Détournement
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| - | :"... short for: detournement of pre-existing aesthetic elements. The integration of past or present artistic production into a superior construction of a [[milieu]]. In this sense there can be no Situationist painting or music, but only a Situationist use of these means.", ''[[Internationale Situationiste]]'' Issue 1, June [[1958]]. | ||
| - | In '''détournement''', an artist reuses elements of well-known media to create a new work with a different message, often one opposed to the original. The term "détournement", borrowed from the French, originated with the [[Situationist International]]; a similar term more familiar to English speakers would be "turnabout" or "derailment", although these terms are not used in [[academia]] and the arts world as they are inherently '[[anti-art]]' as they are often [[blatant]] [[art theft|theft]] and [[sabotage]] of existing elements. | + | A '''détournement''' is a [[Variation on a theme|variation]] on a previous media<!-- need to list clarifying examples --> work, in which the newly created one has a meaning that is antagonistic or antithetical to the original. The original media work that is ''détourned''<!-- must check if détourned is syntactically correct --> must be somewhat familiar to the target audience, so that it can appreciate the opposition of the new message. The artist or commentator making the variation can reuse only some of the characteristic elements of the originating work. The term "détournement", borrowed from the French, originated with the [[Situationist International]] (1957–1972); a similar term more familiar to English speakers would be "turnabout" or "derailment". |
| - | Detournement is similar to [[satire|satirical]] [[parody]], but employs more direct reuse or faithful mimicry of the original works rather than constructing a new work which merely alludes strongly to the original. It may be contrasted with [[recuperation (sociology)|recuperation]], in which originally subversive works and ideas are themselves [[cultural appropriation|appropriated]] by mainstream media. | + | Détournement is similar to [[satire|satirical]] [[parody]], but employs more direct reuse or faithful [[mimicry]] of the original works rather than constructing a new work which merely alludes strongly to the original. It may be contrasted with [[recuperation (sociology)|recuperation]], in which originally subversive works and ideas are themselves [[cultural appropriation|appropriated]] by mainstream media. |
| - | Detournement's use by [[Barbara Kruger]] familiarised many with the technique, and it was extensively and effectively used as part of the early [[AIDS Coalition to Unleash Power|HIV/AIDS activism]] of the late [[1980s]] and early 1990s. Examples of contemporary detournement include [[Adbusters]]' "[[subvertising|subvertisements]]" and other instances of [[culture jamming]]. | + | One could view detournement as forming the opposite side of the coin to '[[recuperation]]' (where radical ideas and images become safe and commodified), in that images produced by the spectacle get altered and subverted so that rather than supporting the ''status quo'', their meaning becomes changed in order to put across a more radical or oppositionist message. |
| - | == The opposite of recuperation == | + | [[Guy Debord]] and [[Gil J Wolman]] categorized détourned elements into two types: ''minor détournements'' and ''deceptive détournements''. Minor détournements are détournements of elements that in themselves are of no real importance such as a snapshot, a press clipping, an everyday object which draw all their meaning from being placed in a new context. Deceptive détournements are when already significant elements such as a major political or philosophical text, great artwork or work of literature take on new meanings or scope form being placed in the new context. |
| - | :One could view detournement as forming the opposite side of the coin to '[[recuperation]]' (where radical ideas and images become safe and commodified), in that images produced by the spectacle get altered and subverted so that rather than supporting the ''status quo'', their meaning becomes changed in order to put across a more radical or oppositionist message. | + | == Examples after the Situationist International == |
| + | {{Citations missing|section called "Examples after the Situationist International"|date=June 2008}} | ||
| + | In the United States, [[Frank Discussion]] is widely known for his use of detournement in his works dating from the late 70s through the present, particularly with the [[Feederz]]. The use of détournement by [[Barbara Kruger]] familiarised many with the technique, and it was extensively and effectively used as part of the early [[AIDS Coalition to Unleash Power|HIV/AIDS activism]] of the late 1980s and early 1990s. Examples of contemporary detournement include [[Adbusters]]' "[[subvertising|subvertisements]]" and other instances of [[culture jamming]], as well as poems composed collaboratively by Marlene Mountain, [[Paul Conneally]], and others, in which quotations from such famous sources as the [[Ten Commandments]] and quotations by [[United States]] President [[George W. Bush]] are combined with haiku-like phrases to produce a larger work intended to subvert the original source. The comic artist [[Brad Neely]]'s reinterpretation of [[Harry Potter]], ''[[Wizard People, Dear Reader|Wizard People]],'' took Warner Brother's first Harry Potter film, ''[[Harry Potter and the Philosopher's Stone (film)|The Sorcerer's Stone]],'' and substituted the original soundtrack with a narration that casts the hero as a [[Nietzschean]] [[Übermensch|superman]]. | ||
