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Friday, September 18, 2020

Subvertising

From Wikipedia, the free encyclopedia
 
Two billboards with the same original content; the billboard on the right is an example of subvertising after being vandalized.
 
The ExxonMobil logo as subverted by Greenpeace.

Subvertising (a portmanteau of subvert and advertising) is the practice of making spoofs or parodies of corporate and political advertisements. The cultural critic Mark Dery coined the term in 1991. Subvertisements are anti-ads that deflect advertising's attempts to turn the people's attention in a given direction. According to author Naomi Klein, subvertising offers a way of speaking back to advertising, ‘forcing a dialogue where before there was only a declaration.’ They may take the form of a new image or an alteration to an existing image or icon, often in a satirical manner.

A subvertisement can also be referred to as a meme hack and can be a part of social hacking, billboard hacking or culture jamming. According to Adbusters, a Canadian magazine and a proponent of counter-culture and subvertising, "A well produced 'subvert' mimics the look and feel of the targeted ad, promoting the classic 'double-take' as viewers suddenly realize they have been duped. Subverts create cognitive dissonance, with the apparent aim of cutting through the 'hype and glitz of our mediated reality' to reveal a 'deeper truth within'.

Subvertising is a type of advertising hijacking (détournement publicité), where détournement techniques developed in the 1950s by the French Letterist International and later used by the better-known Situationist International have been used as a contemporary critical form to re-route advertising messages.

In 1972, the logo of Richard Nixon's reelection campaign posters was subvertised with two x's in Nixon's name (as in the Exxon logo) to suggest the corporate ownership of the Republican party.

Notable instances

In Sydney, Australia in October 1979, a group of anti-smoking activists formed a group called B.U.G.A.U.P. and began altering the text on tobacco billboards to subvert the messages of tobacco advertisers, although advertisements for other unhealthy products were also targeted.

On November 6, 2008 The Yes Men recruited thousands of social activists to hand out 100,000 copies of a spoof New York Times newspaper set six months in the future. The goal was to utilize a tangible and trusted medium, the New York Times, to argue for a particular future. Other groups involved with this project included Anti-Advertising Agency, Code Pink, United for Peace and Justice, May First/People Link, and Improv Everywhere.

At the 2015 Paris COP21 climate conference, the collective known as Brandalism installed 600 posters that attacked what they perceived as the hypocrisy of corporate sponsors.

In 2017, Brandalism and other groups of subvertisers founded the collective Subvertisers International. Using billboard hacking and other forms of subvertising, they promote the idea that advertising creates an unhealthy body images, impacts democracy negatively, and sustains a culture of consumerism that takes a heavy toll on the planet.

Around 2018, a group in London called Legally Black changed the race of the characters in Harry Potter posters from white to black.

Steal This Book

From Wikipedia, the free encyclopedia
 
Steal This Book
Abbie hoffman steal this book.jpg
Cover of Steal This Book
AuthorAbbie Hoffman
CountryUnited States
LanguageEnglish
PublisherPirate Editions / Grove Press
Publication date
1971
Pages308 +xii, illustrations, bibliography
ISBN1-56858-053-3
OCLC32589277
335/.83 20
LC ClassHX843.7.H64 A3 1971a

Steal This Book is a book written by Abbie Hoffman. Written in 1970 and published in 1971, the book exemplified the counterculture of the sixties. The book sold more than a quarter of a million copies between April and November 1971.

The book is, in the style of the counterculture, mainly focused on ways to fight the government, and against corporations in any way possible. The book is written in the form of a guide to the youth. Hoffman, a political and social activist himself, used many of his own activities as the inspiration for some of his advice in Steal This Book.

Creation

The main author of the book, Abbie Hoffman, was one of the most influential and recognizable American activists of the late-1960s and early-1970s, gaining fame with his leadership in anti–Vietnam War protests. In the introduction, Hoffman writes that 50 people were involved in the creation of Steal This Book. Izak Haber and Bert Cohen are credited on the title page as "co-conspirator" and "accessory after the fact", respectively. Steal This Book was written in the climate of the counter-culture, in which opposition to tradition and government was rampant, and experimentation with new forms of living was encouraged. When the book was published, it took hold among the new left, especially among students on college campuses, such as Brandeis University, where Hoffman had been a student.

Content

Steal This Book is divided into three sections, "Survive!", "Fight!" and "Liberate!". There is also an introduction and appendix that lists "approved" organizations and other books worth stealing.

"Survive!" gives information and methods for obtaining goods and services for free or at discounted rates. A wide range of things are covered, including food, clothing, furniture, transportation, land, livestock, housing, education, medical care, communication, entertainment, money, and drugs. There is further advice on slug coins, panhandling, welfare, shoplifting, growing cannabis and establishing a commune.

"Fight!" includes chapters on starting an underground press, broadcasting through guerrilla radio or guerrilla television, non-violent demonstrations and how to protect oneself if they become violent, how to make an assortment of home-made bombs, first aid for street fighters, legal advice, how to seek political asylum, guerrilla warfare, gun laws, and identification papers.

