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Show 262 passively accepted as a one-way information flow" (p. 281). Like Guy Dubord's Situationalists International, culture jammers critique the corporate spectacle by using the tools of dominant actors to create something new through pranks, parodies, and hijacking. Christine Harold (2009) develops this argument in her book, Ourspace. Supplementing Klein's work with a rhetorical perspective, Harold explores the creative, inventional, and kairotic potentials of culture jamming, and discusses the importance of jamming with the image rather than against to overcome problems associated with endless negative critique. Commercial rhetoric is central to her argument, as it recognizes how the global economy is "driven less by the industrial production of tangible goods than by the marketing of goods produced in the factories of developing nations" (pp. xxiixxiii). Rhetoric itself, she argues, is "a key site of economic and cultural production" that attends to the ways "ideas and the ability to communicate them" are "valuable currency in an economy for which one good brand campaign can change an entire industry" (p. xxiii). Harold demonstrates this argument by tracking the schemes and ploys of culture jamming artists in the magazine Adbusters, analyzing "rhetorical jujitsu" (p. 74) from pranksters, rumor mills, hoaxers, and decoding the strategies of "techno-socialist" (p. 118) "hacktivists," "pirates and hijackers." Her conclusion is that publics can create new spaces for engagement, such as Lawrence Lessig's (2002) Creative Commons project (see Lessig, 2005, 2006 for more recent discussions about this initiative) that has produced "kairotic encounters" (pp. 145-152) and "generative subjectivit[ies]" (Hawhee, 2002, p. 16). Culture jamming and other pranks, ploys, and pirating thus demonstrate that |
