An exploration of social movement media practices in an increasingly complex media ecology, through richly detailed cases of immigrant rights activism. For decades, social movements have vied for attention from the mainstream mass media—newspapers, radio, and television. Today, many argue that social media power social movements, from the Egyptian revolution to Occupy Wall Street. Yet, as Sasha Costanza-Chock reports, community organizers know that social media enhance, rather than replace, face-to-face organizing. The revolution will be tweeted, but tweets alone do not the revolution make. In Out of the Shadows, Into the Streets! Costanza-Chock traces a much broader social movement media ecology. Through a richly detailed account of daily media practices in the immigrant rights movement, the book argues that there is a new paradigm of social movement media making: transmedia organizing. Despite the current spotlight on digital media, Costanza-Chock finds, social movement media practices tend to be cross-platform, participatory, and linked to action. Immigrant rights organizers leverage social media creatively, even as they create media ranging from posters and street theater to Spanish-language radio, print, and television. Drawing on extensive interviews, workshops, and media organizing projects, Costanza-Chock presents case studies of transmedia organizing in the immigrant rights movement over the last decade. Chapters focus on the historic mass protests against the anti-immigrant Sensenbrenner Bill; coverage of police brutality against peaceful activists; efforts to widen access to digital media tools and skills for low-wage immigrant workers; paths to participation in DREAM activism; and the implications of professionalism for transmedia organizing. These cases show us how savvy transmedia organizers work to strengthen movement identity, win political and economic victories, and transform public consciousness forever.
Detention and confinement—of both combatants and large groups of civilians—have become fixtures of asymmetric wars over the course of the last century. Counterinsurgency theoreticians and practitioners explain this dizzying rise of detention camps, internment centers, and enclavisation by arguing that such actions "protect" populations. In this book, Laleh Khalili counters these arguments, telling the story of how this proliferation of concentration camps, strategic hamlets, "security walls," and offshore prisons has come to be. Time in the Shadows investigates the two major liberal counterinsurgencies of our day: Israeli occupation of Palestine and the U.S. War on Terror. In rich detail, the book investigates Abu Ghraib, Guantánamo Bay, CIA black sites, the Khiam Prison, and Gaza, among others, and links them to a history of colonial counterinsurgencies from the Boer War and the U.S. Indian wars, to Vietnam, the British small wars in Malaya, Kenya, Aden and Cyprus, and the French pacification of Indochina and Algeria. Khalili deftly demonstrates that whatever the form of incarceration—visible or invisible, offshore or inland, containing combatants or civilians—liberal states have consistently acted illiberally in their counterinsurgency confinements. As our tactics of war have shifted beyond slaughter to elaborate systems of detention, liberal states have warmed to the pursuit of asymmetric wars. Ultimately, Khalili confirms that as tactics of counterinsurgency have been rendered more "humane," they have also increasingly encouraged policymakers to willingly choose to wage wars.
In this original, wide-ranging, and endlessly thought-provoking work of popular nonfiction, a leading science writer uncovers the pervasive presence of shadows in our world. For Plato, shadows were the symbol of our limitations. For Galileo, they knocked the Earth from the center of the cosmos. They are a source of fear and a symbol of ignorance, and they loom large in art and design, mythology and folklore, physics and metaphysics, and architecture and urban planning. From shadows puppets and the psychology of shadows to the role of shadows in astronomy and the influence of shadows on the architectural profiles of our cities, Roberto Casati awakens our fascination in this tour-de-force of investigation and imagination.
The Dead Don't Fear Demons Soleil Burns has finally accepted her connection to the Stygian and all that comes with it. She's halfway through her training to get her private investigator's license when the AESPCA crashes into her office to accuse her of summoning homicidal demons. To add to the confusion a routine exorcism goes awry when Soleil discovers a cambion parasitically attached to the demon she’s exorcising. Cambions are the offspring of demons and the living, and there hasn’t been one on Earth for over five hundred years. There is only one place Soleil can get answers; The Stygian and the Hell Princes that inhabit it. Traveling to The Stygian is easy enough for Soleil but comes with risks. The Hell Prince Belial is desperate to obtain her soul. Most Hell Princes have a sense of fair play, Belial is not most Hell Princes. He tried to obtain her soul by consuming her body during their last encounter. The encounter which took place on Earth resulted in the loss of Soleil’s wings. Soleil has serious concerns about encountering him in The Stygian. The murders are being committed on nights of the new moon. Realizing the new moon is a few days away, Soleil will set aside her personal safety to get the answers they need to stop the murder from happening. Also, she needs to find the demon doing the killing and the being summoning it. Proving she’s innocent will require Soleil to learn more about demons and The Stygian, as well as force her to expand her magical skills.
How the perception of shadows, studied by vision scientists and visual artists, reveals the inner workings of the visual system. In The Visual World of Shadows, Roberto Casati and Patrick Cavanagh examine how the perception of shadows, as studied by vision scientists and visual artists, reveals the inner workings of the visual system. Shadows are at once a massive problem for vision—which must distinguish them from objects or material features of objects—and a resource, signaling the presence, location, shape, and size of objects. Casati and Cavanagh draw up an inventory of information retrievable from shadows, showing their amazing variety. They present an overview of the visual system, distinguishing between measurement and inference. They discuss the shadow mission, the work done by the visual brain to parse, and perhaps discard, the information from shadows; shadow ownership, the association of a shadow with the object that casts it; shadow labeling, the visual system's ability to tell shadows from nonshadows; and the shadow concept, our knowledge about shadows as a category. Casati and Cavanagh then apply the theoretical apparatus they have developed for shadows to other phenomena: illumination, reflection, and transparency. Finally, they examine the art of the shadow, paying tribute to artists' exploration of shadow, analyzing a series of artworks (reproduced in color) from a rich and fascinating art historical corpus.