Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna offers a nuanced look at the intersection of music, cultural identity, and political ideology in late-nineteenth-century Vienna. Drawing on an extensive selection of writings in the city's political press, correspondence, archival documents, and a large body of recent scholarship in late Habsburg cultural and political history, author David Brodbeck argues that Vienna's music critics were important agents in the public sphere whose writings gave voice to distinct, sometimes competing ideological positions. These conflicting positions are exemplified especially well in their critical writings about the music of three notable composers of the day who were Austrian citizens but not ethnic Germans: Carl Goldmark, a Jew from German West Hungary, and the Czechs Bed?ich Smetana and Antonin Dvo?ak.
Often at stake in the critical discourse was the question of who and what could be deemed "German" in the multinational Austrian state. For critics such as Eduard Hanslick and Ludwig Speidel, traditional German liberals who came of age in the years around 1848, "Germanness" was an attribute that could be earned by any ambitious bourgeois-including Jews and those of non-German nationality-by embracing German cultural values. The more nationally inflected liberalism evident in the writings of Theodor Helm, with its particularist rhetoric of German national property in a time of Czech gains at German expense, was typical of those in the next generation, educated during the 1860s. The radical student politics of the 1880s, with its embrace of racialist antisemitism and irredentist German nationalism, just as surely shaped the discourse of certain young Wagnerian critics who emerged at the end of the century. This body of music-critical writing reveals a continuum of exclusivity, from a conception of Germanness rooted in social class and cultural elitism to one based in blood.
Brodbeck neatly counters decades of musicological scholarship and offers a unique insight into the diverse ways in which educated German Austrians conceived of Germanness in music and understood their relationship to their non-German fellow citizens. Defining Deutschtum is sure to be an essential text for scholars of music history, cultural studies, and late 19th century Central European culture and society."

Artificial intelligence (AI) is often discussed as something extraordinary, a dream-or a nightmare-that awakens metaphysical questions on human life. Yet far from a distant technology of the future, the true power of AI lies in its subtle revolution of ordinary life. From voice assistants like Siri to natural language processors, AI technologies use cultural biases and modern psychology to fit specific characteristics of how users perceive and navigate the external world, thereby projecting the illusion of intelligence. Integrating media studies, science and technology studies, and social psychology, Deceitful Media examines the rise of artificial intelligence throughout history and exposes the very human fallacies behind this technology. Focusing specifically on communicative AIs, Natale argues that what we call "AI" is not a form of intelligence but rather a reflection of the human user. Using the term "banal deception," he reveals that deception forms the basis of all human-computer interactions rooted in AI technologies, as technologies like voice assistants utilize the dynamics of projection and stereotyping as a means for aligning with our existing habits and social conventions. By exploiting the human instinct to connect, AI reveals our collective vulnerabilities to deception, showing that what machines are primarily changing is not other technology but ourselves as humans. Deceitful Media illustrates how AI has continued a tradition of technologies that mobilize our liability to deception and shows that only by better understanding our vulnerabilities to deception can we become more sophisticated consumers of interactive media.

Americans often look back on Paris between the world wars as a charming escape from the enduring inequalities and reactionary politics of the United States. In this bold and original study, Brooke Blower shows that nothing could be further from the truth. She reveals the breadth of American activities in the capital, the lessons visitors drew from their stay, and the passionate responses they elicited from others. For many sojourners-not just for the most famous expatriate artists and writers- Paris served as an important crossroads, a place where Americans reimagined their position in the world and grappled with what it meant to be American in the new century, even as they came up against conflicting interpretations of American power by others.
Interwar Paris may have been a capital of the arts, notorious for its pleasures, but it was also smoldering with radical and reactionary plots, suffused with noise, filth, and chaos, teeming with immigrants and refugees, communist rioters, fascism admirers, overzealous police, and obnoxious tourists. Sketching Americans' place in this evocative landscape, Blower shows how arrivals were drawn into the capital's battles, both wittingly and unwittingly. Americans in Paris found themselves on the front lines of an emerging culture of political engagements-a transatlantic matrix of causes and connections, which encompassed debates about "Americanization" and "anti-American" protests during the Sacco-Vanzetti affair as well as a host of other international incidents. Blower carefully depicts how these controversies and a backdrop of polarized European politics honed Americans' political stances and sense of national distinctiveness.
A model of urban, transnational history, Becoming Americans in Paris offers a nuanced portrait of how Americans helped to shape the cultural politics of interwar Paris, and, at the same time, how Paris helped to shape modern American political culture.

