Journal articles on the topic 'Detournement'

Detournement de pouvoir was regulated in administrative and criminal law. However, the assessment of it was often confused. Therefore, the Constitutional Court through Decision 25/PUU-XIV/2016 provides a line of demarcation in assessing the element of Detournement de pouvoir that must be handled under administrative and criminal law. This article tries to explain the ratio decidendie of the constitutional court through a series of identifications of Detournement de pouvoir. This article uses a statutory approach and presents two main findings; First, the assessment of detournement de pouvoir must be understood based on tort of two field of law. Second, abuse of authority is included as tort in administrative law as long as it relates dwaling of authority, procedures/conditions and substance of the exercise of authority, while abuse of authority can be included as tort in criminal law as long as it contains of dwal badrog, namely bribery, coercion and deception.

This research aims to determine the use of authority by government agencies is legality. Specifically, to find out more about the prohibition of Ultra Vires (Exces De Pouvoir) in Government Actions (Comparative Study of Concepts between the Anglo Saxon Law System and the Continental Legal System). The results of the study indicate that First, the form of government agency action prohibition in the form of excès de pouvoir (ultra vires), both in the Anglo Saxon legal system (Britain, USA, Australia, etc.) and Continental especially France includes also the prohibition of abuse of authority (abuse of power, detournement de pouvoir). Second, the Prohibition of abuse of authority (detournement de pouvoir) in France has been developed into 3 (three) variants, namely the Administrative Agency has the purpose / aims to achieve goals that are entirely other than the public interest, and as a personal goal. Keywords: Prohibition of Ultra Vires, Government Actions, Legal System. Abstrak Penelitian inimbertujuan untuk mengetahui Larangan Ultra Vires (Exces De Pouvoir) dalam Tindakan Pemerintahan (Studi Komparasi Konsep Antara Sistem Hukum Anglo Saxon Dan Sistem Hukum Kontinental). Hasil penelitian menjukan bahwa Pertama, Bentuk larangan tindakan badan pemerintah yang berupa excès de pouvoir (ultra vires), baik dalam sistem hukum Anglo Saxon (Inggris, USA, Australia, dll) maupun Kontinental khususnya Prancis meliputi juga larangan penyalahgunaan wewenang (abuse of power, detournement de pouvoir). Kedua, Larangan penyalahgunaan wewenang (detournement de pouvoir) di Prancis telah dikembangkan ke dalam 3 (tiga) varian, yaitu Badan Administrasi memiliki tujuan/bertujuan untuk mencapai tujuan yang sepenuhnya selain bagi kepentingan umum, dan sebagai tujuan pribadi. Kata Kunci: Larangan Ultra Vires, Tindakan Pemerintahan, Sistem Hukum.

What appears is a momentary image from the future, or rather a future, a glimpse of a life re-organized around an alternative set of political desires. The poverty used by detournement, its flagrant meagerness, parallels the material atmospheres of austerity even as it functions as a principled indictment of those not yet capable of glimpsing the political elegance and necessity of the more in less.

This paper explores the studies of the thin line between discretion (freis ermessen) with a criminal act of corruption, using Islamic law’s perspective as one of the law material in Indonesia. Aim of this paper is to make boundaries between discretion which made based on State Administration Product and regulation and help an officer who does discretion will not be trap in a criminal act of corruption through Islamic law’s perspective. This paper purpose four boundaries. First, the boundaries can be seen through understanding the qawāidul fiqhiyyah especially related to governance. Second, act of detournement de povouir (abuse of authority) and abus de droit (arbitrariness) are contradictive with prophetic’s characteristic such as ṣiddiq (honesty), amanah (accountability), tablig (effective communication), faṭonah (smart and heedful). Third, detournement de povouir or abus de droit can categorized as jarimah takzir which can be punish by the authority above them. Fourth, effort to prevent the criminal act of corruption are with uswah leadership, muraqobah, qanaah, and commitment to take care themselves and their family with halal income. For that, public administration can consider using universal values in Islamic Law to help doing discretion without trapped in criminal act of corruption.

La sialoceleparotidienneestune complication mecanique rare des plaiespost-traumatiques de la face, souventpasseeinapercuedevant le caracterehemorragique des plaiesfaciales. Elles doivent etre connues et prevenuesinitialement car leurprise en charge secondaireestcompliquee. Le detournement du flux salivaire dans la cavitebuccale par catheterisme de la partiedistale du canal parotidien à travers la sialocele, en utilisantune nouvelle de fistule interne contrôlee, estuneprocedurefiable et efficace. Il constitueuneapprochefonctionnelleconservatricelorsquuntraitementretardeestnecessaire, avec un faiblepotentiel de recidive et unefaiblecomorbidite. Cecipermetune solution definitive au probleme, en preservant la fonction de la glandeparotide tout au long du processus de guerison. Ce travail presente le casduneprise en charge retardeedunesialoceleparotidienne post traumatiqueavecuneapprochechirurgicale mini-invasive.

This paper uses a detailed case study in order to exemplify some key trends and characteristics of activist uses of the internet. It focuses on the We Are All Boat People campaign in support of asylum seekers, discussing this in relation to three main areas. First, it considers the campaign's media strategies in the context of what Scalmer has called ‘the dilemmas of the activist’ (2002: 41). It then discusses the campaign in the context of tactical media and its key methodology of detournement. Finally, the project is discussed as an example of what Tim Berners-Lee has termed ‘intercreativity’ (1999: 182–83).

Este artículo pretende explorar la experimentación dentro de OMA con los edificios-objeto como elementos autónomos con respecto al contexto en el que se sitúan, y de cómo esta praxis de des contextualización de la intervención tiene una clara raíz surrealista, movimiento de vanguardia que Koolhaas reivindica desde su época de estudiante en Architectural Association de Londres. Los conceptos de extrañamiento, detournement y objet trouvé, propios del surrealismo y de otras vanguardias herederas del grupo de Breton como el arte conceptual y las performances, serán mecanismos habituales en OMA durante los más de 40 años desde su formación. Edificios anónimos, misteriosos, casi siempre de escala descomunal, que pertenecen al ámbito de lo amoral y, como ya profetizó Koolhaas en Delirious New York, una nueva especie de mutantes, de monstruos colosales, que concibe y dispersa por las principales metrópolis del mundo.

Discretion raises confusion about jurisdiction in sense of Act No.30 of 2014. Contradiction of discretionary conceptual understanding with discretionary stipulation as a decision and act in accordance with Law admistrtive. Discretion is a concept of free to act, it is not a norm from state administration officers in welfare law (welvaarsstaat). The reason of a great burden of government to obligate creating welfare ( staatbemoienis) in both rush and order ( rush en order) is given discretion. Manisfestation of this is general and abstract policy regulation ( beleid regels), and becomes basic for officials of state administration to create a decision in administrative (beschikking). Regulatory policy is as a policy in execution of duty, and a function of service to community examined on the principle of arbitrariness (detournement de pouvoir), magisterial ( willikeur), and the general principle of good governance (algemene beginzelen van behoorlijke bestuur) through administrative appeals or objections. The authorized judiciary obligate to review legitimate or illegitimate policy regulation.

