Is social media destroying democracy? Are Russian propaganda or "Fake news" entrepreneurs on Facebook undermining our sense of a shared reality? A conventional wisdom has emerged since the election of Donald Trump in 2016 that new technologies and their manipulation by foreign actors played a decisive role in his victory and are responsible for the sense of a "post-truth" moment in which disinformation and propaganda thrives. Network Propaganda challenges that received wisdom through the most comprehensive study yet published on media coverage of American presidential politics from the start of the election cycle in April 2015 to the one year anniversary of the Trump presidency. Analyzing millions of news stories together with Twitter and Facebook shares, broadcast television and YouTube, the book provides a comprehensive overview of the architecture of contemporary American political communications. Through data analysis and detailed qualitative case studies of coverage of immigration, Clinton scandals, and the Trump Russia investigation, the book finds that the right-wing media ecosystem operates fundamentally differently than the rest of the media environment. The authors argue that longstanding institutional, political, and cultural patterns in American politics interacted with technological change since the 1970s to create a propaganda feedback loop in American conservative media. This dynamic has marginalized centre-right media and politicians, radicalized the right wing ecosystem, and rendered it susceptible to propaganda efforts, foreign and domestic. For readers outside the United States, the book offers a new perspective and methods for diagnosing the sources of, and potential solutions for, the perceived global crisis of democratic politics

From groundbreaking debut author Honor Levy, stories to delight and ensnare Walking the wire between imagination and confession, My First Book captures both our cultural moment and the feeling of growing up in the internet generation. Debut author Honor Levy's uniquely riveting voice emerges from the chaos of coming of age in the 21st century, only having lived in a post-internet world. Never far from a digital interface, Levy's characters grapple with formative political, existential, and romantic experiences in a web-drenched world simultaneously hyper-real, hyper-performative, and on the brink of collapse. Amid the sense of imminent catastrophe, a fragile self struggles to form. Wildly inventive, always ambitious, and frequently surreal, the stories of My First Book are a mirrorball onto the world as it is. Levy's prose illuminates what it is to be at once adorable, special, heavily medicated, consistently panicked, and completely sincere. "I'd rather do Xanax than cut myself. No, I'd rather do Xanax then cut myself," one protagonist muses, while another discovers the infinite nature of love, another reminisces about sunsets that were "pinker, like way pinker," and another encounters God in a downtown video game arcade. To find and keep faith is the order of the day-but how? For readers of Patricia Lockwood, Bret Easton Ellis, and the depths of the internet, and for anyone who would like to see Generation Z from the inside out, My First Book holds the key. And in capturing the experience of an entire generation, it marks the arrival of an electric new talent.

"Over the last twenty years, art has become more accessible than ever before. A painter can post their latest creation on Instagram and wait as the likes pile up; a budding filmmaker can shoot a clip on their iPhone, then upload it to YouTube for thousands to view. The digital landscape has fundamentally altered what it means to be creative, as well as how consumers interact with artistic production both economically and curatorially. William Deresiewicz, a leading critic of contemporary culture in America, argues that we are in the midst of an epochal transformation within art. Whereas the nineteenth century considered artists to be craftsmen and the twentieth century treated them as professionals, artists today are uniquely dependent upon themselves. The internet, along with decreases in art funding and the growing prevalence of gig economies, has forced artists to become responsible for every aspect of their work, from conception to promotion, from sales to legacy. In The Death of the Artist, Deresiewicz profiles those struggling to make a living through the arts, from the twenty-something college novelist with a multi-hyphenated job title to the midlife painter who must utilize social media to stay relevant. Deresiewicz shows what the birth of the "creative entrepreneur" signifies about our evolving society at large and what might be done to keep artists thriving, because we need them"--

American democracy is beset by a sense of crisis. Seismic shifts during a single generation have created a country of winners and losers, allowing unprecedented freedom while rending the social contract, driving the political system to the verge of breakdown, and setting citizens adrift to find new paths forward. In this book the author tells the story of the United States over the past three decades. The book journeys through the lives of several Americans, including Dean Price, the son of tobacco farmers, who becomes an evangelist for a new economy in the rural South; Tammy Thomas, a factory worker in the Rust Belt trying to survive the collapse of her city; Jeff Connaughton, a Washington insider oscillating between political idealism and the lure of organized money; and Peter Thiel, a Silicon Valley billionaire who questions the Internet's significance and arrives at a radical vision of the future. The author interweaves these intimate stories with biographical sketches of the era's leading public figures, from Newt Gingrich to Jay-Z, and collages made from newspaper headlines, advertising slogans, and song lyrics that capture the flow of events and their undercurrents. Through an examination of the lives of these Americans and leading public figures over the past three decades, the book portrays a superpower in danger of coming apart at the seams, its elites no longer elite, its institutions no longer working, its ordinary people left to improvise their own schemes for success and salvation.