In September of 2010, the Daily Mail Reporter announced "Anti-immigration party formed from skinhead movement seizes balance of power in Sweden." A politics of skinhead protest, expressed through White Power Music and an explicitly nationalistic subgenre known as Viking Rock, has relied on its music to voice opposition to immigration and multiculturism. Often labeled "neo-Nazis" or "right-wing extremists," these actors shook political establishments throughout Sweden, Denmark, and Norway during the 1980s and 1990s by rallying around white power music and skinhead subculture. More recently, however, these groups methodically revised their presentation in an effort to refashion themselves as upstanding, intelligent champions of love and human diversity, and once again using music to do so. In Lions of the North: Sounds of the New Nordic Radical Nationalism, author Benjamin Teitelbaum explores this transformation of anti-immigrant, anti-liberal activism in the Nordic countries as it manifests in thought and sound. As his fieldwork in Sweden overlapped with Anders Behring Breivik's attacks in 2011, Teitelbaum observed the radical nationalist movement at a particularly sensitive moment. Offering a rare ethnographic glimpse into controversial and secretive political movements, Lions of the North investigates changes in the music nationalists make and patronize, reading their surprising new music styles as attempts to escape stereotypes and fashion a new image for themselves. Teitelbaum's work reveals organized opposition to immigration and multiculturalism in Scandinavia to be a scene in flux, populated by individuals with diverse understandings of themselves, their cause, and the significance of music. Ultimately, he uncovers the ways in which nationalists use music to frame themselves as agents of justice, an image that is helping to propel these actors to unprecedented success in societies often considered the most tolerant in the world. A timely and powerful work of interdisciplinary ethnomusicology, Lions of the North will appeal to a wide audience, from scholars in the humanities to those in political science.

As Oliver Richmond explains, there is a level to peacemaking that operates in the realm of dialogue, declarations, symbols and rituals. But after all this pomp and circumstance is where the reality of security, development, politics, economics, identity, and culture figure in; conflict, cooperation, and reconciliation are at their most vivid at the local scale. Thus local peace operations are crucial to maintaining order on the ground even in the most violent contexts. However, as Richmond argues, such local capacity to build peace from the inside is generally left unrecognized, and it has been largely ignored in the policy and scholarly literature on peacebuilding. In Peace and Political Order, Richmond looks at peace processes as they scale up from local to transnational efforts to consider how to build a lasting and productive peace. He takes a comparative and expansive look at peace efforts in conflict situations in countries around the world to consider what local voices might suggest about the inadequacy of peace processes engineered at the international level. As well, he explores how local workers act to modify or resist peace processes headed by international NGOs, and to what degree local actors have enjoyed success in the peace process (and how they have affected the international peace process).

The H H Harlow Pickle Company has appeared in the small town of Link Lake, using heavy-handed tactics to force family farmers to either farm the Harlow way or lose their biggest customer - and, possibly, their land.

Why does the Mona Lisa have an uneven smile? Was Picasso's Demoiselles d'Avignon an exploration of Satanism? Why did Michelangelo depict so many left-handed archers? Why did the British Queen look so different when Annie Liebowitz lit her from her left side in a recent official portrait? The answer to all these questions lies in a hidden symbolic language in the visual arts: that of the perceived differences between the left and right sides of the body. It is a symbolism that has been interpreted by artists through the centuries, and that can be uncovered in many of our greatest masterpieces, but that has been long forgotten about or misunderstood by those concerned with the history of art and the human body. The Sinister Side reveals the key, and sheds new light on some of the greatest art from before the Renaissance to the present day. Traditionally, in almost every culture and religion, the left side has been regarded as inferior - evil, weak, worldly, feminine - while the right is good, strong, spiritual and male. But starting in the Renaissance, this hierarchy was questioned and visualised as never before. The left side, in part because of the presence of the heart, became the side that represented authentic human feelings, especially love. By the late nineteenth century, with the rise of interest in the occult and in spiritualism, the left side had become associated with the taboo and with the unconscious. Exploring how works of art reflect our changing cultural ideas about the natural world, human nature, and the mind, James Halls'Sinister Side is the first book to detail the richness and subtlety of left-right symbolism in art, and to show how it was a catalyst for some of the greatest works of visual art from Botticelli and Van Eyck to Vermeer and Dali.

