Furthering her account of communicative capitalism, Jodi Dean explores the ways new media practices like blogging and texting capture their users in intensive networks of enjoyment, production, and surveillance. Her wide-ranging and theoretically rich analysis extends from her personal experiences as a blogger, through media histories, to newly emerging social network platforms and applications. Set against the background of the economic crisis wrought by neoliberalism, the book engages with recent work in contemporary media theory as well as with thinkers such as Giorgio Agamben, Jean Baudrillard, Guy Debord, Jacques Lacan, and Slavoj ?i?ek. Through these engagements, Dean defends the provocative thesis that reflexivity in complex networks is best understood via the psychoanalytic notion of the drives. She contends, moreover, that reading networks in terms of the drives enables us to grasp their real, human dimension, that is, the feelings and affects that embed us in the system. In remarkably clear and lucid prose, Dean links seemingly trivial and transitory updates from the new mass culture of the internet to more fundamental changes in subjectivity and politics. Everyday communicative exchanges�from blog posts to text messages�have widespread effects, effects that not only undermine capacities for democracy but also entrap us in circuits of domination.

    But for all the heat of claim and counter-claim, the argument is essentially beside the point: it’s here; it’s everywhere. The real question is, do we direct technology, or do we let ourselves be directed by it and those who have mastered it? “Choose the former,” writes Rushkoff, “and you gain access to the control panel of civilization. Choose the latter, and it could be the last real choice you get to make.” In ten chapters, composed of ten “commands” accompanied by original illustrations from comic artist Leland Purvis, Rushkoff provides cyberenthusiasts and technophobes alike with the guidelines to navigate this new universe.In this spirited, accessible poetics of new media, Rushkoff picks up where Marshall McLuhan left off, helping readers come to recognize programming as the new literacy of the digital age––and as a template through which to see beyond social conventions and power structures that have vexed us for centuries. This is a friendly little book with a big and actionable message. World-renowned media theorist and counterculture figure Douglas Rushkoff is the originator of ideas such as “viral media,” “social currency” and “screenagers.” He has been at the forefront of digital society from its beginning, correctly predicting the rise of the net, the dotcom boom and bust, as well as the current financial crisis. He is a familiar voice on NPR, face on PBS, and writer in publications from Discover Magazine to the New York Times.“Douglas Rushkoff is one of the great thinkers––and writers––of our time.” —Timothy Leary“Rushkoff is damn smart. As someone who understood the digital revolution faster and better than almost anyone, he shows how the internet is a social transformer that should change the way your business culture operates." —Walter Isaacson

    While these and similar social movements differ in many important ways, there is one thing they share in common: they are all interwoven inextricably with the creation of autonomous communication networks supported by the Internet and wireless communication.In this timely and important book, Manuel Castells - the leading scholar of our contemporary networked society - examines the social, cultural and political roots of these new social movements, studies their innovative forms of self-organization, assesses the precise role of technology in the dynamics of the movements, suggests the reasons for the support they have found in large segments of society, and probes their capacity to induce political change by influencing people's minds.Based on original fieldwork by the author and his collaborators as well as secondary sources, this book provides a path-breaking analysis of the new forms of social movements, and offers an analytical template for advancing the debates triggered by them concerning the new forms of social change and political democracy in the global network society.

    For every story about the web’s empowering role in events such as the Arab Spring, there are many more about the quiet corrosion of civil liberties by companies and governments using the same digital technologies we have come to depend upon. Sudden changes in Facebook’s features and privacy settings have exposed identities of protestors to police in Egypt and Iran. Apple removes politically controversial apps at the behest of governments as well as for its own commercial reasons. Dozens of Western companies sell surveillance technology to dictatorships around the world. Google struggles with censorship demands from governments in a range of countries — many of them democracies — as well as mounting public concern over the vast quantities of information it collects about its users.In Consent of the Networked, journalist and Internet policy specialist Rebecca MacKinnon argues that it is time to fight for our rights before they are sold, legislated, programmed, and engineered away. Every day, the corporate sovereigns of cyberspace make decisions that affect our physical freedom — but without our consent. Yet the traditional solution to unaccountable corporate behavior — government regulation — cannot stop the abuse of digital power on its own, and sometimes even contributes to it.A clarion call to action, Consent of the Networked shows that it is time to stop arguing over whether the Internet empowers people, and address the urgent question of how technology should be governed to support the rights and liberties of users around the world.

    In this witty, often terrifying work of cultural criticism, the author of Amusing Ourselves to Death chronicles our transformation into a Technopoly: a society that no longer merely uses technology as a support system but instead is shaped by it--with radical consequences for the meanings of politics, art, education, intelligence, and truth.