The writing of this article is motivated by the existence of legal issues in determining the DT 2020-2024 and RAN-PPDT 2020 which are stipulated by the Decree of the Minister of Village, Development of Disadvantaged Regions, and Transmigration (Kepmendesa PDTT). The formulation of the problem in this legal research is how should the regulation of the determination of DT 2020-2024 and RAN-PPDT 2020 be based on the PP on PPDT and Regulation of the President on P4 RAN PPDT. Meanwhile, the purpose of this legal research is to provide a legal review of the legal products for determining the DT 2020-2024 and RAN-PPDT 2020 based on the existing regulations in the PP on PPDT and the Presidential Regulation concerning P4 RAN PPDT.This legal research uses a normative legal research method with a statutory approach. Based on statutory theory and referring to government administrative law, that Kepmendesa PDTT on the determination of DT 2020-2024 and RAN-PPDT 2020 is not in accordance with the provisions in the PP on PPDT and Presidential Regulation on P4 RAN PPDT and Law on AP. Thus, the two legal products of the determination are included as a government administrative action carried out by the TUN Official (Minister of Village PDTT) who exceeds their authority (detournement de pouvoir) and implies that the two legal products of the determination are invalid. Hopefully, in the future the issuance of legal products such as the Kepmendesa PDTT regarding the determination of the 2020-2024 DT and the 2020 RAN-PPDT will not be repeated in order to avoid a government administrative action that exceeds its authority. Abstrak Penulisan artikel ini dilatarbelakangi oleh adanya isu hukum terhadap penetapan DT 2020-2024 dan RAN-PPDT 2020 yang ditetapkan dengan Keputusan Menteri Desa, Pembangunan Daerah Tertinggal, dan Transmigrasi (Kepmendesa PDTT). Rumusan masalah di dalam penelitian hukum ini yaitu bagaimana seharusnya pengaturan terhadap penetapan DT 2020-2024 dan RAN-PPDT 2020 berdasarkan PP tentang PPDT dan Perpres tentang P4 RAN PPDT. Sedangkan tujuan dilakukan penelitian hukum ini yaitu untuk memberikan telaah hukum terhadap produk hukum penetapan DT 2020-2024 dan RAN-PPDT 2020 berdasarkan pengaturan yang ada di dalam PP tentang PPDT dan Perpres tentang P4 RAN PPDT. Adapun penelitian hukum ini mengunakan metode penelitian hukum normatif dengan pendekatan perundang-undangan. Berdasarkan pada teori perundang-undangan serta merujuk pada hukum administrasi pemerintahan, bahwasanya Kepmendesa PDTT tentang penetapan DT 2020-2024 dan RAN-PPDT 2020 tidak sesuai dengan ketentuan di dalam PP tentang PPDT dan Perpres tentang P4 RAN PPDT serta UUAP. Dengan demikian, kedua produk hukum penetapan tersebut termasuk sebagai suatu tindakan administrasi pemerintahan yang dilakukan oleh Pejabat TUN (Menteri Desa PDTT) yang melampaui kewenangannya (detournement de pouvoir) dan berimplikasi kedua produk hukum penetapan tersebut tidak sah. Diharapkan untuk di masa mendatang agar penerbitan produk hukum seperti Kepmendesa PDTT tentang penetapan DT 2020-2024 dan RAN-PPDT 2020 tidak terulang kembali guna menghindari adanya suatu tindakan administrasi pemerintahan yang melampaui kewenangannya.

CollageMachine builds interactive collages from the Web. First you choose a direction. Then CollageMachine will take you surfing out across the Internet as far as it can reach. It builds a collage from the most interesting media it can find for you. You don't have to click through links. You rearrange the collage to refine your exploration. CollageMachine is an agent of recombination. Aesthetics of musical composition and conceptual detournement underlie its development. The composer John Cage and Dada artists such as Marcel Duchamp and Max Ernst used structured chance procedures to create aesthetic assemblages. These works create new meaning by recontextualizing found objects. Instead of functioning as a single visual work, CollageMachine embodies the process of collage making. CollageMachine [1] deconstructs Web sites and re-presents them in collage form. The program crawls the Web, downloading sites. It breaks each page down into media elements—images and texts. Over time, these elements stream into a collage. Point, click, drag, and drop to rearrange the media. How you organize the elements shows CollageMachine what you're interested in. You can teach it to bring media of interest to you. On the basis of your interactions, CollageMachine reasons about your interests; the evolving model informs ongoing choices of selection and placement. CollageMachine has been developed through a process of freely combining disciplines according to the principles of “interface ecology.”

While governing practices, as articulated in policies and other documents intended to shape tenants’ behavior, have been given considerable attention in research, less attention has been given to the self-regulation of tenants in practice or how these governance practices are challenged and resisted from below. The ambition of our work is to study governing practices deployed by housing companies in two Swedish cities to achieve tenants’ compliance with extensive housing renewal plans, and to conceptualize this means of exerting power as practices through which tenants are governed, silenced and surveilled, and their collective interests divided. Building on several years of ethnographic work among communities of tenants experiencing extensive renovation of their homes and, in particular, qualitative interviews and focus-group interviews with tenants, this study analyzes how governing practices are exercised by housing companies and contested by tenants. Our contribution is twofold: First, we propose the broadening of the notion of repertoires of contention alongside collectively organized contention to include covert and individual forms of resistance. We understand these forms as mutually shaping, and distinguish between eight forms of resistance repertoires common among tenants facing renovictions (indirect evictions caused by extensive housing renewal and skyrocketing rents) in Sweden: building local identities, mixing formal and informal forms of organization, delaying the process, detournement, politics of disengagement, demanding accountability through visibility, reversing knowledge hierarchies, and reversed shaming. Second, we aim to add to the still understudied field of tenants’ mobilizations in the Swedish context.

The research aims to find out how discretion is implemented as a form of government policy innovation in Indonesia. The importance of discretion for local governments to provide innovative policies for ideal government services. This study uses normative legal research methods with statutory approaches, conceptual approaches, case approaches, and comparative approaches. The analytical method used is descriptive and prescriptive methods. The results of the discussion show that discretionary arrangements that are implemented as a form of government policy innovation are steps that must be taken in supporting innovative officials as an effort to find common ground between innovation and law, not to be passive in realizing innovation. Discretionary criteria as government policy innovations in their implementation are assessed based on four aspects: authority, limits, testing, and judicial control. The ideal discretionary model in making innovation policies to realize bureaucratic reform must be based on the main values of the welfare state. In addition, discretionary policies must follow Pancasila values, as well as collaboration between authorities. Discretionary policies must follow the general principles of good governance (AUPB). Thus, it is necessary to have additional principles as a basis for implementing discretionary innovation policies in realizing bureaucratic reform, namely the principle of motivation, the principle of fair play, the principle of prohibition of detournement de pouvoir, the principle of justice, the principle of freedom, the principle of integrity, the principle of real goals, the principle of effectiveness and the principle of participation.

This study investigates the issues raised by the creation of ‘new’ songs entirely from ‘old’ recordings, exemplified by mashups. The paper looks at the illegal status of the genre and the challenge to traditional ideas of authorship and originality posed by mashups. The repackaging of copyrighted material has serious legal implications; the inherent illegality of the mashup genre perpetuates its underground status inferring cultural kudos on the work’s producers. Peer-to-peer applications, home CD burners, and mp3s have speeded up the rate at which the musical past can be referenced. Recordings are ‘unmixed’ and song fragments are distributed freely on the internet often with no reference to the original artist or author. Mashup producers reassemble these fragments, arranging them sequentially (“Velcro text”) and layering them concurrently. The paper uses Baudrillard’s orders of signification to examine mashups. Baudrillard’s stated that “the age of simulation begins with a liquidation of all referentials” and that in ‘hyperreality’, a listener can no longer tell the difference between a ‘real’ piece of work or a simulation. Jameson identified “a new depthlessness” in a mediated self-referential culture obsessed with superficial detail, rendering the resulting product “meaningless” The question of how meaning is created and sustained in such a ‘meaningless’ post modern culture is discussed with reference to the writings of Barthes. A taxonomy of listener competence is proposed, whilst ideas of signifyin(g) and detournement are used to investigate the ironic use of musical quotation.