This volume of essays explores the long-unstudied relationship between religion and human security throughout the world. The 1950s marked the beginning of a period of extraordinary religious revival, during which religious political-parties and non-governmental organizations gained power around the globe. Until now, there has been little systematic study of the impact that this phenomenon has had on human welfare, except of a relationship between religious revival to violence. The authors of these essays show that religion can have positive as well as negative effects on human wellbeing. They address a number of crucial questions about the relationship between religion and human security: Under what circumstances do religiously motivated actors tend to advance human welfare, and under what circumstances do they tend to threaten it? Are members of some religious groups more likely to engage in welfare-enhancing behavior than in others? Do certain state policies tend to promote security-enhancing behavior among religious groups while other policies tend to promote security-threatening ones? In cases where religious actors are harming the welfare of a population, what responses could eliminate that threat without replacing it with another? Religion and Human Security shows that many states tend to underestimate the power of religious organizations as purveyors of human security. Governments overlook both the importance of human security to their populations and the religious groups who could act as allies in securing the welfare of their people. This volume offers a rich variety of theoretical perspectives on the nuanced relationship between religion and human security. Through case studies ranging from Turkey, Egypt, and Pakistan, to the United States, Northern Ireland, and Zimbabwe, it provides important suggestions to policy makers of how to begin factoring the influence of religion into their evaluation of a population's human security and into programs designed to improve human security around the globe.

Digital Dilemmas is a groundbreaking ethnographic, mixed method approach to understanding dynamics of power and resistance as they are played out around the future of the internet. M. I. Franklin looks at the way that publics, governments, and multilateral institutions are being redefined and reinvented in digital settings that are ubiquitous and yet controlled by a relative few. Franklin does this through three original and wide-ranging case studies that get at the way that computer-mediated power relations play out "on the ground" through a mixture of overlapping online and offline activity, at personal, community, and transnational levels. Case studies include online activities around homelessness and street papers in the U.S. and around the world, digital and human rights activism carried out though the United Nations, and the ongoing battle between proprietary and free and open source software proponents. The result is a thought-provoking and seminal work on the way that the new paradigms of power and resistance forged online reshape localized and traditional power structures offline.

Since 1997, the war in the east of the Democratic Republic of the Congo has taken more than 6 million lives and shapes the daily existence of the nation's residents. While the DRC is often portrayed in international media as an unproductive failed state, the Congolese have turned increasingly to art-making to express their experience to external eyes. Author Cherie Rivers Ndaliko argues that cultural activism and the enthusiasm to produce art exists in Congo as a remedy for the social ills of war and as a way to communicate a positive vision of the country. Ndaliko introduces a memorable cast of artists, activists, and ordinary people from the North-Kivu province, whose artistic and cultural interventions are routinely excluded from global debates that prioritize economics, politics, and development as the basis of policy decision about Congo. Rivers also shows how art has been mobilized by external humanitarian and charitable organizations, becoming the vehicle through which to inflict new kinds of imperial domination. Written by a scholar and activist in the center of the current public policy debate, Necessary Noise examines the uneasy balance of accomplishing change through art against the unsteady background of civil war. At the heart of this book is the Yole!Africa cultural center, which is the oldest independent cultural center in the east of Congo. Established in the aftermath of volcano Nyiragongo's 2002 eruption and sustained through a series of armed conflicts, the cultural activities organized by Yole!Africa have shaped a generation of Congolese youth into socially and politically engaged citizens. By juxtaposing intimate ethnographic, aesthetic, and theoretical analyses of this thriving local initiative with case studies that expose the often destructive underbelly of charitable action, Necessary Noise introduces into heated international debates on aid and sustainable development a compelling case for the necessity of arts and culture in negotiating sustained peace. Through vivid descriptions of a community of young people transforming their lives through art, Ndaliko humanizes a dire humanitarian disaster. In so doing, she invites readers to reflect on the urgent choices we must navigate as globally responsible citizens. The only study of music or film culture in the east of Congo, Necessary Noise raises an impassioned and vibrantly interdisciplinary voice that speaks to the theory and practice of socially engaged scholarship.