"According to the media, Donald Trump could never become president. Now many are on a mission to prove he shouldn't be president. The Trump administration and the press are at war -- and as in any war, the first casualty has been truth. Bestselling author Howard Kurtz, host of Fox News's Media Buzz and former Washington Post columnist, offers a stunning exposé of how supposedly objective journalists, alarmed by Trump's success, have moved into the opposing camp. Kurtz's exclusive, in-depth, behind-the-scenes interviews with reporters, anchors, and insiders within the Trump White House reveal the unprecedented hostility between the media and the president they cover."--Jacket.

While the special relationship of all ethnic and religious minorities in the USA with their old countries and the existence of their pressure groups is regarded as normal, the support given by U.S. Jews to Israel and the pro-Israeli lobby causes some Americans to view the Jews as disloyal to the USA. Examines the "paper" by John J. Mearsheimer and Stephen M. Walt, "The Israeli Lobby and U.S. Foreign Policy" (first published in 2006 on the Internet and then in the "London Review of Books"; an expanded book appeared later, in 2007). The authors contend that U.S. support of Israel is harmful to American interests, and is due to pressure exerted by a mighty Israel Lobby which acts to the detriment of the state. They argue that the Israel Lobby had a crucial part in the decision to attack Iraq in 2003. Notes that despite the academic style of their paper, Mearsheimer and Walt have revived the myths of a Jewish conspiracy, of Jewish control of the mass media, and of a Jewish secret power. Dwells, also, on the Tony Judt affair. In 2006 Judt, who supported Mearsheimer and Walt, was to deliver a lecture on a binational alternative for Israel. His lecture was cancelled, which he ascribed to pressure by the Anti-Defamation League. Supporters of Mearsheimer and Walt used it as a demonstration of the Israel Lobby's intervention. Criticizes Jimmy Carter's book "Palestine: Peace Not Apartheid" (2006) for its clear anti-Israel bias.

Art in the age of digital communication Artists have always been early adopters of emerging media technologies, from Albrecht D'rer and his use of the printing press in the 16th century to Nam June Paik's experiments with video in the 1960s. In 1994, the advent of the Internet as a popular medium catalyzed a global art movement that began to explore the cultural, social, and aesthetic possibilities of such new communication technologies as the Web, video surveillance cameras, wireless phones, hand-held computers, and GPS devices. This book addresses New Media art as a specific art historical movement, focusing not only on technologies and forms but also on thematic content and conceptual strategies. New Media art often involves appropriation, collaboration, and the free sharing of ideas and expressions, and frequently addresses the political ramifications of technology around issues of identity, commercialization, privacy, and the public domain. Many New Media artists are profoundly aware of their art historical antecedents, making reference to Dada, Pop Art, Conceptual art, Performance art, and Fluxus. Artists featured: Cory Arcangel, Jonah Brucker-Cohen and Katherine Moriwaki, Young-Hae Chang Heavy Industries, Vuk Cosic, Mary Flanagan, Ken Goldberg, Paul Kaiser and Shelly Eshkar, Jennifer and Kevin McCoy, Mouchette, MTAA, Keith and Mendi Obadike, Radical Software Group, Raqs Media Collective, RTMark, and John F. Simon Jr.

"In February of 2013, Richard Stengel, the former editor-in-chief of Time, joined the Obama administration as Under Secretary of State for Public Diplomacy and Public Affairs. Within days, two shocking events made world-wide headlines: ISIS executed American journalist James Foley on a graphic video seen by tens of millions, and Vladimir Putin's "little green men"-Russian special forces-invaded Crimea, amid a blizzard of Russian denials and false flags. What these events had in common besides their violent law-lessness is that they were the opening salvos in a new era of global information war, where countries and non-state actors use social media and disinformation to create their own narratives and undermine anyone who opposes them. Stengel was thrust onto the front lines of this battle as he was tasked with responding to the relentless weaponizing of information and grievance by ISIS, Russia, China, and others. He saw the scale of what he was up against and found himself hopelessly outgunned. Then, in 2016, the wars Stengel was fighting abroad came home during the presidential election, as "fake news" became a rallying cry and the Russians used the techniques they learned in Ukraine to influence the election here. Rarely has an accomplished journalist been not only a close observer but also a principal participant in the debates and decisions of American foreign policy. Stengel takes you behind the scenes in the ritualized world of diplomacy, from the daily 8:30 morning huddle with a restless John Kerry to a midnight sit-down in Saudi Arabia with the prince of darkness Mohammed bin Salman. The result is a rich account of a losing battle against trolls and bots-who are every bit as insidious as their names imply."--

