro do ciberespaço

The purpose of this study is to shed light on the issues surrounding the marketing of white snus, which employs various means to downplay and beautify the product, thus normalizing it as part of everyday life. Using our analytical framework, we have developed spoof advertisements for white snus that convey this problematic nature. We then examine the strength of the message conveyed by using these parody advertisements as stimuli in two interview sessions to measure the experiences of active snus users. The aim of the study within a societal context is to investigate how parody advertisements can challenge prevailing societal structures by applying them in the context of the issues surrounding white snus.  This is done through the research questions: How can parody advertisements for white snus be designed to convey the issues in the marketing of white snus? How do users of white snus perceive the messages in the parody advertisements?. The analytical framework of the study encompasses semiotics, framing theory, storytelling in advertising and a model of caricature,  as well as previous research on culture jamming and parody advertisements. Using the analytical framework, parody advertisements were created based on two commercials produced by popular manufacturers of white snus, LOOP and VELO, which were then used as stimulus material during the interview sessions. The design process was initiated with a preliminary study in which suitable brands were identified and their advertisements analyzed semiotically, followed by the creation of the parody advertisements. Through focus group interviews with users of white snus, it was observed that the respondents generally understood and reacted to the message conveyed in the parody advertisement for LOOP. However, the discussion regarding the message and the feeling of captivity was limited due to the minimal elements and fictional representation in the advertisement. The parody advertisement for VELO prompted a more in-depth discussion, where respondents could relate to the depicted situation and gain a broader understanding of the consequences of their nicotine addiction. The responses were divided; some found the parody advertisement for VELO impactful, generating negative feelings towards the portrayed lifestyle, while others found it comforting, emphasizing positive sentiments towards the lifestyle.

Esta dissertação apresenta uma reflexão sobre as interseções entre práticas artísticas e ativismo contemporâneo, especialmente nas décadas de 1990 e 2000. A partir de diferentes contextos, o estudo investiga os conceitos e objetivos de uma arte coletiva e engajada socialmente, considerando seus modos de experimentação estética e expressão política. Utilizando-se de entrevistas, manifestos, textos críticos, reportagens e documentos como fotografias, vídeos e filmes, a dissertação apresenta no primeiro capítulo um histórico detalhado sobre as diversas concatenações entre arte, ativismo político e produção coletiva no século XX. No segundo capítulo, este trabalho analisa a formulação de uma \"estética anti-corporativa\", baseada em táticas intervencionistas criadas por artistas e coletivos radicados nos EEUU, Espanha, França, Canadá, Austrália e Brasil. Seus projetos envolvem instalações artísticas com experimentos biológicos, mídia tática, cartografias, protestos contra a globalização capitalista, performances e Culture Jamming. O terceiro capítulo apresenta um estudo sobre o coletivismo artístico no Brasil e algumas de suas estratégias de ação, como intervenções urbanas, circuitos alternativos de produção e de distribuição, projetos com comunidades específicas e colaborações com movimentos sociais. Além disso, o texto faz uma breve reflexão sobre a atitude e o impacto destes grupos sobre o sistema de arte, caracterizado pelo apoio institucional de museus, galerias, mostras internacionais, críticos, curadores e patrocínio corporativo / This dissertation presents a reflection about the intersections between artistic practices and contemporary activism, especially in the decades of 1990 and 2000. From different contexts, teh study investigates the concepts and objectives of a collective art, socially engaged, considering their modes of aesthetic experimentation and political expression. Utilizing interviews, manifests, critical texts, newsprints and documents as photographies, videos and movies, the dissertation presnts in the first chapter a historical account about the concatenations between art, political activism and collective production in the twentieth century. In the second chapter, this work analyses a formulation of an \"anti-corporate aesthetics\", based in interventionist tactics created by artists and collectives in USA, Spain, France, Canada, Australia and Brazil. Their projects involve artistic installations with biological experiments, tactical media cartographies, protests against capitalist globalization, performances and culture jamming. The third chapter presents a study about the artistic collectivism in Brazil and some of their strategies of action, as urban interventions, alternative circuits of production and distribution, projects with specific communities and collaborations with social movements. Besides, the next makes a brief reflection about the attitude and impact of these groups in the art system, characterized by institutional support of museums, galleries, international exhibitions, art critics, curators and corporate sponsorship

