From marketing manipulation to all-out psychological warfare, Stories Are Weapons clarifies how our world – and worldview – is seldom our own.
Wilco’s net-streaming experiment with Yankee Hotel Foxtrot was part of the utopian promise for technology’s future, and it worked.
Iranian protest songs like “Soltane Ghalbha”, which lyrically invoke “structures of feeling” connected to the loss and grief of a loved one, achieve an encoded additional layer of resistance when paired with the specific images and stories of lost young Iranians.
Tokens is about all those things that are moneyish—monetary-like exchanges that are tracked and programmable, shady and social, hard coded and beyond borders.
Watching Chris&RheasiaTv’s reaction video to Metallica’s “Master of Puppets” illustrates the power of these crossover connections.
In The Listeners, scholar Brian Hochman narrates a history of surveillance in the United States by means of technological cunning up to 2001.
Although most social media sites are marked by abundance and expansiveness, BeReal operates on scarcity. Its gamification lies in the almighty two-minute window.
How the Russo-Ukraine War generated a media dimension of its own and how it linked the myths of the past century to the challenges of our own.
David Prior’s 2020 horror film The Empty Man taps into a form of nihilism that might be taking over the world via social media.
The “future” in future funk is removed from any historical sense of time, existing in a digital future that can be forever extended – and always out of reach.
Simultaneously inside and outside by either choice or circumstance, punk has always had paradoxical – sometimes hostile – relations with TV, radio, and the internet.
Do you look “real” in virtual space? Such existential questions are central to ‘The Extreme Self’, which explores identity in our digital world.