    Now, from a Silicon Valley hero and bestselling technology writer comes a pointed critique of the hype surrounding computers and their real benefits, especially in education. In High-Tech Heretic, Clifford Stoll questions the relentless drumbeat for "computer literacy" by educators and the computer industry, particularly since most people just use computers for word processing and games--and computers become outmoded or obsolete much sooner than new textbooks or a good teacher.As one who loves computers as much as he disdains the inflated promises made on their behalf, Stoll offers a commonsense look at how we can make a technological world better suited for people, instead of making people better suited to using machines.

    Highly recommended." --ChoiceSurveying art history as well as the technologies of war and urban planning, one of France's leading intellectuals provides an introduction to a new "logistics of the image."

    This textbook traces the history of video games, introduces the major theories used to analyze games such as ludology and narratology, reviews the economics of the game industry, examines the aesthetics of game design, surveys the broad range of game genres, explores player culture, and addresses the major debates surrounding the medium, from educational benefits to the effects of violence.Throughout the book, the authors ask readers to consider larger questions about the medium:what defines a video game? who plays games? why do we play games? how do games affect the player?Extensively illustrated, Understanding Video Games is an indispensable and comprehensive resource for those interested in the ways video games are reshaping entertainment and society. A Companion Website (www.routledge.com/textbooks/978041597...) features student resources including discussion questions for each chapter, a glossary of key terms, a video game timeline, and links to other video game studies resources for further study.

    In Inventing the Internet, Janet Abbate recounts the key players and technologies that allowed the Internet to develop; but her main focus is always on the social and cultural factors that influenced the Internets design and use. The story she unfolds is an often twisting tale of collaboration and conflict among a remarkable variety of players, including government and military agencies, computer scientists in academia and industry, graduate students, telecommunications companies, standards organizations, and network users.The story starts with the early networking breakthroughs formulated in Cold War think tanks and realized in the Defense Department's creation of the ARPANET. It ends with the emergence of the Internet and its rapid and seemingly chaotic growth. Abbate looks at how academic and military influences and attitudes shaped both networks; how the usual lines between producer and user of a technology were crossed with interesting and unique results; and how later users invented their own very successful applications, such as electronic mail and the World Wide Web. She concludes that such applications continue the trend of decentralized, user-driven development that has characterized the Internet's entire history and that the key to the Internet's success has been a commitment to flexibility and diversity, both in technical design and in organizational culture.

    Previously, writing had operated by way of symbolic mediation—all data had to pass through the needle's eye of the written signifier—but phonography, photography, and cinematography stored physical effects of the real in the shape of sound waves and light. The entire question of referentiality had to be recast in light of these new media technologies; in addition, the use of the typewriter changed the perception of writing from that of a unique expression of a literate individual to that of a sequence of naked material signifiers.Part technological history of the emergent new media in the late nineteenth century, part theoretical discussion of the responses to these media—including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators—Gramophone, Film, Typewriter analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies. The book ties the establishment of new discursive practices to the introduction of new media technologies, and it shows how both determine the ways in which psychoanalysis conceives of the psychic apparatus in terms of information machines.Gramophone, Film, Typewriter is, among other things, a continuation as well as a detailed elaboration of the second part of the author's Discourse Networks, 1800/1900 (Stanford, 1990). As such, it bridges the gap between Kittler's discourse analysis of the 1980's and his increasingly computer-oriented work of the 1990's.

    They gleefully whip the media into a frenzy over a fake teen drug crisis; they post offensive messages on Facebook memorial pages, traumatizing grief-stricken friends and family; they use unabashedly racist language and images. They take pleasure in ruining a complete stranger's day and find amusement in their victim's anguish. In short, trolling is the obstacle to a kinder, gentler Internet. To quote a famous Internet meme, trolling is why we can't have nice things online.Or at least that's what we have been led to believe. In this provocative book, Whitney Phillips argues that trolling, widely condemned as obscene and deviant, actually fits comfortably within the contemporary media landscape. Trolling may be obscene, but, Phillips argues, it isn't all that deviant. Trolls' actions are born of and fueled by culturally sanctioned impulses -- which are just as damaging as the trolls' most disruptive behaviors.Phillips describes, for example, the relationship between trolling and sensationalist corporate media -- pointing out that for trolls, exploitation is a leisure activity; for media, it's a business strategy. She shows how trolls, "the grimacing poster children for a socially networked world," align with social media. And she documents how trolls, in addition to parroting media tropes, also offer a grotesque pantomime of dominant cultural tropes, including gendered notions of dominance and success and an ideology of entitlement. We don't just have a trolling problem, Phillips argues; we have a culture problem. This Is Why We Can't Have Nice Things isn't only about trolls; it's about a culture in which trolls thrive.