The final section, "Liberate!", contains information particular to four major cities: New York City, Chicago, Los Angeles, and San Francisco.

Hoffman has an idiosyncratic writing style, and incorporates slang specific to his subculture—e.g., referring to his country as "Amerika." In the book, Hoffman calls America the "Pig Empire" and contended that it was not immoral to steal from it—in fact, Hoffman wrote, it was immoral not to do so. The term was picked up by the Yippies, and was widely used by what became known as the "Woodstock Nation". Some of the information in the book has since become obsolete for technological or regulatory reasons, but the book iconically reflects the hippie zeitgeist.

Publication and reception

Steal This Book was rejected by at least thirty publishers before it was able to get into print, and Hoffman was eventually forced to make a publishing company of his own, Pirate Editions, in order to sell the book, with Grove Press as the distributor. Some of the publishers rejected the book out of moral opposition to its content, while others were afraid that they might provoke a negative response from the government. Some editors feared a negative reaction from booksellers, to the title as well as the content. This fear proved to be well-founded: in the US, many regional distributors and bookstores were unwilling to carry the book. In Canada, it was banned outright by the government.

Once it got into print, Steal This Book had widespread readership and became a bestseller mainly through word of mouth. A positive review by Dotson Rader in the New York Times described it as a "necessary" work "of warning and practical knowledge" that had been written with "gentleness and affection". He wrote that the book had received no reviews and that only one paper had permitted an advertisement, though the book had sold 100,000 copies. Rader felt that the "remarkable" suppression of the book constituted a form of "fearsome censorship".

On the success of the book, Hoffman was quoted as saying, "It's embarrassing when you try to overthrow the government and you wind up on the Best Seller's List."

Subsequent to publication, two contributors to the book, Tom Forcade and Izak Haber, had a dispute with Hoffman. Forcade accused him of failing to pay sufficient royalties, contravening the contract Hoffman had made. Hoffman responded that Forcade had done an "inadequate job" of editing the book. Haber threatened to sue Hoffman for breaking his contract; he claimed that he was due 22% of the royalties for having compiled and written the book but received only $1,000.

Culture jamming

From Wikipedia, the free encyclopedia

Culture jamming (sometimes guerrilla communication) is a protest used by many anti-consumerist social movements 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 to foster progressive change.

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 logos to critique the company, product, or concept they represent, or wearing fashion statements which criticize the current fashion trends by deliberately clashing with them. Culture jamming often entails using mass media to produce ironic or satirical commentary about itself, commonly using the original medium's communication method.

Culture jamming is employed as a reaction against social conformity. Prominent examples of culture jamming include the adulteration of billboard advertising by the Billboard Liberation Front (BLF), and contemporary artists such as Ron English. Culture jamming may involve street parties and protests. While culture jamming usually focuses on subverting or critiquing political and advertising messages, some proponents focus on a more positive (often musically inspired) form which brings together artists, scholars, and activists to create new types of cultural production that transcend – rather than merely criticize – the status quo.

Origins of the term, etymology, and history

1984 coinage

The term was coined in 1984 by Don Joyce of the sound collage band Negativland, with the release of their album JamCon '84. 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:

As awareness of how the media environment we occupy affects and directs our inner life grows, some resist. The skillfully reworked billboard... directs the public viewer to a consideration of the original corporate strategy. The studio for the cultural jammer is the world at large.

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. 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 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" 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, 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 which 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.

Tactics

Graffitied text on billboard in Cambridge, UK

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 emotions that activists often want viewers to feel. These emotions – shock, shame, fear, and anger – are believed to be the catalysts for social change.

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. Memes are seen as genes that can jump from outlet to outlet and replicate themselves or mutate upon transmission just like a virus. 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. 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 over Peretti's website, it spread worldwide and contributed to the already robust conversation 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 aim 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 hypercapitalism. Past mass events and ideas have included "Buy Nothing Day", "Digital Detox Week", 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.

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 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.

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 frequented television in the past years 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 subvertisments to engage with media literacy projects.

Examples

Groups

Criticism

Culture jamming is sometimes confused with artistic appropriation or with acts of vandalism which have destruction or defacement as their primary goal. Although the end result is not always easily distinguishable from these activities, the intent of those participating in culture jamming differs from that of people whose intent is either artistic or merely destructive. The lines are not always clear-cut; some activities, notably street art, will fall into two or even all three categories.