O presente artigo visa relatar a experiência do processo de aplicabilidade de metodologias feministas associadas ao conceito de mídia tática no curso de Publicidade e Propaganda da UFPE. Historicamente o ideal de aprendizagem dos cursos de Publicidade no Brasil seguem o raciocínio imposto para o mercado, no qual estudo e aplicação da criatividade se concentra do consumo e do capital (OLIVEIRA, 2016). À luz das teorias feministas e de gênero como Haraway (1995), Butler (2008), Rubin (1992), propusemos como metodologias feministas (ADRIÃO, 2014) o ensino da mídia tática (GARCIA; LOVINK, 1997) a partir de técnicas para trabalhos com grupos (ADRIÃO, 2014; BARÓ, 1992; FREIRE, 1987) e recursos da arteterapia na graduação de comunicação. Desenvolvidas no contexto da crítica à neutralidade e ao positivismo nas ciências, as metodologias feministas são, de forma mais ampla, estratégias ou instrumentos de mudança social baseadas no ideal de equidade social de gênero (NEVES; NOGUEIRA, 2015) e também de raça, classe social e outros marcadores. Transgredindo a lógica hegemônica da comunicação social e de seu ensino, objetivamos promover um diálogo entre o conhecimento acadêmico e empírico dos movimentos sociais, na construção de uma comunicação social implicada politicamente. Em sala, metodologias participativas e dialógicas ancoradas em propostas como as de Paulo Freire (1987) e Martin Baró (1992), associadas aos recursos da arteterapia que visam o estímulo à criatividade e à expressão de si. Sob a forma de oficinas, discutimos e produzimos mídias historicamente utilizadas por movimentos sociais, tais como: fanzine, estêncil, detournement e memes. Pretendemos a subversão e o uso tático dessas mídias como forma de ampliar a visão sobre a propaganda e a comunicação social das/dos futuras/os publicitárias/os, e de promover um redirecionamento da criatividade e das vozes das/dos sujeitas/os que a produzem. Como resultados, apresentaremos o uso da mídia tática enquanto metodologia feminista na produção e ensino da atividade publicitária.Metodologias feministas. Mídia tática. Publicidade. Comunicação. Gênero.AbstractFeminist methodologies in the teaching of communication: An experience report in the course of publicity and advertisingThis article aims to report the experience of the applicability process of feminist methodologies associated to the concept of tactical media in the graduation course of Advertising and Propaganda of UFPE. Historically the ideal of learning of graduations in Advertising in Brazil follow the reasoning for the market, in which study and application of creativity concentrate consumption and capital (OLIVEIRA, 2016). In the light of feminist and gender theories such as Haraway (1995), Butler (2008), Rubin (1992), we proposed the teaching of tactical media (GARCIA; LOVINK, 1997) as feminist methodologies (ADRIÃO, 2014) work with groups (ADRIÃO, 2014; BARÓ, 1992; FREIRE, 1987) and art therapy resources in the graduation of communication. Developed in the context of the critique of neutrality and positivism in the sciences, feminist methodologies are, more broadly, strategies or instruments of social change based on the ideal of gender social equality (NEVES; NOGUEIRA, 2015) and also of race, social class and other markers. Transgressing the hegemonic logic of social communication and its teaching, we aim to promote a dialogue between the academic and empirical knowledge of social movements, in the construction of a politically involved social communication. In the classroom, participatory and dialogical methodologies anchored in proposals such as Paulo Freire (1987) and Martin Baró (1992), associated with the resources of art therapy aimed at stimulating creativity and self expression. In the form of workshops, we discuss and produce media historically used by social movements, such as: fanzine, stencil, detournement and memes. We intend to subversion and the tactical use of these media as a way to expand the vision of propaganda and the media of the future, and to promote a redirect of creativity and the voices of the subjects that the produce. As a result, we will introduce the use of tactical media while feminist methodology in the production and teaching of advertising activity.Feminist methodologies. Tactical media. Advertising. Communication. Gender.

governance is a way implemented by the government using political, economic and administrative authority in managing economic and social resources for community development. The term governance is more directed to technical matters of governance in a country. By that, the term governance in relation to good governance is directed more towards legal aspects, especially administrative law which in essence more emphasized public service aspect which is addressed to society. Good governance characteristics include Participation, Rule of law, Transparency, Responsiveness, Consensus orientation, Equity, Effectiveness and efficiency, Accountability, and Strategic vision. These characteristics are legally sourced on two main grounds, namely the principle of the rule of law and the principle of democracy. The principle of the rule of law becomes the foundation of good governance where every act of government should have a legal basis, in the form of authority, procedure and substance and protection of human rights. The principle of a legal state provides the basis of legality in the administration of government, while the principle of democracy as the basis of government openness and community participation. Power or power essentially contains the rights and obligations of the apparatus of government to take certain legal actions, derived from attribution, delegation and mandate. Abuse of power is an act of government that is inconsistent with the purpose of authorization. the form of abuse of power consists of illegal state administration (onrechtmatige overheidsdaad), the misuse of the state administration (detournement de pouvoir or ultra vires) and the arbitrary acts of state administration (abus de droit). Abuse of power may occur against bound and free power. Parameters testing abuse of power from power are tied to the legality of government action, while the abuse of power from free power using the Good Governance Principles (GGP). GGP is the principle of proper administration

Penelitian ini bertujuan: 1. Untuk mengetahui dan menganalisis kualifikasi tindak pidana penyalahgunaan wewenang di bidang pelayaran yang dilakukan oleh oknum syahbandar yang dapat dimintakan pertanggungjawaban pidana; 2. Untuk mengetahui dan menganalisis pertanggungjawaban pidana oknum syahbandar dalam tindak pidana penyalahgunaan wewenang di bidang pelayaran.Tipe penelitian yang penulis gunakan dalam penelitian adalah penelitian normatif atau doktrinal. Teknik pengumpulan bahan hukum yang mendukung dan berkaitan dengan pemaparan penelitian ini adalah studi dokumen (studi kepustakaan).Hasil penelitian menunjukkan bahwa:1. Dalam perkara Nomor 37/Pid.Sus/202/PN.Smp, terdakwa Mihtafol Arifin menerbitkan surat persetujuan berlayar kepada kapal KLM Sinar Sumekar yang tidak dilengkapi dengan dokumen tentang kelaikan lautan kapal sebagaimana dimaksud dalam Pasal 117 Ayat (2) Undang-Undang Nomor 17 Tahun 2008 Tentang Pelayaran, juga tidak dilengkapi dengan alat komunikasi sebagaimana dimaksud dalam Pasal 131 Ayat (2) Undang-Undang Nomor 17 Tahun 2008 Tentang Pelayaran. Pada kasus penerbitan Surat Persetujuan berlayar sebagaimana yang tertuang dalam perkara Nomor 37/Pid.Sus/202/PN.Smp, terkualifikasi sebagai tindak pidana penyalahgunaan wewenang sesuai dengan teori detournement de pouvoir karena Mihtafol Arifin menyalahgunakan wewenang yang di berikan kepadanya dengan cara menerbitkan Surat Persetujuan Berlayar yang tidak sesuai prosedur kepada kapal KLM. Sinar Sumekar sebagaimana amanat Undang-Undang Nomor 17 Tahun 2008 Tentang Pelayaran. Dalam perkara ini pasal yang diterapkan adalah Pasal 336 Ayat (1) Undang-Undang Nomor 17 Tahun 2008 Tentang Pelayaran, karena Mihtafol Arifin melanggar ketentuan Pasal 336 Ayat (1) Undang-Undang Nomor 17 Tahun 2008 Tentang Pelayaran, 2. Dalam perkara Nomor 37/Pid.Sus/202/PN.Smp, terdakwa Mihtafol Arifin dapat mempertanggungjawabkan perbuatannya karena pertanggungjawaban pidana seseorang tergantung pada unsur mens rea. Selain itu, untuk dapat mempertanggungjawabkan perbuatannya, subjek hukum (oknum syahbandar) tersebut telah memenuhi unsur: a) Adanya kemampuan bertanggungjawab dari pelaku, b) Adanya unsur kesalahan dalam tindakan pelaku, c) Adanya unsur melawan hukum dan d) Tidak adanya keadaan tertentu yang memaafkan tindakan pelaku.