| - | == Culture jamming and adbusting == | + | The concept of détournement has had a popular influence amongst contemporary radicals, and the technique can be seen in action in the present day when looking at the work of [[Culture Jammer]]s including the [[Cacophony Society]], [[Billboard Liberation Front]], and [[Adbusters]], whose 'subvertisements' 'detourn' [[Nike, Inc.|Nike]] adverts, for example. In this case, the original advertisement's imagery is altered in order to draw attention to said company's policy of shifting their production base to cheap-labour third-world '[[free trade zone]]s'. However, the line between 'recuperation' and 'détournement' can become thin (or at least very fuzzy) at times, as [[Naomi Klein]] points out in her book ''[[No Logo]]''. Here she details how [[corporation]]s such as Nike, [[Pepsi]] or Diesel have approached Culture Jammers and Adbusters and offered them lucrative contracts in return for partaking in 'ironic' promotional campaigns. She points out further irony by drawing attention to merchandising produced in order to promote Adbusters' [[Buy Nothing Day]], an example of the recuperation of détournement if ever there was one. |
| - | :The concept of detournement has had a popular influence amongst contemporary radicals, and the technique can be seen in action in the present day when looking at the work of [[Culture Jammer]]s including [[Adbusters]], whose 'subvertisements' 'detourn' [[Nike, Inc.|Nike]] adverts, for example. In this case the original advertisement's imagery is altered in order to draw attention to said company's policy of shifting their production base to cheap-labour third-world '[[free trade zone]]s'. However, the line between 'recuperation' and 'detournement' can become thin (or at least very fuzzy) at times, as [[Naomi Klein]] points out in her book ''[[No Logo]]''. Here she details how [[corporation]]s such as Nike, [[Pepsi]] or [[Diesel]] have approached Culture Jammers and Adbusters (sometimes successfully) and offered them lucrative contracts in return for partaking in 'ironic' promotional campaigns. She points out further irony by drawing attention to merchandising produced in order to promote Adbusters' [[Buy Nothing day]], an example of the recuperation of detournement (or of culture eating itself) if ever there was one. Klein's arguments about irony reifying rather than breaking down power structures is echoed by [[Slavoj Zizek]]. Zizek argues that the kind of distance opened up by detournement is the condition of possibility for ideology to operate: by attacking and distancing oneself from the sign-systems of capital, the subject creates a fantasy of transgression that "covers up" his/her actual complicity with capitalism as an overarching system. | + | Klein's arguments about irony [[wikt:reify|reifying]] rather than breaking down power structures is echoed by [[Slavoj Žižek]]. Žižek argues that the kind of distance opened up by detournement is the condition of possibility for ideology to operate: by attacking and distancing oneself from the sign-systems of capital, the subject creates a fantasy of transgression that "covers up" his/her actual complicity with capitalism as an overarching system. In contrast, [[evoLhypergrapHyCx]] are very fond of pointing out the differences between [[hypergraphics]], 'detournement', the [[postmodern]] idea of [[appropriation]] and the [[Neoist]] use of [[plagiarism]] as the use of different and similar techniques used for different and similar means, effects and causes. |
| + | The [[Neue Slowenische Kunst]] has a long history of aggressive détournement of extreme political ideologies, as do several [[industrial music|industrial music groups]], such as [[Die Krupps]], [[Nitzer Ebb]], [[KMFDM]], and [[Front 242]]. | ||
| + | |||
| + | ==See also== | ||
| + | *[[Anti-art]] | ||
| + | *[[Comic strip switcheroo]] | ||
| + | *[[Culture jamming]] | ||
| + | *[[Scratch Video]] | ||
| == See also == | == See also == | ||
| *''[[Can dialectics break bricks?]]'' | *''[[Can dialectics break bricks?]]'' | ||
Revision as of 20:22, 18 March 2011
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A détournement is a variation on a previous media work, in which the newly created one has a meaning that is antagonistic or antithetical to the original. The original media work that is détourned must be somewhat familiar to the target audience, so that it can appreciate the opposition of the new message. The artist or commentator making the variation can reuse only some of the characteristic elements of the originating work. The term "détournement", borrowed from the French, originated with the Situationist International (1957–1972); a similar term more familiar to English speakers would be "turnabout" or "derailment".
