The Net Delusion: The Dark Side of Internet Freedom. By Evgeny Morozov. New York: PublicAffairs, 2011. 432p. $27.95.

2011 ◽  
Vol 9 (4) ◽  
pp. 895-897 ◽  
Author(s):  
Philip N. Howard

Since early 2011 there have been significant changes in North Africa and the Middle East. Zine El Abidine Ben Ali had ruled Tunisia for 20 years, and Hosni Mubarak reigned in Egypt for 30 years. Yet their bravest challengers were 20- and 30-year-olds without ideological baggage, violent intentions, or clear leaders. Political change in these countries inspired activists across the region. Some tough authoritarian governments responded with tear gas and rubber bullets, others with policy concessions, welfare spending, and cabinet shuffles. The groups that initiated and sustained protests had few meaningful experiences with public deliberation or voting, and little experience with successful protesting. These young citizens were politically disciplined, pragmatic, and collaborative. Where did they come from? How do young people growing up in modern, entrenched, authoritarian regimes find political inspirations and aspirations? Are digital media important parts of the contemporary recipe for democratization?

PEDIATRICS ◽  
1961 ◽  
Vol 27 (2) ◽  
pp. 343-344

Cystic Fibrosis: 16 mm., color, sound, showing time 28 minutes. Prepared in 1959 by Henry B. Bruyn, M.D., Jackson T. Crane, M.D., and Howard L. Steinbach, M.D., San Francisco. Procurable on loan (service change $4) from Motion Picture Library, American Medical Association, 535 N. Dearborn St., Chicago 10. In this film there is a clear presentation of cystic fibrosis beginning with the discovery of it in 1938 and going through the history of the disease. The familial and recessive hereditary characteristics are discussed. There is also an excellent discussion of symptoms, the incidence of occurrence, and the various forms in which the disease might present itself. A brief case summary is given indicating the multiple diagnoses which may be made before the correct one is given. It is an excellent review of the physicopathology of the disease and the various tests that can be done to prove the presence of cystic fibrosis. A short resume of therapy such as diet, medication, immunization, and emotional problems is given. The photography and sound production are extremely good, and the film is highly recommended for pediatricians, general practitioners, house officers, and medical students. It's Wonderful Being A Girl: 16 mm., color, sound, showing time 19 minutes. Produced in 1959 by Audio Productions Inc., for Personal Products Corporation, Milltown, N.J. Procurable on loan or purchase ($77) from Audio Productions, Inc., 630 9th Ave., New York. The purpose of this film is to encourage a healthful knowledge of the menstrual process and positive attitudes for girls who are just beginning to menstruate. On her 14th birthday, Linda Brown decides that it's wonderful to be a girl growing up, It's wonderful to have parties and dates, make new friendships, learn new skills, and develop your talents. It's wonderful to know about yourself, recognize your bodily changes, and understand what menstruation is and how to live with it happily. This film story covers a year of Linda's life and shows how she arrives at these happy conclusions. She learns from her mother what to expect when menstruation occurs. She begins to scorn the old wives' tales she has heard and the superstitious attitudes she has seen. When she begins to menstruate, she finds that it need not hamper her in successfully meeting the challenges of everyday life. At school a teacher's thorough explanation, brought to life in colored, animated drawings, provides Linda with the important facts about how she became the girl she is: the origin of life in a single cell, the changing physical characteristics of a girl in her early teens, and the purpose and psychological processes of menstruation. Discussions in the class reveal that a girl's menstrual periods need not limit her activities. Through her own social experiences with girls and boys in her hobby club, at the school picnic, at parties and in other activities, Linda discovers that regular meals, sleep, and exercise help her to take menstruation in stride with the other normal problems and pleasures of growing up. This film is to be commended for its emphasis on the fact that menstruation is a perfectly normal process in the life of girls. It helps to create proper attitudes for girls who may have some problems in adjusting to menstruation, particularly in the beginning. The story is well developed and the film is effective because it closely approximates life situations for girls in this age group. Good mother-daughter and teacher-student relationships are demonstrated. It is unfortunate that the sponsor included a brief scene about their product. This may restrict use of the film in some schools. This picture is recommended for the audiences for which it was intended, namely, girls in elementary and junior high school. It would also be of interest to parents, teachers, and those in teacher training.