Design and Analysis of Time Series Experiments presents the elements of statistical time series analysis while also addressing recent developments in research design and causal modeling. A distinguishing feature of the book is its integration of design and analysis of time series experiments. Drawing examples from criminology, economics, education, pharmacology, public policy, program evaluation, public health, and psychology, Design and Analysis of Time Series Experiments is addressed to researchers and graduate students in a wide range of behavioral, biomedical and social sciences. Readers learn not only how-to skills but, also the underlying rationales for the design features and the analytical methods. ARIMA algebra, Box-Jenkins-Tiao models and model-building strategies, forecasting, and Box-Tiao impact models are developed in separate chapters. The presentation of the models and model-building assumes only exposure to an introductory statistics course, with more difficult mathematical material relegated to appendices. Separate chapters cover threats to statistical conclusion validity, internal validity, construct validity, and external validity with an emphasis on how these threats arise in time series experiments. Design structures for controlling the threats are presented and illustrated through examples. The chapters on statistical conclusion validity and internal validity introduce Bayesian methods, counterfactual causality and synthetic control group designs. Building on the earlier of the authors, Design and Analysis of Time Series Experiments includes more recent developments in modeling, and considers design issues in greater detail than any existing work. Additionally, the book appeals to those who want to conduct or interpret time series experiments, as well as to those interested in research designs for causal inference.

The essays contained in the present volume represent Bentham's attempt to influence the direction of political and constitutional change taking place in Spain and Portugal in the early 1820s. At the same time as commenting on Spanish and Portuguese questions, Bentham outlined important aspects of his own legal and constitutional theories, defended measures of democratic reform, and offered a vigorous defence of free speech and communication. The volume complements Colonies, Commerce, and Constitutional Law, in which Bentham commented on the disastrous effects on Spain of her attempts to retain her overseas possessions.

The reality of transnational innovation and dissemination of new technologies, including digital media, has yet to make a dent in the deep-seated culturalism that insists on reinscribing a divide between the West and Japan. The Oxford Handbook of Japanese Cinema aims to counter this trend toward dichotomizing the West and Japan and to challenge the pervasive culturalism of today's film and media studies.
Featuring twenty essays, each authored by a leading researcher in the field, this volume addresses productive debates about where Japanese cinema is and where Japanese cinema is going at the period of crisis of national boundary under globalization. It reevaluates the position of Japanese cinema within the discipline of cinema and media studies and beyond, and situates Japanese cinema within the broader fields of transnational film history. Likewise, it examines the materiality of Japanese cinema, scrutinizes cinema's relationship to other media, and identifies the specific practices of film production and reception. As a whole, the volume fosters a dialogue between Japanese scholars of Japanese cinema, film scholars of Japanese cinema based in Anglo-American and European countries, film scholars of non-Japanese cinema, film archivists, film critics, and filmmakers familiar with film scholarship.
A comprehensive volume that grasps Japanese cinema under the rubric of the global and also fills the gap between Japanese and non-Japanese film studies and between theories and practices, The Oxford Handbook of Japanese Cinema challenges and responds to the major developments underfoot in this rapidly changing field.

The powerful potential of digital media to engage citizens in political actions has now crossed our news screens many times. But scholarly focus has tended to be on "networked," anti-institutional forms of collective action, to the neglect of advocacy and service organizations. This book investigates the changing fortunes of the citizen-civil society relationship by exploring how social changes and innovations in communication technology are transforming the information expectations and preferences of many citizens, especially young citizens. In doing so, it is the first work to bring together theories of civic identity change with research on civic organizations. Specifically, it argues that a shift in "information styles" may help to explain the disjuncture felt by many young people when it comes to institutional participation and politics. The book theorizes two paradigms of information style: a dutiful style, which was rooted in the society, communication system and citizen norms of the modern era, and an actualizing style, which constitutes the set of information practices and expectations of the young citizens of late modernity for whom interactive digital media are the norm. Hypothesizing that civil society institutions have difficulty adapting to the norms and practices of the actualizing information style, two empirical studies apply the dutiful/actualizing framework to innovative content analyses of organizations' online communications-on their websites, and through Facebook. Results demonstrate that with intriguing exceptions, most major civil society organizations use digital media more in line with dutiful information norms than actualizing ones: they tend to broadcast strategic messages to an audience of receivers, rather than encouraging participation or exchange among an active set of participants. The book concludes with a discussion of the tensions inherent in bureaucratic organizations trying to adapt to an actualizing information style, and recommendations for how they may more successfully do so.