<p class="TableParagraph"><em>Abuse of authority as part of testing the discretionary authority of the State Administrative Court has changed with the presence of Law No. 6 of 2023 concerning Job Creation. Changes can be seen in Article 175 number 2 of the UUCK which expands discretion by eliminating the requirement that it is contrary to the law. However, Law No. 30 of 2014 also does not emphasize the definition of authority testing, thus creating problems, namely the blurring of the parameters of discretion testing by the State Administrative Court Judges. The author also conducts a comparative study with France to find trends in global solutions in solving problems. This research uses normative legal research methods that analyze applicable laws and regulations accompanied by literature studies in the form of books, journals, and other literature. The dynamics of the elements of Abuse of Authority from the UUAP to the birth of the existence of the UUCK has brought the consequences of a paradigmatic shift in the concept of discretion, which was originally limited to be freed because of the elimination of the requirement not to conflict with the provisions of the legislation. However, considering that discretion is actually only the (free) authority possessed by a State Administrative Officer to make a decision and/or take an action, the decision and/or action as a manifestation of the discretionary authority is still bound by the provisions of Article 52 of the UUAP regarding the legal requirements of a decision. The State Administrative Justice System in France and Indonesia has a difference that lies in the phrase used, in France using the term abuse of power, or what is called detournement de pouvoir. This reason is used if an official in issuing an administrative decision deliberately uses his/her authority for purposes that deviate from the original purpose/intention, in contrast to Indonesia which defines abuse of authority more complexly as a form of exceeding authority, mixing authority, and arbitrariness.</em></p>

Bu çalışmada, Guy Ernest Debord’un teorisinde ve her biri ayrı bir manifesto olan filmlerinde dile getirdiği gösteri kavramına ve eleştirisine odaklanılmıştır. Debord, tüm gerçekliğin bir yanılsama olarak imajlara indirgendiğini ve gösteriye dönüştüğünü ifade eder. Ona göre kitle iletişim araçları ve özellikle de sinema sahte gerçekliği yeniden üreterek gösteriye hizmet eden araçlardır. Bu çalışmada Guy Ernest Debord’un gösteri teorisinden hareketle, onun yaşamı, eleştirisi ve sineması odağa alınmıştır. Çalışmada Debord’un filmlerine başvurularak gösteriye dair eleştirel bir analiz ortaya konulmakta ve detournement yönteminin eleştirel, politik ve dönüştürücü bir sinema yapmayı mümkün kılıp kılamadığı sorgulanmaktadır.

This paper explores the relationship between surveillance technologies and power as exercised in educational spaces. The theories based in the panoptic gaze as theorized by Michel Foucault provide educators with the opportunity to analyze positions of power in school settings. The critical actions of the Surveillance Camera Players represent examples of active embodiment that might inform a form of pedagogy that investigates panopticism within educational spaces.

Abstract: Allegation of abuse of authority that committed by public officials is an object to should be examined with the specialty principle (specialialiteit beginsel), because the deviation from this principle would impact to abuse of authority (detournement de pouvoir). In this context, the allegation of abuse of authority is a domain of administrative law (administrative penal law) so that the authority to examine the presence or absence of the element of abuse of authority is absolute competence of administrative court. The application of this mechanism in line with the principle of ultimum remidiun in the application of criminal law. The application of a criminal sanction must be applied as a final sanction after the civil or administrative sanctions. In order to give opportunity for the public to give correction, corrections (No Criminal Penalty before adminsitrative Correction is implemented). Government Administration Act is a response to the polemic of the object of dispute the allegation of abuse of authority that always be drawn directly into the realm of criminal law. Keyword : abuse of authority, administrative law, administrative court Abstrak: Dugaan terjadinya penyalahgunaan wewenang yang dilakukan oleh pejabat pemerintahan merupakan objek yang harus diuji dengan asas spesialitas (specialialiteit beginsel), karena penyimpangan terhadap asas ini akan melahirkan penyalahgunaan wewenang (detournement de pouvoir). Pada konteks ini, maka dugaan penyalahgunaan wewenang merupakan domain hukum administrasi (administratif penal law ) sehingga wewenang untuk memeriksa ada atau tidak adanya unsur penyalahgunaan wewenang merupakan kompetensi absolut peradilam administrasi (Peradilan Tata Usaha Negara). Penerapan mekanisme ini selaras dengan asas ultimum remidiun dalam penerapan hukum pidana, di mana keberadaan pengaturan sanksi pidana harus diletakkan dan diposisikan sebagai sanksi terakhir setalah sanksi perdata maupun sanksi administratif tidak berdaya sebagai upaya memberikan ruang bagi masyarakat luas akan upaya perbaikan, koreksi, dan upaya lainnya sebelum pemidanaan diberikan (No Criminal Penalty before Adminsitrative Correction is implemented). Undang-Undang Nomor 30 Tahun 2014 tentang Administrasi Pemerintahan merupakan jawaban terhadap polemik seputar objek sengketa dugaan penyalahgunaan wewenang yang selama ini langsung ditarik ke ranah hukum pidana padahal sebuah kebijakan tidaklah dapat dikriminalisasi. DOI: 10.15408/jch.v2i1.1844

Pengawasan adalah tindakan yang dilakukan dalam suatu hal yang bertujuan agar apa yang menjadi objek pengawasan tersebut berjalan sesuatu dengan seharusnya sehingga tidak terjadi “detournement de pouvoir”. Pelayanan publik merupakan suatu aktivitas atau interaksi antara masyarakat dan pemerintah atau birokrasi. Pelayanan publik yang baik akan membentuk pemerintahan yang baik “good governance”. Pelayanan publik sangat dibutuhkan oleh masyarakat di segala bidang kehidupan. Oleh karena itu, eksisnya sebuah lembaga independen yang berwenang untuk mengawasi jalannya penyelenggaraan pelayanan publik menjadi penting. Berdasarkan Undang-Undang Nomor 37 Tahun 2008, lembaga negara yang berwenang untuk mengawasi penyelenggaraan pelayanan publik adalah Ombudsman Republik Indonesia. Kajian menarik adalah bagaimana kemudian efektivitas pengawasan pelayanan publik yang dilakukan oleh Ombudsman RI. Pendekatan penelitian hukum normative, pengumpulan data dengan sumber hukum primer dan pengumpulan data sekunder dari literatur yang berhubungan dengan topik pembahasan. Hasil menunjukkan bahwa tidak seluruh laporan yang masuk ke meja Ombudsman RI dapat diselesaikan. Ombudsman masih memiliki keterbatasan, salah satunya adalah apabila laporan masyatakat tersebut tidak dapat dilanjutkan jika hasil pemeriksaan substantif menunjukkan bahwa ombudsman tidak berwenang melanjutkan pemeriksaan. Namun, dapat dilihat bahwa masyarakat mulai memberikan kepercayaan kepada Ombudsman RI dengan terjadinya peningkatan konsultasi non laporan yang dilakukan oleh masyarakat periode 2017-2021.

Kapitalist kültür kitle iletişim araçlarının yaygınlaşmasıyla imajlar aracılığıyla kendini üretmeye başlamış bir yapının ürünüdür. Sermaye birikiminin devasa boyutlara ulaşmasında önemli bir etken olan bu imajlar imparatorluğu Guy Debord tarafından gösteri olarak adlandırılmıştır. Sermaye ilk birikimden bu yana neden olduğu yaratıcı yıkıma karşı direnişlerle karşılaşmış değişen sadece direniş yöntemleri olmuştur. 1957’de kurulan Sitüasyonist Enternasyonal de tüketim karşıtı yeni avangart sanat anlayışının önemli bir temsilcisi olmuştur. Kendisinden sonra gelen akımlara da önderlik ettiğini söyleyebileceğimiz sitüasyonizmin saptırma (detournement) ilkesini kullanarak gündelik hayatın burjuva estetiğine bir savaş açmıştır. 20. yüzyılın sonu ile birlikte tüketim karşıtlığı yerini Kanada merkezli kültür bozumu akımına bırakmıştır. Hemen hemen her sanat ve politik akım gibi bir örgüt çatısı altında süreli yayın yapan kültür bozumunun resmi yayını Adbusters adlı dergidir. Sitüasyonizmden aldığı birikimle gündelik hayata dair metinlerini ve tahrifat pratiklerini ortaya koyan kültür bozumu akımı sermayenin medya mesajlarını bozuma uğratmayı amaçlamaktadır. Güncel olanı yakalamaya çalışan Adbusters dergisi kültür bozucuları her daim katılımcı sürecin bir parçası yapmak istemektedir. Bu katılımcı sürecin dergi için en etkili olduğu olay bir toplumsal hareket olarak Wall Street’i İşgal Et eylemlerine önderlik etmesidir. Bu çalışmada kültür bozumu akımının düşünsel arka planının oluşmasında Sitüasyonist Enternasyonal’in etkisi irdelenecek ve söz konusu iki akımın benzerlikleri ele alınacaktır.