M/C Journal ◽  
2020 ◽  
Vol 23 (3) ◽  
Author(s):  
Daniel De Zeeuw ◽  
Marc Tuters

At the fringes of the platform economy exists another web that evokes an earlier era of Internet culture. Its anarchic subculture celebrates a form of play based based on dissimulation. This subculture sets itself against the authenticity injunction of the current mode of capitalist accumulation (Zuboff). We can imagine this as a mask culture that celebrates disguise in distinction to the face culture as embodied by Facebook’s “real name” policy (de Zeeuw and Tuters). Often thriving in the anonymous milieus of web forums, this carnivalesque subculture can be highly reactionary. Indeed, this dissimulative identity play has been increasingly weaponized in the service of alt-right metapolitics (Hawley).Within the deep vernacular web of forums and imageboards like 4chan, users play by a set of rules and laws that they see as inherent to online interaction as such. Poe’s Law, for example, states that “without a clear indicator of the author's intent, it is impossible to create a parody of extreme views so obviously exaggerated that it cannot be mistaken by some readers for a sincere expression of the parodied views”. When these “rule sets” are enacted by a massive angry white teenage male demographic, the “weapons of the geek” (Coleman) are transformed into “toxic technoculture” (Massanari).In light of an array of recent predicaments in digital culture that trace back to this part of the web or have been anticipated by it, this special issue looks to host a conversation on the material practices, (sub)cultural logics and web-historical roots of this deep vernacular web and the significance of dissimulation therein. How do such forms of deceptive “epistemological” play figure in digital media environments where deception is the norm —  where, as the saying goes, everyone knows that “the internet is serious business” (which is to say that it is not). And how in turn is this supposed culture of play challenged by those who’ve only known the web through social media?Julia DeCook’s article in this issue addresses the imbrication of subcultural “lulz” and dissimulative trolling practices with the emergent alt-right movement, arguing that this new online confluence  has produced its own kind of ironic political aesthetic. She does by situating the latter in the more encompassing historical dynamic of an aestheticization of politics associated with fascism by Walter Benjamin and others.Having a similar focus but deploying more empirical digital methods, Sal Hagen’s contribution sets out to explore dissimulative and extremist online groups as found on spaces like 4chan/pol/, advocating for an “anti-structuralist” and “demystifying” approach to researching online subcultures and vernaculars. As a case study and proof of concept of this methodology, the article looks at the dissemination and changing contexts of the use of the word “trump” on 4chan/pol/ between 2015 and 2018.Moving from the unsavory depths of anonymous forums like 4chan and 8chan, the article by Lucie Chateau looks at the dissimulative and ironic practices of meme culture in general, and the subgenre of depression memes on Instagram and other platforms, in particular. In different and often ambiguous ways, the article demonstrates, depression memes and their ironic self-subversion undermine the “happiness effect” and injunction to perform your authentic self online that is paradigmatic for social media platforms like Facebook and Instagram. In this sense, depression meme subculture still moves in the orbit of the early Web’s playful and ironic mask cultures.Finally, the contribution by Joanna Zienkiewicz looks at the lesser known platform Pixelcanvas as a battleground and playfield for antagonistic political identities, defying the wisdom, mostly proffered by the alt-right, that “the left can’t meme”. Rather than fragmented, hypersensitive, or humourless, as online leftist identity politics has lately been criticized for by Angela Nagle and others, leftist engagement on Pixelcanvas deploys similar transgressive and dissimulative tactics as the alt-right, but without the reactionary and fetishized vision that characterises the latter.In conclusion, we offer this collection as a kind of meditation on the role of dissimulative identity play in the fractured post-centrist landscape of contemporary politics, as well as a invitation to think about the troll as a contemporary term by which "our understanding of the cybernetic Enemy Other becomes the basis on which we understand ourselves" (Gallison).ReferencesColeman, Gabriella. Hacker, Hoaxer, Whistleblower, Spy: The Many Faces of Anonymous. New York: Verso, 2014.De Zeeuw, Daniël, and Marc Tuters. "Teh Internet Is Serious Business: On the Deep Vernacular Web and Its Discontents." Cultural Politics 16.2 (2020): 214–232.Galison, Peter. “The Ontology of the Enemy.” Critical Inquiry 21.1 (2014): 228–66.Hawley, George. Making Sense of the Alt-Right. New York: Columbia UP, 2017.Massanari, Adrienne. “#Gamergate and the Fappening: How Reddit’s Algorithm, Governance, and Culture Support Toxic Technocultures.” New Media & Society 19.3 (2016): 329–46.Zuboff, Shoshana. The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. New York: PublicAffairs, 2019.


