This groundbreaking and truly interdisciplinary collection of essays examines how digital media technologies require us to rethink established conceptualisations of human memory in terms of its discourses, forms and practices.

The advent of the twenty-first century was marked by a succession of conflicts and catastrophes that demanded unrestrained journalism. Yet, the principle mass news medium of television has become torn between strategies of containment and the amplification of security threats. Hoskins and O'Loughlin demonstrate that television, tarnished by its economy of liveness and its default impositions of immediacy, brevity and simultaneity, fails to deliver a critical and consistent exposition adequate to our conflicting times.

The Editors are sorry that the production of this volume was delayed by the ill health of one of them and we hope that this does not detract from the value of the con tents. For once this delay is not the fault of any of the authors only the editors are to blame. Many of the workers in the field of fibre toxicology became convinced by the middle 1980's that the worst of the furore over asbestos was over although we were left with an intriguing problem - how does asbestos cause disease? It was expected that the future impact of fibres on human health would be very small since asbestos exposure would be controlled and there was little chance that man-made fibres would prove haz ardous. These man-made fibres are much thicker than asbestos and, in most cases, they are less durable in the body. Both of these properties are believed to make them much less likely to cause disease. However many of us had fallen into the habit of calling these materials "asbestos substitutes" and thus they have acquired a little of the notoriety at tached to the natural fibrous minerals. Very few of these man-made fibres are actually used as replacements for asbestos. Asbestos was not suitable for the uses to which the insulation wools are usually put and the ceramic fibres are replacements for fire brick not asbestos which is destroyed at the temperatures at which these materials are used.

The advent of the twenty-first century was marked by a succession of conflicts and catastrophes that demanded unrestrained journalism. Yet, the principle mass news medium of television has become torn between strategies of containment and the amplification of security threats. Hoskins and O'Loughlin demonstrate that television, tarnished by its economy of liveness and its default impositions of immediacy, brevity and simultaneity, fails to deliver a critical and consistent exposition adequate to our conflicting times.

The trinity of government, military and publics has been drawn together into immediate and unpredictable relationships in a "new media ecology" that has ushered in new asymmetries in the waging of war and terror. To help us understand these new relationships, Andrew Hoskins and Ben O'Loughlin here provide a timely, comprehensive and highly readable survey of the field of war and media.

War is diffused through a complex mesh of our everyday media. Paradoxically, this both facilitates and contains the presence and power of enemies near and far. The conventions of so-called traditional warfare have been splintered by the availability and connectivity of the principal locus of war today: the electronic and digital media. Hoskins and O'Loughlin identify and illuminate the conditions of what they term "diffused war" and the new challenges it raises for the actors who wage and counter warfare, for their agents and mechanisms of the new media and for mass publics.

This book offers an invaluable review of the key literature and presents a fresh approach to the understanding of the dynamic relationships between war and media. It will be welcomed by a broad range of students taking courses on war and media and related modules, especially in media, communication and cultural studies, politics and international relations, sociology, journalism, and security studies.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

The trinity of government, military and publics has been drawn together into immediate and unpredictable relationships in a "new media ecology" that has ushered in new asymmetries in the waging of war and terror. To help us understand these new relationships, Andrew Hoskins and Ben O'Loughlin here provide a timely, comprehensive and highly readable survey of the field of war and media.

War is diffused through a complex mesh of our everyday media. Paradoxically, this both facilitates and contains the presence and power of enemies near and far. The conventions of so-called traditional warfare have been splintered by the availability and connectivity of the principal locus of war today: the electronic and digital media. Hoskins and O'Loughlin identify and illuminate the conditions of what they term "diffused war" and the new challenges it raises for the actors who wage and counter warfare, for their agents and mechanisms of the new media and for mass publics.

This book offers an invaluable review of the key literature and presents a fresh approach to the understanding of the dynamic relationships between war and media. It will be welcomed by a broad range of students taking courses on war and media and related modules, especially in media, communication and cultural studies, politics and international relations, sociology, journalism, and security studies.