Kültür ve medeniyetin, yerleşikliğin ve düzenin mekân açısından temsili olan şehir, şiir ile açımlanmış, boyutlanmış ve âdeta yeniden inşa edilmiştir. Belli şehirlerle özdeşleşmiş şairlerin ve yine belli şairlerle özdeşleşmiş şehirlerin varlığı, estetik yaratımda mekân-insan etkileşimini ortaya koyması bakımından önemlidir. Yahya Kemal dendiğinde İstanbul’un, Tanpınar dendiğinde -özellikle- Bursa’nın, Ahmed Arif dendiğinde Diyarbakır’ın akla gelmesi, şehrin bu şairlerin estetik yaratımının merkezinde yer almasından ve kurulan şehir temsillerinin kuvvetinden gelmektedir. Orhan Veli’nin doğrudan İstanbul temalı şiirleri çok fazla olmamasına rağmen belli başlı bazı İstanbul şiirlerinin ön plana çıkışı ve şehre yönelik olarak getirdiği yorum, onun adının İstanbul şairleri arasında anılmasını sağlamıştır. Orhan Veli, gerek İstanbul’a gerekse şehir kavramına yaklaşımı ile kendinden önceki şairlerden ayrılmaktadır. Okuyucu, tam da şehirden kente dönüşümün kavşağında, Orhan Veli’nin şiirinde yeni bir şehirsel çevre ile karşılaşır. Bu çevre gerek anlatının şair öznesinin gerekse bizzat Orhan Veli’nin yürüyerek deneyimlediği, gözlemlediği ve aktardığı günlük pratiğe yönelik panoramik bir yaratımdır. Coğrafi çevrenin, çevre düzenlemelerinin, kentin; bireyin duyguları, düşünceleri, davranışları, hayal dünyası ve sosyal ilişkileri üzerindeki etkisi olarak tanımlanabilecek “psikocoğrafya”, yürümek, gözlemek/izlemek, sapmak (detournement) fiillerinin ekseninde kent içindeki yaşantıyı, çatışmayı ve entegrasyonu anlamaya yönelik bir gözlem pratiği, yaratıcı bir araştırmadır. Biz de bu çalışmamızda psikocoğrafya kavramını, edebiyat üzerinden -şehir ve şiir ilişkisi bağlamında- ele alarak Orhan Veli’nin şiirlerini değerlendirmeye çalışacağız.

çmişten günümüze toplumlar taleplerini bir araya geldikleri toplumsal hareketler aracılığıyla duyurmuşlardır. Bugün yönetici erkten veya onları temsil eden siyasi temsilcilerden talepleri doğrultusunda bir sonuç alamayan gruplar, kent meydanlarından sokaklara kadar birçok yerde toplanıp bu talepleri demokratik bir biçimde ifade etmeye çalışmışlardır. Bu hareketleri gerçekleştirip taleplerde bulunurken belli başlı yöntemler kullanan katılımcılar sanatsal formlarla meydanları karnaval ortamına çevirme gayreti içerisindedirler. Bu hem sanatın duygulanım yaratma gücünden yararlanıp mücadelelerine çok daha fazla katılımcı toplamak, hem de sermaye veya yönetici erkle olan mücadelesini açıkça ortaya koymalarına vesile olmaktadır. Günümüzde sanatı ve mücadeleyi bir araya getiren pratiklerin başında toplumsal hareketler gelmektedir. Özellikle, 20. Yüzyılın ikinci yarısının başlarında yeni avangart olarak tanımlanan sanat akımlarından biri olan Sitüasyonizm bugün kültür bozumu taktiklerinden biri olan yıkıcı reklamların sanatsal temellerini oluşturmaktadır. Sitüasyonizm düşüncesinin üzerine inşa edildiği detournement (saptırma) kavramı kültür bozumuna ait birçok taktikte tercih edilen bir yöntemdir. Bir kültür bozumu tekniği olan yıkıcı reklamlar bugün başta Avrupa ve Amerika kıtasında olmak üzere dünya genelinde sermaye ve merkezi otoriteye karşı varlığını sürdürmüş önemli bir sanatsal direniş formu olarak karşımıza çıkmaktadır. Toplumsal hareketler ve demokrasi ilişkisini mutlak demokrasi olarak kavramsallaştıran Michael Hardt ve Antonio Negri, imparatorluk, çokluk, maddi olmayan emek ve müşterekler kavramlarını kullanmaktadırlar. Bu çalışmada yıkıcı reklamların mutlak demokrasi idealini gerçekleştirmede önemli bir araç olacağı argümanından yola çıkılarak birçok sanatçı kolektifinden oluşan Subvertisers International’in desteklediği Fosil Yakıt Reklamlarını Yasakla hareketi analiz edilmiştir.