    It has been used to expose injustice, improve health outcomes, and topple governments. But it has also been used to discriminate, police, and surveil. This potential for good, on the one hand, and harm, on the other, makes it essential to ask: Data science by whom? Data science for whom? Data science with whose interests in mind? The narratives around big data and data science are overwhelmingly white, male, and techno-heroic. In Data Feminism, Catherine D'Ignazio and Lauren Klein present a new way of thinking about data science and data ethics—one that is informed by intersectional feminist thought.Illustrating data feminism in action, D'Ignazio and Klein show how challenges to the male/female binary can help challenge other hierarchical (and empirically wrong) classification systems. They explain how, for example, an understanding of emotion can expand our ideas about effective data visualization, and how the concept of invisible labor can expose the significant human efforts required by our automated systems. And they show why the data never, ever “speak for themselves.”Data Feminism offers strategies for data scientists seeking to learn how feminism can help them work toward justice, and for feminists who want to focus their efforts on the growing field of data science. But Data Feminism is about much more than gender. It is about power, about who has it and who doesn't, and about how those differentials of power can be challenged and changed.

    Lessig reveals the solutions to this impasse offered by a collaborative yet profitable “hybrid economy”.Lawrence Lessig, the reigning authority on intellectual property in the Internet age, spotlights the newest and possibly the most harmful culture war—a war waged against our kids and others who create and consume art. America’s copyright laws have ceased to perform their original, beneficial role: protecting artists’ creations while allowing them to build on previous creative works. In fact, our system now criminalizes those very actions. For many, new technologies have made it irresistible to flout these unreasonable and ultimately untenable laws. Some of today’s most talented artists are felons, and so are our kids, who see no reason why they shouldn’t do what their computers and the Web let them do, from burning a copyrighted CD for a friend to “biting” riffs from films, videos, songs, etc and making new art from them.Criminalizing our children and others is exactly what our society should not do, and Lessig shows how we can and must end this conflict—a war as ill conceived and unwinnable as the war on drugs. By embracing “read-write culture,” which allows its users to create art as readily as they consume it, we can ensure that creators get the support—artistic, commercial, and ethical—that they deserve and need. Indeed, we can already see glimmers of a new hybrid economy that combines the profit motives of traditional business with the “sharing economy” evident in such Web sites as Wikipedia and YouTube. The hybrid economy will become ever more prominent in every creative realm—from news to music—and Lessig shows how we can and should use it to benefit those who make and consume culture.Remix is an urgent, eloquent plea to end a war that harms our children and other intrepid creative users of new technologies. It also offers an inspiring vision of the post-war world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded.

    In this book he tours the virtual community of online networking. He describes a community that is as real and as much a mixed bag as any physical community--one where people talk, argue, seek information, organize politically, fall in love, and dupe others. At the same time that he tells moving stories about people who have received online emotional support during devastating illnesses, he acknowledges a darker side to people's behavior in cyberspace. Indeed, contends Rheingold, people relate to each other online much the same as they do in physical communities. Originally published in 1993, The Virtual Community is more timely than ever. This edition contains a new chapter, in which the author revisits his ideas about online social communication now that so much more of the world's population is wired. It also contains an extended bibliography.

    Beset from all sides by a never-ending barrage of media, how can we ensure that the most accurate information emerges and is heeded? In this book, Cass R. Sunstein develops a deeply optimisticunderstanding of the human potential to pool information, and to use that knowledge to improve our lives.In an age of information overload, it is easy to fall back on our own prejudices and insulate ourselves with comforting opinions that reaffirm our core beliefs. Crowds quickly become mobs. The justification for the Iraq war, the collapse of Enron, the explosion of the space shuttle Columbia--all ofthese resulted from decisions made by leaders and groups trapped in information cocoons, shielded from information at odds with their preconceptions. How can leaders and ordinary people challenge insular decision making and gain access to the sum of human knowledge?Stunning new ways to share and aggregate information, many Internet-based, are helping companies, schools, governments, and individuals not only to acquire, but also to create, ever-growing bodies of accurate knowledge. Through a ceaseless flurry of self-correcting exchanges, wikis, coveringeverything from politics and business plans to sports and science fiction subcultures, amass--and refine--information. Open-source software enables large numbers of people to participate in technological development. Prediction markets aggregate information in a way that allows companies, rangingfrom computer manufacturers to Hollywood studios, to make better decisions about product launches and office openings. Sunstein shows how people can assimilate aggregated information without succumbing to the dangers of the herd mentality--and when and why the new aggregation techniques are soastoundingly accurate.In a world where opinion and anecdote increasingly compete on equal footing with hard evidence, the on-line effort of many minds coming together might well provide the best path to infotopia.