This book provides a comprehensive analysis of the use of peace agreements from a legal perspective. It describes and evaluates the development of contemporary peace processes and the peace agreements that emerge. The book sets out what is in essence an anatomy of peace agreement practice and interrogates its relationship to law. At its heart the book grapples with the role of law in ending violent conflict and the broader questions this raises for the relationship of law to social change. Law potentially plays two key roles with respect to peace agreements: first, to the extent that peace agreements themselves form legal documents, law plays a role in the 'enforcement' or implementation of the peace agreement; second, international law has a relationship to peace agreement negotiation and content, in its regulatory guise. International Law regulates self-determination, transitional justice, and the role of third parties. The book documants and analyses these two roles of law. In doing so, the book reveals a complex dynamic relationship between the peace agreement as a legal document and the role of international law in which international law and concepts of domestic constitutionalism are being re-shaped. The practice of negotiating peace agreements is argued to be producing a new law of the peacemaker-or lex pacificatoria that connects developments in international law with new forms of domestic constitutional law in a set of hybrid relationships. This law of the peacemaker potentially forms part of a broader 'law of peace' that moves beyond the traditional concept of law of peace as merely 'the rest of international law' once the laws of war are subtracted. The new lex pacificatoria stands as an account of the way in which international law shapes and is shaped by peace agreements. The book proposes an ambivalent response to 'this new law' which connects to contemporary debates about the force of international law and its appropriate relationship with domestic constitutonalism.

Transnational Cooperation: An Issue-Based Approach presents an analysis of transnational cooperation or collective action that stresses basic concepts and intuition. Throughout the book, authors Clint Peinhardt and Todd Sandler identify factors that facilitate and/or inhibit such cooperation. The first four chapters lay the analytical foundations for the book, while the next nine chapters apply the analysis to a host of exigencies and topics of great import. The authors use elementary game theory as a tool for illustrating the ideas put forth in the text. Game theory reminds us that rational actors (for example, countries, firms, or individuals) must account for the responses by other rational actors. The book assumes no prior knowledge of game theory; all game-theoretic concepts and analyses are explained in detail to the reader. Peinhardt and Sandler also employ paired comparisons in illustrating the book's concepts. The book is rich in applications and covers a wide range of topics, including superbugs, civil wars, money laundering, financial crises, drug trafficking, terrorism, global health concerns, international trade liberalization, acid rain, leadership, sovereignty, and many others. Students, researchers, and policymakers alike have much to gain from Transnational Cooperation. It is a crossover book for economics, political science, and public policy.

How can "Speaking Rights to Power" construct political will to respond to human rights abuse worldwide? Examining dozens of cases of human rights campaigns, this book shows how carefully crafted communications build recognition, solidarity, and social change. Alison Brysk presents an innovative analysis of the politics of persuasion, based in the strategic use of voice, framing, media, protest performance, and audience bridging. Building on twenty years of research on five continents, this comprehensive study ranges from Aung San Suu Kyi to Anna Hazare, from Congo to Colombia, and from the Arab Spring to Pussy Riot. It includes both well-chronicled campaigns, such as the struggle to end violence against women, as well as lesser-known efforts, including inter-ethnic human rights alliances in the U.S. Brysk compares relatively successful human rights campaigns with unavailing struggles. Grounding her analysis in the concrete practice of human rights campaigns, she lays out testable strategic guidance for human rights advocates. Speaking Rights to Power addresses cutting edge debates on human rights and the ethic of care, cosmopolitanism, charismatic leadership, communicative action and political theater, and the role of social media. It draws on constructivist literature from social movement and international relations theory, and it analyzes human rights as a form of global social imagination. Combining a normative contribution with judicious critique, this book shows not only that human rights rhetoric matters-but how to make it matter more.

Famous for his painstaking attention to detail and for the craftsmanship and artistry he brought to his work, filmmaker Stanley Kubrick is by now long established as both the subject of an entire sub-field of scholarly inquiry, and as the object of all levels of cinema studies pedagogy. His oeuvre, developed over nearly 50 years, traverses an immensely broad variety of film genres and subjects and has long been studied and understood in terms of its narrative, thematic, and striking visual elements. However, unique and often startling encounters between music and the moving image are central trademarks of Kubrick's style; witness the powerful effects of Strauss's "Also Sprach Zarathustra" in 2001: A Space Odyssey and of Beethoven's 9th Symphony in A Clockwork Orange, each excerpt hand-picked by Kubrick himself. We'll Meet Again argues that some of the most compelling and understudied aspects of Stanley Kubrick's films are musically conceived. Author Kate McQuiston illustrates that, for Kubrick, music is neither post-production afterthought nor background nor incidental, but rather core to films' themes and meanings. The book is divided into three sections, the first of which identifies the building blocks in Kubrick's sonic world and illuminates the ways in which Kubrick uses them to substantiate his characters and to define character relationships. The second section delves into the effects of Kubrick's signature musical techniques, including the use of texture, recurrence, and inscription to render and reinforce psychological ideas and particular spectator responses. The third and final section presents case studies in which the history of the music Kubrick chooses plays a vital and dynamic role. Throughout the author's arguments, the book locates Kubrick as a force in music reception history by examining the relationship between his musical choices and popular culture.

