#305MC // Conference // Spectacle 2

Situationist International

1957-72 a revolution of everyday life. Both and art movement and a political one. Dadaism, Surrealism and Lettrism

  • avant-garde
  • anti bourgeois
  • radical
  • anarchistic

The Society of the Spectacle draws on Marxist theories of alienation, commodity fetichism and false consciousness.

commodity fetishism – each and every new product is supposed to offer a dramatic shortcut to the long awaited promised land of total consumption. As such it is ceremoniously presented as the unique and ultimate product.

detournement – rerouting, hijacking using existing images, artworks etc and subverting them for revolutionary purposes.

recuperation – the mirror image of detournement.

Example of recuperation – apple 1984 commercial




#305MC // Conference // Power 2.0

Estates of the Realm

  1. Clergy
  2. Nobility
  3. Commoners
  4. Independant free press and media
  5. Networked 4th estate

Habermas and the Public Sphere

Warrior Pride – iPhone

Foucault – Capillary Power – power that reaches into individuals so deeply it makes them who they are.

Four Horsemen of the Infocalypse

Data Retention and Investigatory Powers

Adam Curtis “power and how it works in society”

Films: The Power of Nightmares and Bitter Lake

Hyperdramatisation: How Adam Curtis was consumed by a fictional reality

Manufacturing Consent: Noam Chomsky = media power/media convergence, concentration of media power

Anarcho- syndicalism and Libertarian socialism – opposing the war on terror and supporting the occupy movement

Centralised Power eg Google

Information is power. But like all power, there are those who want to keep it for themselves – aaron swartz

Film: The Internets Own Boy

Bruno Latour – controversy mapping – Black box theory



#305MC // Conference #2 // Memory 2: Mediated Memories

Frigga Haug 1987 – feminist research method.

Resistances to the dominant cultural ideologies that render women invisable through exclusion – “memory work is an active practive of remembering that takes an inquiring attitude towards the past and the activity of its (re)construction through memory” (Kuhn 2000 186p 303)

The premise for memory work is that history is not memory. We try to represent the past in the present through memory, history and the archives. (Ricoeur. p 1955)

Film: Tarnation 2003 – Jonathan Caouette

Sites of memory (lieu de memoire) is any significant entity, whther material or non material in nature which has become a symbolic element of the memorial heritage of any community. It may refer to any place, object or concept vesed with historial significance in the popular collective memory, such as a monument, a museum, an event etc.

Pastiche and Nostalgia – Jameson argued that postmodern media and in particular film were suffused by a pastiche and nostalgia.

According to Godfrey and Lilley the present becomes the fulcrum upon which understandings and definitions of the past turn.

Baudrillard warns that what we are attempting, through the processes and practices of commemoration and remembrance is not just an investigation of the past, of history, but also an effort to correct it.

Prosthetic memory – the experience within the movie theatre and the memories that a cinema afford – despite the fact that the spectator did not live through them – might be as significant in constructing, or deconstructing, the spectators identity as any experience that s/he has actually lived through (landsberg 2004)

Film: Clouds over Sidra – vrseworks

VR Consoles – changing the minds of humans with a machine connecting humans to other humans in a profound way.

Discursive memory  – Foucault (1977)

discursive memory is not fact but a system of ordered procedures for the production, regulation, distribution, circulation and operation of statements.

Discourses are more than ways of thinking and producing meaning. They constitute the ‘nature’ of the body, unconscious and conscious.


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