in industrialized areas, driven by capitalist forces, had become monotonous, sterile, gloomy, linear, and productivity-driven. In particular, the SI argued humans had become passive recipients of the spectacle, a simulated reality that generates the desire to consume, and positions humans as obedient consumerist cogs within the efficient and exploitative productivity loop of capitalism. Through playful activity, individuals could create situations, the opposite of spectacles. For the SI, these situations took the form of the dérive, or the active drift of the body through space in ways that broke routine and overcame boundaries, creating situations by exiting habit and entering new interactive possibilities. The cultural critic Mark Dery traces the origins of culture jamming to medieval carnival, which Mikhail Bakhtin interpreted, in Rabelais and his World, as an officially sanctioned subversion of the social hierarchy. Modern precursors might include: the media-savvy agit-prop of the anti-Nazi photomonteur John Heartfield, the sociopolitical street theater and staged media events of 1960s radicals such as Abbie Hoffman, Joey Skaggs, the German concept of Spaßguerilla, and in the Situationist International (SI) of the 1950s and 1960s. The SI first compared its own activities to radio jamming in 1968, when it proposed the use of guerrilla communication within mass media to sow confusion within the dominant culture. In 1985, the Guerrilla Girls formed to expose discrimination and corruption in the art world. Mark Dery's New York Times article on culture jamming, "The Merry Pranksters And the Art of the Hoax" was the first mention, in the mainstream media, of the phenomenon; Dery later expanded on this article in his 1993 Open Magazine pamphlet, Culture Jamming: Hacking, Slashing, and Sniping in the Empire of the Signs, a seminal essay that remains the most exhaustive historical, sociopolitical, and philosophical theorization of culture jamming to date. Adbusters, a Canadian publication espousing an environmentalist critique of consumerism and advertising, began promoting aspects of culture jamming after Dery introduced founder and editor Kalle Lasn to the term through a series of articles he wrote for the magazine. In her critique of consumerism, No Logo, the Canadian cultural commentator and political activist Naomi Klein examines culture jamming in a chapter that focuses on the work of Jorge Rodriguez-Gerada. Through an analysis of the Where the Hell is Matt viral videos, researchers Milstein and Pulos analyze how the power of the culture jam to disrupt the status quo is currently being threatened by increasing