With the rise of the anti-corporate globalization movement at the turn of the century the possibilities as well as limits of culture jamming as originally conceived have become apparent. The joyful images of "Teamsters and Turtles" during the iconic November 1999 anti-WTO protests in Seattle, Washington and the clowns and samba bands as well as highly inventive music and art generated in subsequent protests showed the possibilities of culture jamming to amplify both critical messages and solidarity among protesters and with the broader public. On the other hand, especially after the September 11 attacks and the rise but ultimate failure of the anti-Iraq war movement the limits of the understanding and deployment of culture jamming primarily as a tool of defense and critique—"jamming" the messages of the corporate/military system—became increasingly apparent. This coincided with a realization among critical members of the emerging global peace and justice movement of the inherent (if largely unnoticed and unacknowledged) myopia and prejudices against Middle Eastern/Muslim and other marginalized non-Euro-American cultures and communities by the movement, a realization that became an important issue of contention within the World Social Forums first held in 2001. In that regard, some scholars and activists argue that culture jamming is easily co-opted and commodified by the market, which tends to "defuse" its potential for consumer resistance. Others posit that the culture jamming strategy of rhetorical sabotage, used by Adbusters, is easily incorporated and appropriated by clever advertising agencies, and thus is not a very powerful means of social change. More positively, some practitioners have called for moving beyond the negative sense of "jamming" to the more positive, musical understanding of the term that would encourage artists, scholars and activists to come together and literally "jam" in the best musical sense of the term—to synergize and in so doing augment and amplify their experiences and ideas to create new, innovative, flexible and praxically mobile art, intellectual and political concepts, strategies and actions that together would offer deeper, more compelling and even transformational visions of futures in which, as the Zapatistas have taught, many worlds are possible.

 

Media culture

From Wikipedia, the free encyclopedia

In cultural studies, media culture refers to the current Western capitalist society that emerged and developed from the 20th century, under the influence of mass media. The term alludes to the overall impact and intellectual guidance exerted by the media (primarily TV, but also the press, radio and cinema), not only on public opinion but also on tastes and values.

The alternative term mass culture conveys the idea that such culture emerges spontaneously from the masses themselves, like popular art did before the 20th century. The expression media culture, on the other hand, conveys the idea that such culture is the product of the mass media. Another alternative term for media culture is "image culture."

Media culture, with its declinations of advertising and public relations, is often considered as a system centered on the manipulation of the mass of society. Corporate media "are used primarily to represent and reproduce dominant ideologies." Prominent in the development of this perspective has been the work of Theodor Adorno since the 1940s. Media culture is associated with consumerism, and in this sense called alternatively "consumer culture."

Definitions

"Popular culture and the mass media have a symbiotic relationship: each depends on the other in an intimate collaboration."

— K. Turner (1984), p. 4

The news media mines the work of scientists and scholars and conveys it to the general public, often emphasizing elements that have inherent appeal or the power to amaze. For instance, giant pandas (a species in remote Chinese woodlands) have become well-known items of popular culture; parasitic worms, though of greater practical importance, have not. Both scholarly facts and news stories get modified through popular transmission, often to the point of outright falsehoods.

Hannah Arendt's 1961 essay "The Crisis in Culture" suggested that a "market-driven media would lead to the displacement of culture by the dictates of entertainment." Susan Sontag argues that in our culture, the most "...intelligible, persuasive values are [increasingly] drawn from the entertainment industries", which has spelt the "undermining of standards of seriousness." As a result, "tepid, the glib, and the senselessly cruel" topics are becoming the norm. Some critics argue that popular culture is "dumbing down": "newspapers that once ran foreign news now feature celebrity gossip, pictures of scantily dressed young ladies... television has replaced high-quality drama with gardening, cookery, and other "lifestyle" programmes [and] reality TV and asinine soaps," to the point that people are constantly immersed in trivia about celebrity culture.

According to Altheide and Snow, media culture means that within a culture, the media increasingly influences other institutions (e.g. politics, religion, sports), which become constructed alongside a media logic. Since the 1950s, television has been the main medium for molding public opinion.

In Rosenberg and White's book Mass Culture, Dwight Macdonald argues that "Popular culture is a debased, trivial culture that voids both the deep realities (sex, death, failure, tragedy) and also the simple spontaneous pleasures... The masses, debauched by several generations of this sort of thing, in turn come to demand trivial and comfortable cultural products." Van den Haag argues that "all mass media in the end alienate people from personal experience and though appearing to offset it, intensify their moral isolation from each other, from the reality and from themselves."

Critics have lamented the "replacement of high art and authentic folk culture by tasteless industrialised artefacts produced on a mass scale in order to satisfy the lowest common denominator." This "mass culture emerged after the Second World War and have led to the concentration of mass-culture power in ever larger global media conglomerates." The popular press decreased the amount of news or information and replaced it with entertainment or titillation that reinforces "fears, prejudice, scapegoating processes, paranoia, and aggression." Critics of television and film have argued that the quality of TV output has been diluted as stations pursue ratings by focusing on the "glitzy, the superficial, and the popular". In film, "Hollywood culture and values" are increasingly dominating film production in other countries. Hollywood films have changed from creating formulaic films which emphasize "shock-value and superficial thrill[s]" and the use of special effects, with themes that focus on the "basic instincts of aggression, revenge, violence, [and] greed." The plots "often seem simplistic, a standardized template taken from the shelf, and dialogue is minimal." The "characters are shallow and unconvincing, the dialogue is also simple, unreal, and badly constructed."

