Suchergebnisse

1. Why Elect a Self-Defeating War? / 7. - 2. Bring 'Em On: Making the World Safe for Democracy / 38. - 3. What Went Wrong: The Decapitationist Consensus of Washington Elites / 72. - 4. What Were Neoconservatives Thinking? / 99. - 5. Democratic Hawks / 142. - 6. American Exceptionalism Meets Iraqi History / 183. - 7. The Semi-Sovereign Shi'i State / 222

The logic of white supremacy -- The mother of identity politics -- The white man's burden -- The politics of the political economy -- The power politics of the transition to democracy -- Non-racialism as an ideology -- The political economy of identity politics -- The who, not the what

From his first reflections on advertising as a 'magical institution' in 1952 to his last writings on 'The Brain and Media' in 1978, Marshall McLuhan was reproached for his utopian view of media technologies as the 'extensions of man' and for his failure to understand the new, more formidable rhetorical powers of the electric mass media. These criticisms are not entirely unjust. At times McLuhan does seem to view media machines as vehicles of flight into a 'cosmic harmony' that 'transcends space and time'. But for all his 'delirious tribal optimism' (Baudrillard), McLuhan also understood that the global village or 'global theatre' has become a theatre of war, a staging area for 'colossal violence' and 'maximal conflict'. In order to shed new light on this darker, more radical vision of the mass media set forth by McLuhan, this article explores his decisive – but largely unacknowledged – contribution to radical media studies today, especially to the work of Paul Virilio, Friedrich Kittler and others concerned with the alliance of war, media and information in modern society. After some reflections on McLuhan's 'mosaic' approach to the media ecology and his view of media as the extensions of man, I examine three modulations of his most infamous aphorism: the medium is the message; the medium is the massage; and the medium is the mass-age.

In All Souls, Michael Patrick MacDonald told the story of the loss of four of his siblings to the violence, poverty, and gangsterism of Irish South Boston. In Easter Rising he tells the story of how he got out. Desperate to avoid the "normal" life of Southie, Michael reinvents himself in the burgeoning punk rock movement and the thrilling vortex of Johnny Rotten, Mission of Burma, and the Clash. At nineteen MacDonald escapes further, to Paris and then London. Out of money, he contacts his Irish immigrant grandfather -- who offers a loan, but only if Michael will visit Ireland. It is this reluctant journey "home" that offers MacDonald a chance at reconciliation -- with his heritage, his neighborhood, and his family -- and a way forward

The notion that ethnographic practice needs to be normative in order to be rigorous is problematic, especially when the partners in that research are producing experimental and resistant DIY cultures. Nonnormative ethnographers are "activist" in their critical engagement with dominant regimes of truth and must contend with digital disruption and platform capitalism that has vastly expanded DIY production. It is no longer possible to identify DIY culture with self-production because digital self-production is simply demanded for the "digital citizenship" of platform capitalism. In this article, the psychoanalytic concept of projection is turned upside down and understood as a socially performed digital-bodying that worlds. The screen becomes a location of dissensus, projecting the ecstatic truth of Modern/capitalist worldings or Altermodern/anti-capitalist worldings. Cinematic research-creation, CineWorlding, is an activist cinematic posthumanographic study of the interstices that infold concepts, bodies, social, technological, and environmental ecologies into worldings.