Détournement is similar to satirical parody, but employs more direct reuse or faithful mimicry of the original works rather than constructing a new work which merely alludes strongly to the original. It may be contrasted with recuperation, in which originally subversive works and ideas are themselves appropriated by mainstream media.
One could view detournement as forming the opposite side of the coin to 'recuperation' (where radical ideas and images become safe and commodified), in that images produced by the spectacle get altered and subverted so that rather than supporting the status quo, their meaning becomes changed in order to put across a more radical or oppositionist message.
Guy Debord and Gil J Wolman categorized détourned elements into two types: minor détournements and deceptive détournements. Minor détournements are détournements of elements that in themselves are of no real importance such as a snapshot, a press clipping, an everyday object which draw all their meaning from being placed in a new context. Deceptive détournements are when already significant elements such as a major political or philosophical text, great artwork or work of literature take on new meanings or scope form being placed in the new context.
Examples after the Situationist International
Template:Citations missing In the United States, Frank Discussion is widely known for his use of detournement in his works dating from the late 70s through the present, particularly with the Feederz. The use of détournement by Barbara Kruger familiarised many with the technique, and it was extensively and effectively used as part of the early HIV/AIDS activism of the late 1980s and early 1990s. Examples of contemporary detournement include Adbusters' "subvertisements" and other instances of culture jamming, as well as poems composed collaboratively by Marlene Mountain, Paul Conneally, and others, in which quotations from such famous sources as the Ten Commandments and quotations by United States President George W. Bush are combined with haiku-like phrases to produce a larger work intended to subvert the original source. The comic artist Brad Neely's reinterpretation of Harry Potter, Wizard People, took Warner Brother's first Harry Potter film, The Sorcerer's Stone, and substituted the original soundtrack with a narration that casts the hero as a Nietzschean superman.
The concept of détournement has had a popular influence amongst contemporary radicals, and the technique can be seen in action in the present day when looking at the work of Culture Jammers including the Cacophony Society, Billboard Liberation Front, and Adbusters, whose 'subvertisements' 'detourn' Nike adverts, for example. In this case, the original advertisement's imagery is altered in order to draw attention to said company's policy of shifting their production base to cheap-labour third-world 'free trade zones'. However, the line between 'recuperation' and 'détournement' can become thin (or at least very fuzzy) at times, as Naomi Klein points out in her book No Logo. Here she details how corporations such as Nike, Pepsi or Diesel have approached Culture Jammers and Adbusters and offered them lucrative contracts in return for partaking in 'ironic' promotional campaigns. She points out further irony by drawing attention to merchandising produced in order to promote Adbusters' Buy Nothing Day, an example of the recuperation of détournement if ever there was one.
Klein's arguments about irony reifying rather than breaking down power structures is echoed by Slavoj Žižek. Žižek argues that the kind of distance opened up by detournement is the condition of possibility for ideology to operate: by attacking and distancing oneself from the sign-systems of capital, the subject creates a fantasy of transgression that "covers up" his/her actual complicity with capitalism as an overarching system. In contrast, evoLhypergrapHyCx are very fond of pointing out the differences between hypergraphics, 'detournement', the postmodern idea of appropriation and the Neoist use of plagiarism as the use of different and similar techniques used for different and similar means, effects and causes.
The Neue Slowenische Kunst has a long history of aggressive détournement of extreme political ideologies, as do several industrial music groups, such as Die Krupps, Nitzer Ebb, KMFDM, and Front 242.
See also
See also