More recently, scholars turned to the concept of the mediatization of culture to address the various processes through which culture is influenced by the modus operandi of the media. On one hand, the media are cultural institutions and artifacts of their own, on the other hand, other domains have become dependent on the media and their various affordances.

Through religion

Media culture, in its mass marketing, has been compared to the role of religions in the past. It has been considered as taking the place of the old traditional religions. The waves of enthusiasm and fervent exaltation for a given product, a characteristic consumerist phenomenon, has been compared to the "ecstasies of the convulsions and miracles of the old religious fetishism".

Conversely, the Catholic Church, the dominant religious institution in the Western world, has been considered retrospectively as an antecedent and sophisticated form of public relations, advertiser and multinational corporation, selling its product to a mass of worshipers/consumers.

Symbolic consumption

Consumers decisions are made based not only on the economic concept of the utility material goods provide but also from their symbolic value in terms of the search for one's self and place within the context of society and group identity. In other words, the products consumers purchase are part of creating a story about who they are and whom they identify with.

Scholars view symbolic consumption as a social construct. A product is effective as an expression of identity only if the group shares a perception about the symbolic meaning of a product. These meanings are conveyed to consumers through advertising, magazines and television.

Jean Paul Sartre wrote that under certain conditions things, or even people, can become part of an extended concept of "self". Consumers may develop a narrative of their life based on their consumption choices to hold on to or break continuity with their past, understand themselves and express changes in their sense of self. The creation of a "lifestyle" association through consumption may mean avoiding past patterns of consumption that symbolize the old self or certain social groups. The symbolism of goods is based on socially shared beliefs.

Producerism

From Wikipedia, the free encyclopedia

Producerism is an ideology which holds that those members of society engaged in the production of tangible wealth are of greater benefit to society than, for example, aristocrats who inherit their wealth and station.

History

Robert Ascher traces the history of producerism back as early as the Diggers in the 1640s. This outlook was not widespread among artisans of the time because they owed their livelihoods to the patronage of the aristocracy, but by the time of the American Revolution, the producerist view was dominant among American artisans.

Rosanne Currarino identifies two varieties of producerism in the mid-19th century: "proprietary producerism", which is popular among self-employed farmers and urban artisans, and "industrial producerism", which spoke to wage-laborers and is identified in particular with the Knights of Labor and the rise of socialism.

For some commentators, the Pullman Strike of 1894, led by Eugene V. Debs, was a high-water mark in the history of American producerism.

In the United Kingdom, producerism was historically influential in the Liberal Party, especially its Radical wing, until the early 20th century, pitting "the many against the few" – i.e. the working and middle classes against the landed aristocracy, expressed in support of ideas such as the single land tax advocated by Georgists.

Modern-day producerism

Producerism has seen a contemporary revival, sparked by popular opposition to the machinations of globalized financial capital and large, politically connected corporations. Critics of producerism see a correlation between producerist views, and views that are antagonistic toward lower income people and immigrants, such as nativism. These critics see producerism as analogous to populism. Examples of politicians or groups that are cited by these critics include the Reform Party of the United States of America, Ross Perot, Pat Buchanan, Lou Dobbs, and Donald Trump in the United States; as well as Jean-Marie Le Pen in France, Björn Höcke in Germany and similar dissident politicians across Europe.

Religion and social issues

Although producerism is primarily economic in emphasis, it also has a perspective on social issues. Namely it upholds the traditional values of the middle class as the only true national values. It defends those values against the corruption of decadent inherited wealth, and against the dangerous apathy and sloth it sees as being the inevitable consequence of dependency on a welfare state. Therefore, producerists tend to be patriotic but at the same time intensely distrustful of the State, which they believe to be under the control of forces hostile to the nation.

Some have pointed out a similarity between producerism and certain Christian End Times narratives that prophesize betrayal by trusted political and religious leaders, with many citizens drifting into laziness and sin. The producerist emphasis on the inherent value of hard work is directly related to the Protestant work ethic, outlined by Weber. In the United States and in Europe it is often sympathetic towards conservative or fundamentalist/primitive Christianity, seen as a defender against both the moral degeneracy of the poor and the rapaciousness of unbridled capitalism. But producerism is not tied to a specific religious world view, and its emphasis on economics, labor, and class resentments embues it with a materialism not entirely compatible with a purely religious outlook.

Anti-consumerism

From Wikipedia, the free encyclopedia

Anti-consumerism is a sociopolitical ideology that is opposed to consumerism, the continual buying and consuming of material possessions. Anti-consumerism is concerned with the private actions of business corporations in pursuit of financial and economic goals at the expense of the public welfare, especially in matters of environmental protection, social stratification, and ethics in the governing of a society. In politics, anti-consumerism overlaps with environmental activism, anti-globalization, and animal-rights activism; moreover, a conceptual variation of anti-consumerism is post-consumerism, living in a material way that transcends consumerism.