Cities are shared spaces. As the massive worldwide Iraq war protests that began in 2002 indicate, the structure of the city allows for the presentation of social statements, where large groups can gather, share ideas or argue beliefs, and where media outlets can broadcast these activities. While cities enable these forms of interaction, digital technologies also allow for worldwide connections, both through communication and entertainment. What is the relationship between the shared, often contested spaces of the city and how they are represented in interactive media such as videogames? What statements are formed in the streets of Grand Theft Auto? In this paper I will discuss three popular games that reproduce urban spaces: the Grand Theft Auto series (1998-2006), Tony Hawk’s American Wasteland (2004), and Getting Up: Contents under Pressure (2006). These games are of interest due to their popularity, as well as the forms of interaction reinforced by the urban game environment. Cities have always been spaces for interaction and competition, becoming the site for festivals, protests and games. Ancient forms of graffiti in Rome and Pompeii have been re-envisioned in a worldwide graffiti movement, transforming blighted areas into image-laden environments. Games of stickball, hockey and football transform streets into fields, as do modern marathons and bicycle races. The city street becomes a zone of interpretation, for adaptation and personalization. More recently, skateboarders have transformed cities into skateparks, forcing designers to develop such curiosities as handrail and planter augmentation meant to deter skating. Even more peculiar, a possible response to the anti-skating backlash is the sport known as ‘free-running’ or le parkeur, where participants use the existing infrastructure to express themselves, jumping from rooftop to rooftop, climbing concrete peaks and adding stylistic flourish with each step. These forms of urban gameplay may also be accompanied by dangerous activities as well. Jenkins suggests that discussions on the negative effects of increased gameplay might be addressed by looking at socioeconomic factors, such as the increasing numbers of young people living in urban or semi-urban areas who have fewer opportunities for activity that takes place out of doors, creating the prospect for increased interaction with videogames (“Complete Freedom”). The adaptability combined with the dangerous allure of the city street makes for problematic, intriguing representations in contemporary videogames that deal with urban spaces. I will first discuss a brief history of games that deal with urban spaces, before discussing three popular games and the manner in which they attempt to represent, and recreate the experiences in the city. Games and the City One of the earliest examples of the city represented in a videogame can be seen in Rampage, released by Bally/Midway in 1986. The game includes the city only as backdrop for demolition by hyperagressive mutant animals. SimCity, created by Will Wright and released in 1989, is considered a landmark in the history of videogames, as it is based in forms of cooperation rather than competition. It has spawned at least 21 varieties, including the highly anticipated Spore, a game that allows the player to control life on a microbiological level. Game developers also have explored the recreation of cities from the past. Games such as Civilization and Children of the Nile: Immortal Cities (2004) allow players to control events on a broad social scale, in the style of SimCity, with the addition of historical information that comes into play. As videogames have developed, an increase in processing power has allowed programmers to create spaces rendered in real-time, in three dimensions, allowing for immersive ‘first-person’ perspectives not possible in earlier game systems. This perspective has changed the way in which the city is engaged, from the simplistic destruction of Rampage to more nuanced ways of moving through game space. When discussing the perspective of the player in the urban game space, we should also discuss the perspective of the city inhabitant. As de Certeau describes it, the act of walking in the city represents a form of ownership, reading and creating ‘texts’ through movement. This perspective can shift, through travel in automobile or train, or by ascending in skyscrapers, changing the understanding of the text in the process. This process is inevitably collaborative, as the urban terrain that is monitored both by individuals and by groups: businesses, governments, police. As Flynn suggests, this notion of walking closely resembles the procedural nature of generating meaning in many videogames. Recent games such as the Grand Theft Auto series (1998-2006), Tony Hawk’s American Wasteland (2004), and Getting Up: Contents Under Pressure (2006) raise issues regarding the representation of the city, and the possibilities afforded the player. Of interest are the following questions: How is the urban environment represented? What options are provided to players for interaction within this environment? Are their implications for everyday practices that borrow from these game-based environments? Grand Theft Auto Grand Theft Auto (GTA) was first released in 1998, and has since expanded into a series of increasingly controversial games. Originally designed for top-down gameplay, a third person point of view was introduced in GTA II (2001). Along with this new point of view came the ability for players to interact with a highly detailed cityspace, deviating from the urban gangster storyline, and interacting with city inhabitants in any number of illicit ways. This interactivity was taken to an extreme in GTA: San Andreas (2004). GTA: San Andreas is set in a state that is a fictional blend of California and Nevada. It continued the gangster storyline of the previous games, becoming notorious for including an encoded, hidden level that allowed players to take part in explicit sex scenes. It featured a style of nonlinear gameplay that allowed players to entertain themselves, exploring the urban landscape free from rigid game requirements. It also limited interactions with city dwellers, limiting narrative elements to ‘cut scenes’ that allow for uninhibited gameplay. As Frasca suggests, the later Grand Theft Auto games are really about moving through space, typically seen as a mundane activity, in an interesting way. However, that which makes the movement interesting typically involves killing and maiming and destroying that which stands in the way of the main character. Without getting into a discussion of morals and videogames, the GTA series certainly has pushed the boundaries of video game acceptability, as well as engaging gameplay, allowing players to drift through the urban environment. The Situationist International (SI) sought to engage with the city, opening up possibilities for new forms of engagement and interaction through drifts, or derivé. Through various forms of derivé they engaged with the psychogeographic space of the city, walking through varied areas, and reorganizing these experiences as though in a dream state, or, perhaps, game (Sadler). Surely any video game can be experienced in a similar manner. I suggest that the GTA series, through interactive openness, allows players to reread the text of this virtual city, while at the same time contributing to the ‘society of the spectacle’ that situationist Guy Debord so maligned (Debord). As a successful yet problematic blend of simulation and quest, the rules in GTA: San Andreas are not made explicit; we are familiar with the urban spaces depicted in GTA, at least through the stereotypes portrayed in the media. Players therefore know the rules implicit to these spaces, and what happens when we break them; thus, the allure of the simulated urban environment. The text created is one that combines lived experience, mediated images, and interaction with the fictional urban space. What happens when this environment is made specific, when the game depicts a real city? Tony Hawk Pro Skater The Tony Hawk Pro Skater (THPS) series became very popular after its release in 1999, capitalizing on the marketing of ‘extreme sports’ as seen in events such as ESPN X Games, which debuted in 1995. While not the first skateboarding game on the market, THPS captured the imagination of the game buying audience, allowing players to skate as Tony Hawk, or any number of pro skaters. The latest installment of the series is Tony Hawk American Wasteland (THAW), which promotes the seamless connections between levels that are detailed reproductions of Los Angeles. While the GTA series allows for, and in many cases encourages, activities that would be deemed illegal, THAW extends the possibility that the player could actually perform these acts in the place depicted in the game. Does this allow for greater immersion, which then inspires players to ‘take it to the street?’ Or, does the gameplay reinforce the argument against such activities in the actual urban space, affirming their ‘destructive’ nature? Although skaters can be a nuisance, particularly in crowded downtown areas, the appropriation of utilitarian infrastructure can also be seen as improvisational art, adapting existing urban features in the process of skating. The SI notion of detournement can be seen in the actions of many skaters, as the process of skating brings new meanings to the urban landscape. Whether the Pro Skater series adds to the possibilities for detournement, or further limits the actual skating that happens in the city, is only relevant to those who skate and those who attempt to prevent this sport from taking place. As you skate through the city, writing the text of your experience through railslides and grinds, you are also given the ability to ‘tag’ the walls of Los Angeles, literally inscribing your place in the environment. The control of urban spaces, and the possibilities for rewriting these spaces—for detournement—brings me to my third example. Getting Up Marc Ecko, clothing designer and hip-hop aficionado, released Getting Up: Contents under Pressure in 2006. Players assume the identity of ‘Trane,’ a young graffiti artists desparate to learn the ropes in the city of ‘New Radius.’ New Radius is currently under the draconian control of ‘Mayor Sung,’ who has promised to rid the city of the scourge of graffiti. As Trane, you make your way through New Radius, battling foes and meeting graffiti legends, who teach you new skills along the way. Getting Up is unique from the games previously mentioned, as you have the ability to interact with the urban environment in a manner that is not incessantly violent or overtly destructive. In fact, the game is marketed as a way to get the thrill of ‘tagging’ without actually taking part in illegal activity. It is also a unique experience, as Trane walks through the entire environment. This slows down the gameplay, and allows the character to take in the highly detailed environments. It a very literal way, the player in Getting Up is writing the city, as de Certeau describes it, though this writing is typically underappreciated as creative activity, much less art. Conclusion The games that I have described present the city in very different ways, and offer players diverse options for interacting and thinking about the city. While, the impact of these games remains to be seen, and may never register beyond the world of the gamer, these games present urban environments as active spaces for engagement, even if it is the thuggishness reinforced in Grand Theft Auto. I would hope that the creativity shown in Tony Hawk’s Pro Skater would lead to the creation of not only more skateparks in suburban spaces, but the acknowledgement of the need for detournement in public urban spaces such as Philadelphia’s Love Park, a favorite East Coast US skate spot that has been the center of much controversy as a result of its popularity. If Pro Skater brings the issue of street skating to a national audience, it is doing good, both as entertainment and social force. Similarly, Marc Ecko’s Getting Up has the potential to not only memorialize the birth of graffiti and hip hop in 1970’s New York; it can also instruct on the flourishing worldwide graffiti scene, allowing those who deserve (and desire) attention to have it. Recent projects such as pacmanhattan have inverted the relationships between gaming and the urban environment that I have described. Taking the game to the city, players engage in interpretations of the video game classic Pac Man in the streets of Manhattan, utilizing a variety of locative media devices. While these games do not change the physicality of the city, they surely change our psycheographical interpretation of that space, in a way that folds together the freedom of gameplay with the control of the street. Jenkins suggests that designers should pay more attention to the work of architects and urban planners as they create interactive worlds (“Game Design”). I would also suggest that the opposite take place. Urban designers might learn from the urban spaces created in games such as American Wasteland and Getting Up, as they present options for the detournement of fixed spaces evident in the graffiti and skate cultures. Increased control will result in diverse responses that subvert this control. Cities should remain spaces for walking, for drifting, for protesting: for games. References Bureau of Public Secrets. Situationist International Anthology. Ed. K. Knabb. Berkeley, Calif.: Bureau of Public Secrets, 1981. Debord, Guy. Society of the Spectacle. New York: Zone Books, 1991. De Certeau, Michel. The Practice of Everyday Life. Berkeley, Calif.: University of California Press, 1984. Flynn, B. Languages of Navigation within Computer Games. Paper presentation, Digital Art and Culture, Melbourne, Australia, 2003. April 2006 http://hypertext.rmit.edu.au/dac/papers/Flynn.pdf>. Jenkins, Henry. “Complete Freedom of Movement: Videogames as Gendered Play Spaces.” In The Game Design Reader: A Rules of Play Anthology. Eds. K. Salen and E. Zimmerman. Cambridge, Mass.: MIT Press, 2006. Jenkins, Henry. “Game Design as Narrative Architecture.” In The Game Design Reader: A Rules of Play Anthology. Eds. K. Salen and E. Zimmerman. Cambridge, Mass.: MIT Press, 2006. Frasca, G. Sim Sin City: Some Thoughts on Grand Theft Auto. Game Studies 2003. April 2006 http://www.gamestudies.org/0302/frasca/>. Sadler, S. The Situationist City. Cambridge, Mass.: MIT Press, 1998. Citation reference for this article MLA Style Sweeny, Robert. "Code of the Streets: Videogames and the City." M/C Journal 9.3 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0607/07-sweeny.php>. APA Style Sweeny, R. (Jul. 2006) "Code of the Streets: Videogames and the City," M/C Journal, 9(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0607/07-sweeny.php>.