2019 ◽  
pp. 43-56
Author(s):  
Patricia Pisters

This chapter analyzes the film We Can’t Go Home Again (1972–1976), which the American director Nicholas Ray realized in collaboration with a class of students he taught at the State University of New York in Purchase. The film exemplifies the ability of cinema to provide access to an “elsewhere” and “elsewhen,” analyzed by Anne Friedberg in her book Window Shopping: Cinema and the Postmodern. This chapter claims that the film’s use of multiscreen projection can be illuminated through Friedberg’s notion of the virtual window, developed in The Virtual Window: From Alberti to Microsoft. Thanks to the collaboration on the film of video artist Nam June-Paik and the employment of techniques associated with the contemporaneous practice of “expanded cinema,” We Can’t Go Home Again is an important precursor to contemporary digital media.


Politics ◽  
2021 ◽  
pp. 026339572110414
Author(s):  
Maxim Alyukov

Authoritarian regimes attempt to control the circulation of political information. Scholars have identified many mechanisms through which actors can use broadcast and digital media to challenge or sustain authoritarian rule. However, while contemporary media environments are characterised by the integration of older and newer forms of communication, little is known about how authoritarian regimes use different media simultaneously to shape citizens’ perceptions. In order to address this issue, this study relies on focus groups and investigates Russian TV viewers’ cross-media repertoires and their reception of the Russia-Ukraine conflict. It argues that some citizens evaluate state-aligned television narratives as more credible when they are reinforced by similar narratives in digital media. Citizens’ reactions to this synchronisation are predicated on their type of media use. For not very active news consumers, the reliance on digital media can verify the regime’s narratives in television news. Others can escape the synchronisation effect by actively searching online for additional information or not using digital media for news. These findings show how authoritarian regimes can utilise the advantages of hybrid media systems to shape citizens’ perceptions and specify the conditions under which citizens can escape the effects of the regime’s simultaneous use of different media.


2020 ◽  
pp. 260-282
Author(s):  
Barbara Bennett Woodhouse

Chapter twelve calls for a renewal of the “small is beautiful” movement and explores how the benefits of growing up in a village can be recreated in urban settings. The author presents E. F. Schumacher’s 1973 book Small is Beautiful: Economics as if People Mattered, and its relationship to contemporary concepts, such as sustainability and the circular economy. that focus on sustaining human-scaled communities rather than on growing the GDP. The author describes and compares two initiatives that mobilize the strength of collaborative community to benefit at risk children and youth. The first is set in the city of Naples, in southern Italy, where a parish priest named Antonio Loffredo tapped the energy and aspirations of young people to build a collaborative community cooperative in an inner city neighbourhood called La Sanita’, as an alternative to the lure of organized crime. The second is the Harlem Children’s Zone (HCZ), founded in the historically black neighbourhood of New York City by Geoffrey Canada, to prove that black children, given a fair start, could achieve the American dream. While similar in many ways, each initiative was shaped by and reflects the macrosystemic values of the surrounding culture.


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