Anti-consumerism arose in response to the problems caused by the long-term mistreatment of human consumers and of the animals consumed, and from the incorporation of consumer education to school curricula; examples of anti-consumerism are the book No Logo (2000) by Naomi Klein, and documentary films such as The Corporation (2003), by Mark Achbar and Jennifer Abbott, and Surplus: Terrorized into Being Consumers (2003), by Erik Gandini; each made anti-corporate activism popular as an ideologically accessible form of civil and political action.

The criticism of economic materialism as a dehumanizing behaviour that is destructive of the Earth, as human habitat, comes from religion and social activism. The religious criticism asserts that materialist consumerism interferes with the connection between the individual and God, and so is an inherently immoral style of life; thus the German historian Oswald Spengler (1880–1936) said that, "Life in America is exclusively economic in structure, and lacks depth." From the Roman Catholic perspective, Thomas Aquinas said that, "Greed is a sin against God, just as all mortal sins, in as much as man condemns things eternal for the sake of temporal things"; in that vein, Francis of Assisi, Ammon Hennacy, and Mohandas Gandhi said that spiritual inspiration guided them towards simple living.

From the secular perspective, social activism indicates that from consumerist materialism derive crime (which originates from the poverty of economic inequality), industrial pollution and the consequent environmental degradation, and war as a business.

About the societal discontent born of malaise and hedonism, Pope Benedict XVI said that the philosophy of materialism offers no raison d'être for human existence; likewise, the writer Georges Duhamel said that "American materialism [is] a beacon of mediocrity that threatened to eclipse French civilization".

Background

Anti-consumerism originated from criticism of consumption, starting with Thorstein Veblen, who, in the book The Theory of the Leisure Class: An Economic Study of Institutions (1899), indicated that consumerism dates from the cradle of civilization. The term consumerism also denotes economic policies associated with Keynesian economics, and the belief that the free choice of consumers should dictate the economic structure of a society (cf. producerism).

Politics and society

An anti-consumerist stencil graffiti saying "Consuming consumes you"

Many anti-corporate activists believe the rise of large-business corporations poses a threat to the legitimate authority of nation states and the public sphere. They feel corporations are invading people's privacy, manipulating politics and governments, and creating false needs in consumers. They state evidence such as invasive advertising adware, spam, telemarketing, child-targeted advertising, aggressive guerrilla marketing, massive corporate campaign contributions in political elections, interference in the policies of sovereign nation states (Ken Saro-Wiwa), and news stories about corporate corruption (Enron, for example).

Anti-consumerism protesters point out that the main responsibility of a corporation is to answer only to shareholders, giving human rights and other issues almost no consideration. The management does have a primary responsibility to their shareholders, since any philanthropic activities that do not directly serve the business could be deemed to be a breach of trust. This sort of financial responsibility means that multi-national corporations will pursue strategies to intensify labor and reduce costs. For example, they will attempt to find low wage economies with laws which are conveniently lenient on human rights, the natural environment, trade union organization and so on (see, for example, Nike).

An important contribution to the critique of consumerism has been made by French philosopher Bernard Stiegler, arguing modern capitalism is governed by consumption rather than production, and the advertising techniques used to create consumer behaviour amount to the destruction of psychic and collective individuation. The diversion of libidinal energy toward the consumption of consumer products, he argues, results in an addictive cycle of consumption, leading to hyper consumption, the exhaustion of desire, and the reign of symbolic misery.

In art, Banksy, influential British graffiti master, painter, activist, filmmaker and all-purpose provocateur has made statements in public works about the consumerist society. Working undercover, the secretive street artist challenges social ideas and goads viewers into rethinking their surroundings, to acknowledge the absurdities of closely held preconceptions. Quote from Banksy: “You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.” After 2003, Banksy wrote the New Yorker by e-mail: “I give away thousands of paintings for free. I don’t think it’s possible to make art about world poverty and trouser all the cash.” Banksy believes that there is a consumerist shift in art, and for the first time, the bourgeois world of art belongs to the people. On his website, he provides high-resolution images of his work for free downloading.

Conspicuous consumption

It is preoccupation with possessions, more than anything else, that prevents us from living freely and nobly.

Trying to reduce environmental pollution without reducing consumerism is like combating drug trafficking without reducing the drug addiction.

In many critical contexts, the term describes the tendency of people to identify strongly with products or services they consume, especially with commercial brand names and obvious status-enhancing appeal, such as a brand of expensive automobiles or jewelry. It is a pejorative term which most people deny, having some more specific excuse or rationalization for consumption other than the idea that they are "compelled to consume". A culture that has a high amount of consumerism is referred to as a consumer culture.

To those who embrace the idea of consumerism, these products are not seen as valuable in themselves, but rather as social signals that allow them to identify like-minded people through consumption and display of similar products. Few would yet go so far, though, as to admit that their relationships with a product or brand name could be substitutes for healthy human relationships that sometimes lack in a dysfunctional modern society.

The older term conspicuous consumption described the United States in the 1960s, but was soon linked to larger debates about media influence, culture jamming, and its corollary productivism.