In 1962, when the Cold War threatened to ignite in the Cuban Missile Crisis, when more nuclear test bombs were detonated than in any other year in history, Rachel Carson released her own bombshell, Silent Spring, to challenge society's use of pesticides. To counter the use of chemicals-and bombs-the naturalist articulated a holistic vision. She wrote about a "web of life" that connected humans to the world around them and argued that actions taken in one place had consequences elsewhere. Pesticides sprayed over croplands seep into ground water and move throughout the ecosystem, harming the environment. Thousands accepted her message, joined environmental groups, flocked to Earth Day celebrations, and lobbied for legislative regulation. Carson was not the only intellectual to offer holistic answers to society's problems. This book uncovers a holistic sensibility in post-World War II American culture that both tested the logic of the Cold War and fed some of the twentieth century's most powerful social movements, from civil rights to environmentalism to the counterculture. The study examines six important leaders and institutions that embraced and put into practice a holistic vision for a peaceful, healthful, and just world: nature writer Rachel Carson; structural engineer R. Buckminster Fuller; civil rights leader Martin Luther King Jr.; Jesuit priest and paleontologist Pierre Teilhard de Chardin; humanistic psychologist Abraham Maslow; and the Esalen Institute and its founders, Michael Murphy and Dick Price. Each looked to whole systems instead of parts and focused on connections, interdependencies, and integration to create a better world. In the 1960s and 1970s, holistic conceptions and practices infused the March on Washington, Earth Day, the human potential movement, New Age spirituality, and alternative medicine. Though dreams of creating a more perfect world were tempered by economic inequalities, political corruption, and deep social divisions, this sensibility influenced American culture in important ways that continue into the twenty-first century.

This lavishly illustrated book offers the first full, interdisciplinary investigation of the historical evidence for the presence of ancient Greek tragedy in the post-Restoration British theatre, where it reached a much wider audience - including women - than had access to the original texts. Archival research has excavated substantial amounts of new material, both visual and literary, which is presented in chronological order. But the fundamental aim is to explain why Greek tragedy, which played an elite role in the curricula of largely conservative schools and universities, was magnetically attractive to political radicals, progressive theatre professionals, and to the aesthetic avant-garde. All Greek has been translated, and the book will be essential reading for anyone interested in Greek tragedy, the reception of ancient Greece and Rome, theatre history, British social history, English studies, or comparative literature.

The most famous name in French literary circles from the late 1950s till his death in 1981, Roland Barthes maintained a contradictory rapport with the cinema. As a cultural critic, he warned of its surreptitious ability to lead the enthralled spectator toward an acceptance of a pre-given world. As a leftist, he understood that spectacle could be turned against itself and provoke deep questioning of that pre-given world. And as an extraordinarily sensitive human being, he relished the beauty of images and the community they could bring together.

You will never look at your cell phone, TV, or computer the same way after reading this book. Maxwell and Miller not only reveal the dirty secrets that hide inside our beloved electronics; they also take apart the myths that have pushed these gadgets to the center of our lives. With an astounding array of economic, environmental and historical facts, Greening the Media debunks the idea that information and communication technologies (ITC) are clean and ecologically benign. In this compassionate and sharply argued book, the authors show how the physical reality of making, consuming, and discarding them is rife with toxic ingredients, poisonous working conditions, and hazardous waste. But all is not lost. As the title suggests, Maxwell and Miller dwell critically on these environmental problems in order to think creatively about ways to solve them. They enlist a range of potential allies in this effort to foster greener media-from green consumers to green citizens, with stops along the way to hear from exploited workers, celebrities, and assorted bureaucrats. Maxwell and Miller rethink the status of print and screen technologies from a perspective unique in media studies, one that enables them to open new lines of historical and social analysis of ICT, consumer electronics, and media production. This original and highly readable book is for anyone who marvels at the high tech goodies surrounding us and wonders "How have they been made?," "By whom?," "Where?," and "Under what conditions?"