A motion picture is one of the most popular spectacles people enjoy for various reasons, among others for entertainment. A film titled “Mission: Impossible” is one of the all-time most watched movies globally, since the first series was created in 1996. In the year 2023 it has come to the 7th series, and what has been released was only the first part, leaving its fans anxiously waiting for the end of the story. Many people would say there is nothing new in each of the series; the script writer applies the same ‘formula” to attract audience, however the series never fail to generate a lot of revenue, with the last rendition already be very popular and recorded as one of the box-office only within the first two days of its showing. In the era where spectacles are the pinnacle of day-to-day life for almost everyone, this research is going to investigate audience reception of the film “Mission: Impossible -Dead Reckoning Part One” in terms of the components of a spectacle, applying the concept of The Society of Spectacle by Debord (1967) which stated that a spectacle is built by utilizing “The Star, the Agent of Spectacle, False Choice / Pseudo needs and Détournement. The research focuses on the détournement by analyzing audience comments posted on a social media platform, investigating the reasons they love and hate the film, and the result will reveal how (un)successful the detournements are applied. Keywords: mission; impossible; spectacles; the society of spectacles; détournement; reception studies

Over time, many groups have sought to offer alternatives to the dominant culture of the day; for example, the civil-rights movements, antiwar protests, and environmental activism of the 1960s and 1970s. Not all groupings however can be considered countercultural. Roberts makes a distinction between group culture where cultural patterns only influence part of one’s life, or for a limited period of time; and countercultures that are more wholistic, affecting all of life. An essential element in defining a counterculture is that it has a value-conflict with the dominant society (Yinger), and that it demonstrates viability over time: long enough to pass on the values to the next generation (Roberts). Each society has images of what it means to be a good citizen. These images are driven by ideology and communicated through media channels, educational values and government legislation. Ideologies are not neutral and compete for the “common sense” of citizens; seeking to shape desires and allegiance to a particular way of life. A way of life is expressed in the everyday practices, or routines and choices that make up an ordinary day, the sum of which express the values of individuals and communities. A number of groups or movements have sought to counter the values and practices of dominant cultures only to find themselves absorbed into it. For example, the surfing magazine Tracks was an Australian countercultural text that chronicled the authentic surfing lifestyle of the 1970s. As surfing became big business, the same magazine was transformed into a glossy lifestyle publication. The surfing lifestyle had become part of the expanding field of consumption and Tracks had become one more tool to promote it (Henderson). As the “counter” is absorbed into the dominant consumer culture, new ways to engage the hegemonic culture emerge that offer fresh possibilities of living and engaging in contemporary society. Positioning I hold to a critical postmodern perspective of consumption. That is, while I acknowledge some of the pleasures of consumption, I see a dominant posture of detachment as a result of consumer cultures increased distance from production, producers and the products we buy (Cavanaugh; Sandlin, Kahn, Darts and Tavin). The market is a powerful educator of individuals (Kincheloe; Steinberg), but it is not the only educator. Families, schools, churches and other interest groups also seek to educate, or shape, individuals. These competing influences do not however hold equal power. In many instances the families, schools, churches and interest groups have uncritically adopted the dominant ideology of the market and so reinforce the values of consumerism; such is its hegemonic power. I hold that individuals, and more importantly communities, have some agency to consume in alternative ways that give rise to the formation of different identities. I see critical practices as important in the awareness raising, or awakeness, and shaping of an individual and a community (Freire; Rautins and Ibrahim). Contemporary Cultures Consumption has become the organizing principle of many contemporary cultures (Hoechsmann). The message that to be a good citizen is to be a good consumer is pervasive and promoted as key to economic growth and the remedy to lift countries out of recession. This message of consumption falls on fertile ground with the development of consumerism, or consumer culture. Smart (5) sees this expressed as a way of life that is “perpetually preoccupied with the pursuit, possession, rapid displacement, and replacement of a seemingly inexhaustible supply of things.” These “things” have increasingly become luxury goods and services as opposed to the satisfaction of basic needs and wants (de Geus). Contemporary Alternatives There are examples of contemporary alternatives that open spaces for people to imagine that “another world is possible.” Sandlin, Kahn, Darts and Tavin (102, 103) call upon educators to “critically analyze what it might mean to resist a consumer society predicated on the normalization of overconsumption” and to “celebrate the creative and critical agency of all those who resist and interrogate the hegemony of multinational companies/industries.” A number of examples are worth celebrating and critically analysing to offer input in the engagement with the dominant culture of consumption. The examples of the Adbusters Media Foundation, Bill Talen’s work as a political-theatre activist, and the voluntary simplicity movement will be briefly examined before exploring the contribution of monasticism. The Adbusters Media Foundation produces a glossy bimonthly publication and website that seeks to unmask the destructive power of global corporations. Through the use of cultural resistance techniques such as “culture jamming,” Adbusters remix advertisements to catch the reader by surprise, to make the taken for granted problematic, and to open them to the possibility of an alternative view of reality. These “subvertisements” offer the opportunity for detournement; a turning around or a change in perspective (Darts; Sandlin and Callahan). As people get involved in “culture jamming” they become producers of artifacts and not just consumers of them. The work of Adbusters uses the tools of the media saturated consumer culture to critique that very culture (Rumbo). Advertising performs an ideological function within a consumer culture that addresses people as individual private consumers rather than citizens concerned for the public good (Scatamburlo-D’Annibale). Given the ubiquity of advertising, individuals become ambivalent to its messages but still soak in the dominant narrative. The very form of resistance reinforces the culture of the individualistic citizen as consumer. While it might be seen that the “culture jamming” artifacts of the Adbusters type might not have substantial effect on the broader public, it does provide an accessible means of resistive action for the individual (Haiven). Bill Talen is a political-theatre activist who plays the Southern evangelical preacher Reverend Billy as leader of the Church of Stop Shopping. The Reverend stages “retail interventions” or performances in public spaces and retail stores as an act of “culture jamming”. Reverend Billy uses humour, music, art and theatre in his “services” to create strangeness, discomfort or ambiguity in the lives of the public. In doing so he calls people into transitional spaces where what was normal is disrupted and they are free to imagine differently. This disruption that causes a movement into the unknown is a central pedagogical strategy that seeks to encourage people to question their taken for granted understandings of life (Littler; Sandlin, Learning). Reverend Billy and the Church of Stop Shopping offer a fuller bodied experience of “culture jamming” that engages both the body and the emotions. The act of creating culture together is what fosters a sense of community amongst culture jammers (Sandlin, Popular culture). And yet Reverend Billy and the Church of Stop Shopping appear not to be focused for their own good in that they have formed a number of coalitions with other organisations to work on campaigns that oppose global corporations and the influence of consumerism’s ideology on everyday life. Reverend Billy not only creates disruption in people’s relationship with consumption, he also provides an alternative place to belong. The voluntary simplicity movement involves a growing number of people who choose to limit their incomes and consumption because of new priorities in life. Those involved call into question the dominant cultures view of the “good life” in favour of a less materialistic lifestyle that is more “personally fulfilling, spiritually enlightening, socially beneficial, and environmentally sustainable” (Johnson 527). Grigsby’s research (qtd. in Johnson) found that participants were involved in forming their own identities through their lifestyle choices. The voluntary simplicity movement, it appears, is a niche for those who understand consumption from a postmodern perspective and participate in alternative lifestyle practices. Sandlin (Complicated) sees the formation of collective identity as crucial to a movement’s ability to effectively engage in external education. A shared vision, or telos, is central to that forming of collective