Anti-consumerist stencil art

The term and concept of conspicuous consumption originated at the turn of the 20th century in the writing of economist Thorstein Veblen. The term describes an apparently irrational and confounding form of economic behaviour. Veblen's scathing proposal that this unnecessary consumption is a form of status display is made in darkly humorous observations like the following, from his 1899 book, The Theory of the Leisure Class:

It is true of dress in even a higher degree than of most other items of consumption, that people will undergo a very considerable degree of privation in the comforts or the necessaries of life in order to afford what is considered a decent amount of wasteful consumption; so that it is by no means an uncommon occurrence, in an inclement climate, for people to go ill clad in order to appear well dressed.

In 1955, economist Victor Lebow stated (as quoted by William Rees, 2009):

Our enormously productive economy demands that we make consumption our way of life, that we convert the buying and use of goods into rituals, that we seek our spiritual satisfaction and our ego satisfaction in consumption. We need things consumed, burned up, worn out, replaced and discarded at an ever-increasing rate.

According to archaeologists, evidence of conspicuous consumption up to several millennia ago has been found, suggesting that such behavior is inherent to humans.

Consumerism and advertising

Anti-consumerists believe advertising plays a huge role in human life by informing values and assumptions of the cultural system, deeming what is acceptable and determining social standards. They declare that ads create a hyper-real world where commodities appear as the key to securing happiness. Anti-consumerists cite studies that find that individuals believe their quality of life improves in relation to social values that lie outside the capability of the market place. Therefore, advertising attempts to equate the social with the material by utilizing images and slogans to link commodities with the real sources of human happiness, such as meaningful relationships. Ads are then a detriment to society because they tell consumers that accumulating more and more possessions will bring them closer to self-actualization, or the concept of a complete and secure being. "The underlying message is that owning these products will enhance our image and ensure our popularity with others." And while advertising promises that a product will make the consumer happy, advertising simultaneously depends upon the consumer never being truly happy, as then the consumer would no longer feel the need to consume needless products.

Anti-consumerists claim that in a consumerist society, advertisement images disempower and objectify the consumer. By stressing individual power, choice and desire, advertising falsely implies the control lies with the consumer. Because anti-consumerists believe commodities supply only short-term gratification, they detract from a sustainably happy society. Further, advertisers have resorted to new techniques of capturing attention, such as the increased speed of ads and product placements. In this way, commercials infiltrate the consumerist society and become an inextricable part of culture. Anti-consumerists condemn advertising because it constructs a simulated world that offers fantastical escapism to consumers, rather than reflecting actual reality. They further argue that ads depict the interests and lifestyles of the elite as natural; cultivating a deep sense of inadequacy among viewers. They denounce use of beautiful models because they glamorize the commodity beyond reach of the average individual.

In an opinion segment of New Scientist magazine published in August 2009, reporter Andy Coghlan cited William Rees of the University of British Columbia and epidemiologist Warren Hern of the University of Colorado at Boulder, saying that human beings, despite considering themselves civilized thinkers, are "subconsciously still driven by an impulse for survival, domination and expansion... an impulse which now finds expression in the idea that inexorable economic growth is the answer to everything, and, given time, will redress all the world's existing inequalities." According to figures presented by Rees at the annual meeting of the Ecological Society of America, human society is in a "global overshoot", consuming 30% more material than is sustainable from the world's resources. Rees went on to state that at present, 85 countries are exceeding their domestic "bio-capacities", and compensate for their lack of local material by depleting the stocks of other countries.

Austrian economics

Austrian economic advocates focus on the entrepreneur, promoting a productive lifestyle rather than a materialistic one wherein the individual is defined by things and not their self.

Criticism

Many have accused anti-consumerists of opposing modernity or utilitarianism. Right-wing critics see anti-consumerism as rooted in socialism. In 1999, the right-libertarian magazine Reason attacked anti-consumerism, claiming Marxist academics are repackaging themselves as anti-consumerists. James B. Twitchell, a professor at the University of Florida and popular writer, referred to anti-consumerist arguments as "Marxism Lite."

There have also been socialist critics of anti-consumerism who see it as a form of anti-modern "reactionary socialism", and state that anti-consumerism has also been adopted by ultra-conservatives and fascists.

In popular media

In Fight Club, the protagonist finds himself participating in terroristic acts against corporate society and consumer culture.

In Mr. Robot, Elliot Alderson, a young cybersecurity engineer, joins a hacker group known as fsociety, which aims to crash the U.S. economy, eliminating all debt.

In the novel American Psycho by Bret Easton Ellis, the protagonist Patrick Bateman criticizes the consumerist society of America in the 1980s of which he is a personification. Later on he goes on a killing spree without any consequences, suggesting that the people around him are so self-absorbed and focused on consuming that they either don't see or don't care about his acts.