We are living through the consequences of a linguistic revolution. Dramatic linguistic change has left us at the beginning of a new era in the evolution of human language, with repercussions for many individual languages. In this book, David Crystal, one of the world's authorities on language, brings together for the first time the three major trends which he argues have fundamentally altered the world's linguistic ecology: first, the emergence of English as the world's first truly global language; second, the crisis facing huge numbers of languages which are currently endangered or dying; and, third, the radical effect on language of the arrival of Internet technology. Examining the interrelationships between these topics, Crystal encounters a vision of a linguistic future which is radically different from what has existed in the past, and which will make us revise many cherished concepts relating to the way we think about and work with languages. Everyone is affected by this linguistic revolution. The Language Revolution will be essential reading for anyone interested in language and communication in the twenty-first century.

"Google is a champion of cultural democracy, but without culture and without democracy." In this witty and polemical critique the philosopher Barbara Cassin takes aim at Google and our culture of big data. While impressed by the search engine's brilliance, Cassin enlists her formidable knowledge of the rhetorical tradition to challenge on the Google myth of a "good" tech company and its "democracy of clicks," laying bare the philosophical poverty and political naiveté ́hat underwrites its founding slogans: "Organize the world's information," and "Don't be evil." For Cassin, this conjunction of globalizing knowledge and moral imperative is frighteningly similar to the way American demagogues justify their own universalizing mission before the world. While sensitive to the possibilities of technology and to Google's playful appeal, Cassin shows what is lost when a narrow worship of information becomes dogma, such that research comes to mean data mining and other languages become provincial "flavors" folded into an impoverished Globish, or global English. As the Internet continues to intensify the neoliberal effacement of difference and corporate reduction of the common, Cassin's refreshing polemic takes technology seriously enough to scrutinize the beliefs upon which it operates.

Initially conceived to document the artist’s 2014 exhibition at David Zwirner in New York—his first with the gallery, debuting new sculptural work, a critically acclaimed video, and a much-discussed animatronic sculpture—the publication ultimately exists as a hybrid between an exhibition catalogue and a stand-alone expression of Wolfson’s vision. Over the past decade, Jordan Wolfson has become known for his thought-provoking works in a wide range of media, including video, sculpture, installation, photography, and performance. He pulls intuitively from the world of advertising, the Internet, and the technology industries to produce ambitious and enigmatic narratives. However, instead of simply appropriating found material, the artist creates his own unique content, which frequently revolves around a series of invented, animated characters. This artist’s book is the product of close collaboration between Wolfson and the book designer Joseph Logan. Featuring a dynamic layout and large color plates, the book is anchored by extensive photo documentation of Wolfson’s bewitching (Female figure) 2014 , which combines elements of installation and performance in the figure of a curvaceous, scantily clad woman covered in dirt marks and wearing a witch mask. Presented are photographs by Andreas Laszlo Konrath, who documented many aspects of the exhibition, including behind-the-scenes images of its installation. Also included are reproductions of Wolfson’s new series of wall-mounted sculptures comprised of bumper stickers overlaid on inkjet prints, candid photographs of the artist taken by Gaea Woods, and a text by the artist providing context for the visual material.

The 2008 presidential nominations were unprecedented in many ways. Marking another step in the democratization of the selection process and a surprising loss of control by party elites, the contests in both parties were unusually competitive and the outcomes belied the predictions of experts. This book offers a fresh look at the role of parties, the constraints of campaign finance, the status of front-runners, and the significance of rules, race, and gender in the post-reform era. In this volume, leading scholars assess the state of the process with original research about money, scheduling, superdelegates, and the role of race and gender in voting. Original analyses show how changes in campaign finance and the scheduling of primaries and caucuses helped determined the outcomes in both parties. Race, once thought of as a handicap, proved an asset for the Obama campaign. 2008 marked another milestone in the democratization of the nominations process with expanded participation by rank and file voters in donating money, voting, and using the Internet. This timely book provides a glimpse into the future of party nominations and elections.

