not mean simply engaging
336 JENNIFER A. SANDLIN AND JENNIFER L. MILAM
that focuses on audience reactions. For example, one audience member
wrote to Reverend Billy (at http://www.revbilly.com) to explain his emo
tional reaction to viewing one of Reverend Billy’s public appearances:
HELLO REV.!
336 JENNIFER A. SANDLIN AND JENNIFER L. MILAM
that focuses on audience reactions. For example, one audience member
wrote to Reverend Billy (at http://www.revbilly.com) to explain his emo
tional reaction to viewing one of Reverend Billy’s public appearances:
HELLO REV.! i heard you on the Majority Report wed. night as i sat in my car (D90
volvo, a real mess) and watched the beautiful snow flakes whirl about, it could not
have been more powerful, your words about buying gifts within walking distance
really moved me . . .
yes, i AM a consumer sinner, i feebly try to do the best i can,
and feel guilty about not doing enough! commercial society repulses me and the
last thing i want to do is feed the beast that tries to rule our planet, i
am weak, but
your message helps me stay strong and inspires me to keep working and spread the
word of CHANGE!!!!… Bill
In this passage we see evidence of an emotional reaction consisting of the
reader suddenly feeling moved’, we posit that this reaction helped stir up a
sense of hope within the reader that is leading to a reconceptualization of
his identity.
Engaging corporeally does not mean simply engaging the physical body and internal emotions, however. Within culture jamming,
we also see evi
dence of the kind of engagement of what Springgay and Freedman (2007) call the imaginary body. That is, Springgay and Freedman draw upon and
extend the recent focus on the body in curriculum studies to engage not just the physical body, but also the social products of the body and the ways that
bodies are shaped in culturally specific ways as they act and are acted upon. In viewing the body as having and constructing meaning in and of itself and
in relation to other bodies, Springgay and Freedman are particularly con
cerned with “inter-embodiment.” As Weiss (1999) explains, embodiment is
never a solitary experience; rather, it is constantly mediated as we interact
with others. We posit that it is precisely this “inter-embodiment” that lends
culture jamming its power as a way to engage participants with others?
visually, spatially, through imagination and literally?where
one “touches
volvo, a real mess) and watched the beautiful snow flakes whirl about, it could not
have been more powerful, your words about buying gifts within walking distance
really moved me . . .
yes, i AM a consumer sinner, i feebly try to do the best i can,
and feel guilty about not doing enough! commercial society repulses me and the
last thing i want to do is feed the beast that tries to rule our planet, i
am weak, but
your message helps me stay strong and inspires me to keep working and spread the
word of CHANGE!!!!… Bill
In this passage we see evidence of an emotional reaction consisting of the
reader suddenly feeling moved’, we posit that this reaction helped stir up a
sense of hope within the reader that is leading to a reconceptualization of
his identity.
Engaging corporeally does not mean simply engaging the physical body and internal emotions, however. Within culture jamming,
we also see evi
dence of the kind of engagement of what Springgay and Freedman (2007) call the imaginary body. That is, Springgay and Freedman draw upon and
extend the recent focus on the body in curriculum studies to engage not just the physical body, but also the social products of the body and the ways that
bodies are shaped in culturally specific ways as they act and are acted upon. In viewing the body as having and constructing meaning in and of itself and
in relation to other bodies, Springgay and Freedman are particularly con
cerned with “inter-embodiment.” As Weiss (1999) explains, embodiment is
never a solitary experience; rather, it is constantly mediated as we interact
with others. We posit that it is precisely this “inter-embodiment” that lends
culture jamming its power as a way to engage participants with others?
visually, spatially, through imagination and literally?where
one “touches