Walden Pond

From Wikipedia, the free encyclopedia
 
Walden Pond
Walden Pond.jpg
LocationConcord, Massachusetts
Coordinates42.4392°N 71.3397°WCoordinates: 42.4392°N 71.3397°W
Typekettlehole
Basin countriesUnited States

Surface area61 acres (25 ha)
Max. depth102 ft (31 m) or 107 ft (33 m)
Shore length1.7 miles (2.7 km)


Walden Pond
Walden Pond is located in Massachusetts
Walden Pond
Nearest cityConcord, Massachusetts
Area250 acres (100 ha)
NRHP reference No.66000790
Significant dates
Added to NRHPOctober 15, 1966
Designated NHLDecember 29, 1962

Walden Pond is a lake in Concord, Massachusetts, in the United States. A famous example of a kettle hole, it was formed by retreating glaciers 10,000–12,000 years ago. The pond is protected as part of Walden Pond State Reservation, a 335-acre (136 ha) state park and recreation site managed by the Massachusetts Department of Conservation and Recreation. The reservation was designated a National Historic Landmark in 1962 for its association with the writer Henry David Thoreau (1817–1862), whose two years living in a cabin on its shore provided the foundation for his famous 1854 work, Walden; or, Life in the Woods. The National Historic Preservation Act of 1966 ensured federal support for the preservation of the pond.

Description

The Walden Pond Reservation is located south of Massachusetts Route 2 and (mostly) west of Massachusetts Route 126 in Concord and Lincoln, Massachusetts. The reservation is 335 acres (136 ha) in size, and its principal feature is Walden Pond, a 64.5-acre (26.1 ha) body of water. A short way north of the pond the site of Thoreau's cabin is marked by a series of granite posts. Portions of the pond's shore are beach, while other parts descend steeply to the water from trails that ring the pond. There are three buildings at the main beach area at the southeastern shore of the pond. The reservation's parking area is located across Route 126, and a ramped footpath descends from that roadway to the pond.

History

The writer, transcendentalist, and philosopher Henry David Thoreau lived on the northern shore of the pond for two years starting in the summer of 1845. Thoreau was inspired by former enslaved woman Zilpah White, who lived in a one-room house on the common land that bordered Walden Road and made a living spinning flax into linen fibers. White's ability to provide for herself at a time when few if any other Concord women lived alone was a great accomplishment.

Thoreau's account of his experience at the pond was recorded in Walden; or, Life in the Woods, and made the pond famous. The land at that end was owned by Thoreau's friend and mentor, Ralph Waldo Emerson, who let Thoreau use it for his experiment. Thoreau is credited with encouraging a respect for nature at an environmentally degraded site. The Concord Museum contains the bed, chair, and desk from Thoreau's cabin.

During the winter of his abode at Walden Pond's shore, for sixteen days a large group of men decamped from the train to cut ice from Walden Pond. In his journal, Thoreau philosophized upon the wintry sight of the ice harvesters: "The sweltering inhabitants of Charleston and New Orleans, of Madras and Bombay and Calcutta, drink at my well ... The pure Walden water is mingled with the sacred water of the Ganges." It was well known at the time that ice shipped from Boston went to many ports, including India.

An amusement park with swings, concession stands and an event hall, located at the western end of the pond, burned down in 1902 and was never rebuilt.

Walden in winter

Descendants of Emerson and other families deeded the land around the pond to the Commonwealth of Massachusetts in 1922. In 1961, the Middlesex County Commissioners, then managing the land, proposed leveling a significant portion of the preserve for a parking lot and other "improvements." An acre of woodland had been leveled for access to the public beach when the Commissioners were sued to stop the destruction of the existing environment. Judge David A. Rose, sitting in the Massachusetts Superior Court, ruled that Walden's deed donating the property to the Commonwealth required preservation of the land and barred further development. The decision received national recognition, and Judge Rose received hundreds of letters from school children across the country thanking him for saving the land. Walden Pond became part of the state parks system in 1975. It is also among the national landmarks preserved by the National Historic Preservation Act of 1966.

In 1977, the Commonwealth of Massachusetts installed a porous pavement parking area at Walden Pond as a special technology transfer demonstration project, following methodology generated by the U.S. Environmental Protection Agency in 1972. The porous pavement still functions decades later, despite experiencing more freeze-thaw cycling than most other parts of the world.

Recording artist Don Henley initiated The Walden Woods Project in 1990 to prevent the area around Walden Pond from being developed. Through a joint effort of The Trust for Public Land, the Walden Woods Project, and the Commonwealth of Massachusetts, more than 85 acres of land were permanently protected, including Bear Garden Hill, where Thoreau took moonlit walks. In 1995, The Trust for Public Land also assisted in the acquisition of a historic home, which would become the research center and library for the Thoreau Institute.

Legend

Formation, from "The Ponds" (Walden, 1854)

While living in Walden Woods for two years beginning in 1845, Henry David Thoreau contemplated Walden Pond's features. In "The Ponds" section of Walden, published in 1854, Thoreau extols the water's physical properties. He details its unparalleled water quality; its clarity, color, and temperature; its unique animal life (aquatic, bird, and mammal); its rock formations and bed; and especially, its mirror-like surface properties.