Esta dissertação apresenta uma reflexão sobre as interseções entre práticas artísticas e ativismo contemporâneo, especialmente nas décadas de 1990 e 2000. A partir de diferentes contextos, o estudo investiga os conceitos e objetivos de uma arte coletiva e engajada socialmente, considerando seus modos de experimentação estética e expressão política. Utilizando-se de entrevistas, manifestos, textos críticos, reportagens e documentos como fotografias, vídeos e filmes, a dissertação apresenta no primeiro capítulo um histórico detalhado sobre as diversas concatenações entre arte, ativismo político e produção coletiva no século XX. No segundo capítulo, este trabalho analisa a formulação de uma \"estética anti-corporativa\", baseada em táticas intervencionistas criadas por artistas e coletivos radicados nos EEUU, Espanha, França, Canadá, Austrália e Brasil. Seus projetos envolvem instalações artísticas com experimentos biológicos, mídia tática, cartografias, protestos contra a globalização capitalista, performances e Culture Jamming. O terceiro capítulo apresenta um estudo sobre o coletivismo artístico no Brasil e algumas de suas estratégias de ação, como intervenções urbanas, circuitos alternativos de produção e de distribuição, projetos com comunidades específicas e colaborações com movimentos sociais. Além disso, o texto faz uma breve reflexão sobre a atitude e o impacto destes grupos sobre o sistema de arte, caracterizado pelo apoio institucional de museus, galerias, mostras internacionais, críticos, curadores e patrocínio corporativo / This dissertation presents a reflection about the intersections between artistic practices and contemporary activism, especially in the decades of 1990 and 2000. From different contexts, teh study investigates the concepts and objectives of a collective art, socially engaged, considering their modes of aesthetic experimentation and political expression. Utilizing interviews, manifests, critical texts, newsprints and documents as photographies, videos and movies, the dissertation presnts in the first chapter a historical account about the concatenations between art, political activism and collective production in the twentieth century. In the second chapter, this work analyses a formulation of an \"anti-corporate aesthetics\", based in interventionist tactics created by artists and collectives in USA, Spain, France, Canada, Australia and Brazil. Their projects involve artistic installations with biological experiments, tactical media cartographies, protests against capitalist globalization, performances and culture jamming. The third chapter presents a study about the artistic collectivism in Brazil and some of their strategies of action, as urban interventions, alternative circuits of production and distribution, projects with specific communities and collaborations with social movements. Besides, the next makes a brief reflection about the attitude and impact of these groups in the art system, characterized by institutional support of museums, galleries, international exhibitions, art critics, curators and corporate sponsorship

Thesis purpose: The thesis purpose is to examine the interrelationship of consumer and brand relation. The main objective is to research how consumers’ perception of brand personalization before and after seeing Adbusters subvertisement ads influences their relation to brands. Methodology: The thesis has deductive quantitative research approach, since it starts from theory to gain more understanding of the research area. The data is collected through an online questionnaire. Theoretical perspective: This study is based upon the general brand and branding definitions, with focus on brand personality, consumer perception and findings within the study of Adbusters. Empirical data: The study is investigated quantitatively. An online questionnaire was used to gather the empirical data. Conclusion: This study provides a broad overview about consumer perception of brand personalized commercial ads and what is their relation to brands after seeing Adbusters subvertisement ads. The research contributes to brand personalization theory and Adbusters studies and demonstrates that Adbusters influence on brand personalization depends on how strong the consumer-brand relationship is. However, it is also shown that consumers are inconsistent in their perception of brand personas and that relation to brands is highly brand-specific.