Final Edition is a one-issue-only political magazine written by people who are aesthetes and literary writers and edited by Wallace Shawn, who seriously believes that part of our national problem is that the people who run the country have a crude and minimal imaginative life and are too little acquainted with the quartets of Beethoven. The issue consists of five pieces: "Before the Election—Fragments from a Diary 2004" by Wallace Shawn The diarist broods on the analogy between the addiction to pornography and nationalistic obsessions, and he wonders whether a collection of people who vote in a kind of sleepwalking ignorance can ever be called a democracy. "Invitation to a Degraded World" by Jonathan Schell In this essay, Schell meditates on the comic book/disaster movie view of life, in which bin Laden and George Bush are both immersed, and discusses the "standing army" stationed in all of our homes, the media. "The Webern Variations" by Mark Strand Strand’s hauntingly delicious poem explores what is most poignantly beautiful, while exploring the themes of darkness, descent, decline, and nothingness. Wallace Shawn Interviews Noam Chomsky For those with no acquaintance with Chomsky, this could make a wonderful introduction, while offering surprising insights to those who know him well. Chomsky is electric with vitality, wit, and rage as he ranges ferociously across the present and ancient worlds, giving his thoughts on the development of the internet, the 2004 election, and the God of the Bible. In an odd way, the interview highlights the inspirational and optimistic quality of this enormously angry man. "The Twilight of the Superheroes" by Deborah Eisenberg In this brooding, passionate, and brilliant short story, Deborah Eisenberg paints a brutally honest portrait of New York City today and of our lives today, wherever we live. Through observing the lives of some sophisticated residents of the great metropolis, we encounter truths which are both poetic and deeply political.

"Checking In comprises a long poem and a series of other post-conceptual pieces - concrete poems, homolinguistic translations, Yiddish aphorisms - that offer exuberant commentary on the timelessness of digital information and our ravenous appetite for data and connection. The title poem, composed as a series of faux social-media updates, is a parodic investigation of contemporary literary and pop culture. As a euphoric parade of "alternative facts" or "fake news," "Checking In" offers satiric comment on the state of American politics. Each ironically investigative line erupts as a self-reflexive mash-up, speaking to our seemingly insatiable desire for information while acknowledging how fraught that information can be. The Internet is not only voyeuristic but a mirage. We seek fulfillment but enter an unsettling, uninhibited flow of information in which every data point refers to itself and reinforces a techno-capitalist culture. Checking In founds a site of radical, grafted linkages, codes, indices, ludic identities. An interdisciplinary and paradoxical repository of fragments, analyses, echoes, and provocations, (re)presented in a slippery ellipsis of contexts and possibilities, its poems are inter-subjective theatres of infinite re-framing. From Gargantua and Pantagruel listening to They Might Be Giants to bill bissett and Slavoj i̓ ek Awake in the Red Desert of the Real, Checking In tours the shards of post-consumerist culture and reminds us we are living in a resonant present, where the past is always with us, and our icons, idols, and ideologies are posting, poking, sharing, and liking ̥Karasick's words luxuriate in the materiality of language and the production of meaning. She checks in with pop culture, media studies, semiotics, critical theory, feminist theory, and contemporary Canadian and American literature. The lover of language play, the poetry reader, and the academic alike will drink in this poet-performer's concoctions; as ever, they're fun, smart, and topical. With full-colour Vispo video stills by Jim Andrews."--

"A comical and revealing account of what it's like to run for office with no political experience, little money and only a faint hope of winning, told first-hand by celebrated writer Noah Richler. During the 2015 federal election, approximately 1200 political campaigns were held across Canada. One of those campaigns belonged to author, journalist and political neophyte Noah Richler. Recruited by the NDP to run in the bellweather riding of Toronto-St Paul's, he was handed $350 and told he would lose. But as veteran NDP activists and social-media-savvy newbies joined his campaign, Richler found himself increasingly insulated from the stark reality that his campaign was flailing, imagining instead that he was headed to Parliament Hill. In The Candidate, Richler recounts his time on the trail in sizzling detail and hilarious frankness, from door knocking in Little Jamaica to being internet-shamed by experienced opponents. The Candidate lays bare what goes on behind the slogans, canvassing and talking points, told from the perspective of a political outsider. With his signature wit and probing eye, Noah Richler's chronicle of running for office is insightful, brutally honest and devastatingly funny."--