Thoreau contemplates the source of the pristine water body in the woods. He observes that it had no visible inlet or outlet, and considers the possibility of an unidentified spring at the bottom. Noting the kettle landform's ramparts and resilient shore, he concludes that a unique, natural geologic event formed the site, while recognizing local myths:

Some have been puzzled to tell how the shore became so regularly paved. My townsmen have all heard the tradition -- the oldest people tell me that they heard it in their youth -- that anciently the Indians were holding a pow-wow upon a hill here, which rose as high into the heavens as the pond now sinks deep into the earth, and they used much profanity, as the story goes, though this vice is one of which the Indians were never guilty, and while they were thus engaged the hill shook and suddenly sank, and only one old squaw, named Walden, escaped, and from her the pond was named. It has been conjectured that when the hill shook these stones rolled down its side and became the present shore. It is very certain, at any rate, that once there was no pond here, and now there is one; and this Indian fable does not in any respect conflict with the account of that ancient settler whom I have mentioned, who remembers so well when he first came here with his divining-rod, saw a thin vapor rising from the sward, and the hazel pointed steadily downward, and he concluded to dig a well here. As for the stones, many still think that they are hardly to be accounted for by the action of the waves on these hills; but I observe that the surrounding hills are remarkably full of the same kind of stones, so that they have been obliged to pile them up in walls on both sides of the railroad cut nearest the pond; and, moreover, there are most stones where the shore is most abrupt; so that, unfortunately, it is no longer a mystery to me. I detect the paver. If the name was not derived from that of some English locality -- Saffron Walden, for instance -- one might suppose that it was called originally Walled-in Pond.

Romanticism, from "The Ponds" (Walden, 1854)

Also in "The Ponds," Thoreau describes incorporeal experiences around the water, both experiences related to him by others and his own. Thoreau, who was well read and a transcendentalist, and therefore presumably intimately familiar with Romanticism, relates the stories in a way that could be argued to interpret or reveal the pond as the locale of the Grail Legend in the Americas. In the following passage, Walden Pond's vanishing treasure chest echoes the protagonist's fleeting encounter with the grail in Wolfram von Eschenbach's German romance Parzival, and the pond's canoe is reminiscent of the boat in A Fairy Tale. (Goethe, who was a Classicist, not a Romanticist, positively viewed Parzival.) Thoreau wrote:

An old man who used to frequent this pond nearly sixty years ago, when it was dark with surrounding forests, tells me that in those days he sometimes saw it all alive with ducks and other water-fowl, and that there were many eagles about it. He came here a-fishing, and used an old log canoe which he found on the shore. It was made of two white pine logs dug out and pinned together, and was cut off square at the ends. It was very clumsy, but lasted a great many years before it became water-logged and perhaps sank to the bottom. He did not know whose it was; it belonged to the pond. He used to make a cable for his anchor of strips of hickory bark tied together. An old man, a potter, who lived by the pond before the Revolution, told him once that there was an iron chest at the bottom, and that he had seen it. Sometimes it would come floating up to the shore; but when you went toward it, it would go back into the deep water and disappear ... When I first paddled a boat on Walden, it was completely surrounded by thick and lofty pine and oak woods, and in some of its coves grapevines had run over the trees next the water and formed bowers under which a boat could pass. The hills which form its shores are so steep, and the woods on them were then so high, that, as you looked down from the west end, it had the appearance of an amphitheater for some kind of sylvan spectacle. I have spent many an hour, when I was younger, floating over its surface as the zephyr willed, having paddled my boat to the middle, and lying on my back across the seats, in a summer forenoon, dreaming awake, until I was aroused by the boat touching the sand, and I arose to see what shore my fates had impelled me to; days when idleness was the most attractive and productive industry.

Activities and amenities

In addition to being a popular swimming destination in the summer, Walden Pond State Reservation provides opportunities for boating, hiking, picnicking, and fishing. There is a replica of Thoreau's cabin available for viewing. The reservation is open year-round for day use, but does not allow camping overnight.

In 2015, Massachusetts state conservation officials warned swimmers to stay out of Walden Pond, "after a routine test there revealed a high level of potentially dangerous bacteria." These bacteria included enterococcous, "a pathogen that in severe cases can cause digestive ailments including vomiting and diarrhea." Swimming allowed in subsequent years.

Influences

Walden Pond inspired the naming of the American film company Walden Media and is a frequent subject of professional and amateur photographers.

C-SPAN broadcast an episode of its American Writers series from the shores of Walden Pond in 2001.

Transportation

The pond and reservation are located to the south of state highway MA-2 / MA-2A. Highway MA-126 passes through the reservation. The Fitchburg Line of the MBTA Commuter Rail passes west of the pond; however, the nearest station is in Concord center, 1.4 miles northwest of the reservation.

Media

Walden Pond appears in the video game Fallout 4 where Thoreau's cabin is preserved. The pond also serves as the backdrop for the game 'Walden, a game' where players assume the role of author Henry David Thoreau during his time living at the pond in the 1840s. The game was in development for more than ten years and is currently available on Mac, PC, and PS4.

Right to property

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Right_to_property The right to property , or the right to own property ...