Editing Guerrilla communication (section)

==Main methods of action==
Generally, the techniques and methods used are guided by two principles: distanciation and over-identification.

Distanciation is based on subtle modifications in the regular representation, which lights new aspects of the representation and produces by displacement, new meanings unforecast. It consists on taking images, ideas and forms to change the communication process or its usual presentation to create confusion and reconsideration about each own cultural grammar. The new elements in the communication process create perturbations, which are effective to offer a critic vision to general public in front of the traditional point of view. The goal of this method is to create distance in front the existing to gain a new perspective. For example, in the mid-1990s the ad agency Crispin Porter + Bogusky employed distanciation in order to raise support for a local homeless shelter.<ref name="Berger2001p441" /> Their method included printing posters on dumpsters that said "kitchen" and a "House" poster was placed on bus shelters. Creative director Bogusky had the notion that the homeless "live in separate culture, where things take on new meanings- a bench becomes your bed; a shopping cart becomes your closet".<ref name="Berger2001p441" /> In this case, distinction confronts the passers-by to re-consider the traditional concept of "home" and how this seemingly basic concept is not applicable to homeless people.

On the other hand, over-identification means to publicly express those aspects which are well known but still taboo, or consciously disregarded. <!-- (Commenting out a few sentences because they don't make sense as stated. Please reinstate if you can clarify. Thanks. )  This method takes into account the logic of thinking and cultural dominance there where are not expressed. Its intention is to delete auto-distanciation incorporated to dominant discourses. --> An effective way of subversion may consist in expressing positively the hidden aspects of the communication in a convincing way, better if it is close to the system dominant logic. This is a call to the background parts of the message not always seen but felt. Another example of over-identification exists in the work of street artist [[Banksy]]. In October 2003 he entered the landscape room at the Tate Britain, removed a framed painting from his bag, and glued it to the wall.<ref name="bbc2003" /> Beside the work, a rural scene with an image of police tape stenciled over it, the artist placed a card reading: "Banksy 1975. [[Crimewatch|Crimewatch UK]] Has Ruined The Countryside For All Of Us. 2003. Oil On Canvas."<ref name="bbc2003" /> As mentioned prior, this installation ensures that the "felt message" is also the "seen message". It is a reaction to a culturally dominating institution, Crimewatch UK. It was accomplished in a guerrilla-esque, under-the-radar manner, and it also amplifies a consensus of sentiments towards such institutions.