identity. However, the voluntary simplicity movement is focused primarily on individual lifestyle changes, thus making it ineffectual as a collective to challenge dominant ideologies or to engage in external education to that end. Each of the examples above provides some insight into a considered engagement with the dominant culture: the creation of Adbuster like “culture jamming” artifacts provides an accessible means of engagement for the individual; Bill Talen’s interventions show an appreciation of the importance of community in supporting countercultural choices; and the voluntary simplicity movement promotes a “whole of life” approach to countercultural engagement. However, when comparing the above examples with Roberts’s definition of a counterculture they appear to be lacking. Roberts (121) holds that “the term counter-culture might best be reserved for groups which are not just a reaction formation to the dominant society, but which have a supporting ideology that allows them to have a relatively self-sufficient system of action.” The remainder of this article examines monasticism as an example of a counter-culture that offers an alternative model of “the good-life” based on a clear ideology and a fifteen hundred year history. Considering Monasticism As seen above, the work of countering the dominant ideology is not without its difficulties. bell hooks found that offering an education that enhances students’ journey to wholeness went against the anti-intellectualism of the current education system. What enabled her to stand within and resist the oppressive dominant culture, and offer alternatives, was the sustaining power of spirituality in her life, the basis of her hope. Tolliver and Tisdell appreciate that spirituality can be an elusive term, but that amongst the definitions offered there are commonalities. These are that: spirituality is about a connection to what is referred to by various names, such as the Life Force, God, a higher power or purpose, Great Spirit, or Buddha Nature. It is about meaning making and a sense of wholeness, healing and the interconnectedness of all things. […] As many have noted, those who value spirituality generally believe that it is possible for learners to come to a greater understanding of their core essence through transformative learning experiences that help them reclaim their authenticity. (Tolliver and Tisdell 38) There is a growing interest in the age-old traditions of Christian monasticism as a means of addressing the challenges of contemporary life (Adams; Jamison). When the BBC broadcast the television series The Monastery in 2005, millions of viewers tuned in to follow the way five ordinary men were affected by the experience of living in a monastery for forty days and nights. Similarly in Australia in 2007, the ABC broadcast the television series The Abbey that followed the experiences of five ordinary women enclosed for 33 days and nights in the space and routines of the Benedictine nuns at Jamberoo Abbey. It was when watching these television series that I was led to consider monasticism as an example of cultural resistance, and to ponder the contribution it might make to the conversation around counter-cultures. As an observer, I find something compelling about monasticism, however I am aware of the possibility of romanticising it as a way of life. The tensions, difficulties and struggles represented in the television series help to temper that. Benedictine spirituality is the foundation for life at the Worth Abbey (The Monastery) and the Jamberoo Abbey (The Abbey). The essential dynamic that underlies this spirituality is a shaping of life according to the Bible and the guidelines set out in the sixth century Rule of Benedict. Monastic life in a Benedictine abbey is marked by certain routines, or rhythms, that are designed to help the community better love God, self and one another (Benedict, chapter 4). “Listen” is the first word in the Rule of Benedict and is closely linked to silence (Benedict, chapter 6). As a key part of monastic life, silence gives the monastics the freedom and space to listen to God, themselves, one another, and the world around them. As Adams (18) points out, “the journey to knowing God must include the discipline of coming to know yourself, and that risky journey invariably starts in silence.” The rhythm of monastic life therefore includes times in the day for silence and solitude to facilitate listening and self-reflection. For Benedict, distractions in the head are actually noises inside the heart: the result of human desires and preoccupations. Silence, and the reflection that occurs within it, allows the monastic to listen for, and see their own relationship to, competing ideologies. This everyday practice of listening might be explained as paying attention to what is noticed, reflecting on it and the internal response to it. In this way listening is an active engagement with the words read (Irvine), the stories heard, the conversations had, and the objects used. Hoffman (200) observes that this practice of attentive listening is evident in decision making within the monastery. Seen in this way, silence acts as a critical practice counter to the educative agenda of consumerism. Physical work is a basic part of monastic life. All members of the community are expected to share the load so that there is no elitism, no avoiding work. This work is not to be seen as a burden but an outlet for creativity (Benedict, chapter 57). By being involved in the production of goods or the growing of crops for the community and others, monastics embody practices that resist the individual consumer identity that consumerism seeks to create. Monastics also come to appreciate the work involved in the products they create and so become more appreciative of, and place greater value on them. Material things are not privately owned but are to be seen as on loan so that they are treated with a level of gratitude and care (Benedict, chapter 32). This attitude of not taking things for granted actually increases the enjoyment and appreciation of them (De Waal). De Waal likens this attitude to the respect shown towards people and things at the Japanese tea ceremony. She says that “here in the most simple and yet profound ceremony there is time to gaze at things, to enjoy them, and to allow them to reveal themselves as they truly are” (87). Such a listening to what products truly are in the dominant consumer culture might reveal chairs made from the denuded forests that destroy habitats, or shoes made with child labour in unsafe conditions. The monastic involvement in work and their resulting handling of material things is a critical practice counter to the ideology of consumerism and the attitude towards products flooding markets today. Community is central to monastic life (Veilleux). Through vows, the monastic commits to life in a particular place with particular people. The commitment to stability means that when conflict arises or disagreements occur they need to be worked out because there is no running away. Because a commitment to working things out requires attention to what is real, monastic community acts as a counter of all that is not real. The creation of false need, the promise of fulfilment, and the creation of identity around consumption can be viewed through the same commitment to reality. This external stability is a reflection of inner stability marked by a unity and coherence of purpose and life (De Waal). A monastic community is formed around a shared telos that gives it a collective identity. While people are welcomed as guests into the community with Benedictine hospitality, the journey to becoming a member is intentionally difficult (Benedict, chapter 58). The importance of committing to community and the sharing of the collective telos is not a rushed decision. The stability and permanence of monastic commitment to community is a counter to the perpetual chasing and replacing of other goods and experiences that is a part of consumerism. The deliberate attention to practices that form a rhythm of life involving the whole person shows that monastic communities are intentional in their own formation. Prayer and spiritual reading are key parts of monastic life that demonstrate that spirituality is central in the formation of individuals and communities (Benedict, prologue). The formation is aligned to a particular ideology that values humanity as being made in the image of God and therefore the need to focus on the connection with God. A holistic humanity addresses issues and development of the mind, body and spirit. Examining Ideology The television series The Monastery and The Abbey demonstrate that when guests enter a monastic community they are able to experience an alternative model of “the good life”. If, as Roberts suggests, a counter-culture looks to reform society by providing an alternative model, then change is based upon seeing the alternative. The guests in the monastic community are involved in discussions that make explicit the monastic ideology and how it shapes the countercultural values and practices. In doing so, the guests are invited to listen to, or examine the consumerist ideology that permeates their society and shapes their everyday experiences. In evaluating the conflicting ideologies, the guests are free to choose an alternative view, which, as the television series showed are not necessarily that of the monastic community, and may in fact remain that of consumerism. Conclusion While ideologies are not neutral, they are often invisible. The dominant ideology of consumerism reduces citizens to individualistic consumers and naturalises the need for never ending consumption. A number of groups or movements attempt to expose the logic of consumerism and offer alternative ways of consuming. 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