Anti-branding is a growing social movement as well as a communication strategy that criticize companies through redefining their brands and immaterial values by connecting negative associations to them. Although Anti-Branding is growing, research in the topic is scarce. Through a qualitative case study,based on three (3) Anti-Branding actions, a multimodal analysis and six (6) semi-structured interviews has been made to contribute research to the topic by examining how an organization can use Anti-Branding against a company to create change. The study show that various anti-branding actions in a multifaceted campaign is an efficient tool to create attention, awareness and involvement that lead to change. By utilizing the participatory culture of the this digital age organizations can use anti-branding efficiently by interacting with its publics to engage them to be co-creators of the anti-branding message and to be a part of the social movement and its culture.

This paper discusses culture jamming as the countercultural tool of our current mass media society and argues for a more holistic understanding of the concept in order to open up its subversive potential. Part of this holisitic approach involves emphasizing the role of remediation inherent in the concept. Thus, the aim of this paper is twofold: to elaborate the diverse techniques involved in culture jamming (as opposed to the common reductionist approaches to the concept) and, more importantly, to highlight the remediation elements imbedded in culture jamming practices. To accomplish this, the works of street artist Banksy are taken as a case study and analyzed to answer the following questions: In what ways do the works of street artist Banksy subvert or “jam” culture? And how does remediation come into play in these jamming practices?

The phenomenon of culture jamming is not so well known in the Czech Republic. So I decided to focus on defining this term, which is sometimes translated as cultural sabotage. At the beginning of this dissertation work, I try to introduce important theories that are related to the central concept. I also focus on how culture jamming most often express and what forms are most common. In the part of examples of culture jamming in the world, I try to describe the important foreign culture jamming's groups, including demonstrations of their actions and performances. In the same way I map the Czech culture jamming groups. For a better illustration and approximation of the concept, the whole of this theoretical part is supplemented with a picture attachment. Part of the dissertation work is also a research part, which focuses on the mapping of culture jamming in the Czech Republic. Above all, I try to find out what are the motivations, speeches and goals of Czech cultural saboteurs.

Young Adult Dystopian Film exercises an influence over young people of which they are not aware. As part of a structure of domination these films teach students to participate in their own oppression by the capitalist system. The film industry maintains a hidden curriculum like that utilized in school classrooms to conceal the oppression from the masses. One particularly effective means is the portrayal of resistance against oppression in the narratives of the YA Dystopian Film. Young people are drawn to that narrative and end up supporting the structure of domination financially and ideologically. Modes of resistance to this oppression can be found in Media Literacy Education and Public Pedagogy (e.g. culture-jamming). Teachers can incorporate Media Literacy and culture–jamming into a form of radical pedagogy to emancipate students from that oppressive relationship.This thesis investigates the usage of this radical pedagogy though an action research project in a high school drama class in the intermountain west. The students learned the theories, critically reflected on the situation, and created a live culture-jamming performance. The results of the action research show the affordances and limitations of this approach and offer suggestions for instigating its usage by media literacy educators.

The aim of this study is to analyze 25 fake election posters that have been put up between 2018 and 2022 in Sweden, through a narrative analysis, to gain an insight into how they displace political messages in the public space. The study is also done to gain a deeper understanding of the practice from a media activist perspective and to investigate how these practices renegotiate a traditional form of political communication. These renegotiation practices are theorized in terms of territorialization (Deleuze & Guattari, 1987). In addition, the concept right to the city (Harvey, 2003, 2008; Lefebvre, 1996) is used to understand the city as a public political space. The results of the study show that many fake election posters seem to want to challenge and try to influence their surroundings, although there are differences in what the the election posters specifically want to challenge or criticize. Common characteristics of the practice are activism, criticism, disclosure, disinformation, appropriation, intertextuality, irony, satire, humor, and political standpoints. This also shows that fake election posters can be understood as a type of activism, as there are many similarities with other media activist practices such as culture jamming, street art and graffiti.