Найти книгу: "Censorship Now!!"

"While putting a copy of this book on your nightstand would be a sign of good taste, who cares about good taste? Are you willing to be seen reading a book titled Censorship Now!! in public? If so, your skin might burn with funny glances from squares, scolds and looky-loos. But on the inside, you'll feel your brain throbbing as it swells to accommodate some hilarious, absurd and radical new strategies on how to live in our ridiculous world."–Washington Post"Svenonius' new book is Censorship Now!!, and the title alone shows just how provocative the author can be. A collection of essays previously published by Vice, Jacobin, and others, it sets up numerous enemies–both real and straw–for Svenonius to knock down....It's all couched in a style that's part anarchist tirade, part postmodern critique, and part punk-rock snottiness–yet it's addictively ridiculous."–NPR"Censor it all. Film, TV, music, politics, books, news, art–censor all of it. That's the guiding principle of local radical punk Ian Svenonius' latest essay collection, Censorship Now!!"–Washington City Paper, Critics' PickNamed a Favorite Book of 2015 by Jason Diamond at Vol. 1 Brooklyn"Gonzo ecstasy for those who have come to know Svenonius's self-aware political meditations....And though the essays Svenonius writes are not themselves unclear, the process of talking about what he's written involves discussions that some might find uncomfortable. His books make more sense the more you dissect them. So keep them in your back pocket and read them, one word at a time."–Los Angeles Review of Books"A new collection of essays by everyone's favorite supercilious rock theorist…Svenonius has always been the smartest kid in the room....In print, Svenonius is like that curmudgeonly pal that you adore because, even while his insight quivers between humor, paranoia, and antisocial ire, he never dispels your fascination in how he gets there."–SF Weekly"Ian Svenonius is best known as the frontman of bands like the Make-Up and Nation of Ulysses, but he's also a brilliant cultural critic with a talent for coming up with the hottest takes you'll ever read. In this collection, Svenonius makes compelling arguments in favor of censorship and hoarding books and records, amid polemics against Apple and Ikea, the yuppification of indie rock, and the shaving of pubic hair."–Buzzfeed"The essays in Censorship Now!! are equally packed with modest proposals and mock-revolutionary rhetoric, but there are grains of truth in pieces like 'The Historic Role Of Sugar In Empire Building' and 'Heathers Revisited: The Nerd's Fight For Niceness'–they're just buried somewhere between tongue and cheek."–The A.V. Club"Censorship Now!! simultaneously deals in the heated rhetoric of insurgent calls to action, the seductive broad strokes of propaganda, and the clever winking of surrealist humor. Often when I'm really convinced Svenonius has gone off a paranoid deep end, the next sentence hits back with knowingly-hilarious exaggeration or profoundly spot-on analysis, realigning my perspective and making me wonder again....It's fitting that a book whose intentions are ambiguous begins with a call to censor art and ends by letting art do the talking."–PitchforkIan F. Svenonius's new collection of sixteen essays and stories, entitled Censorship Now!!, is reorganizing people's ideas about censorship, Ikea, documentary filmmaking, the Berlin Wall, the film Heathers, the twist, the frug, the mashed potato, shaving one's body, Apple, Inc., Nordic functionalism, the supposed benevolence of the Wikipedia, hoarding, college rock, the origins of the Internet, and more. It's an underground smash which has been met with a horrified gasp in all respectable quarters and gog-eyed enthusiasm in artist garrets the world over.

The latest, definitive assessment of the state of free press around the world Attacks on the Press is a comprehensive, annual account of press conditions worldwide, focusing this year on the new face of censorship perpetrated by governments and non-state actors. Compiled by the Committee to Protect Journalists (CPJ), the 2017 edition documents new dangers and threats to journalists and to the free and independent media. The risks are a combination of familiar censorship tactics applied in novel ways, and the exertion of pressure through unconventional means or at unprecedented levels. These censorship efforts range from withholding advertising to online trolling, website blocking to physical harassment, imprisonment to the murder of journalists. In the Americas, governments and non-state actors use new, sometimes subtle ways to limit journalists' ability to investigate wrongdoing. In Europe, authorities deploy intelligence services to intimidate the press in the name of national security. In Asia, governments block access to information online, and in some cases, punish those who manage to get around the obstacles. And throughout the world, terror groups are using the threat of targeted murder to compel journalists to refrain from covering crucial stories or otherwise self-censor. Attacks on the Press documents how these new forms of censorship are perpetrated and provides journalists with guidance on how to work around them, when possible, and how to ensure their own safety as well as the safety of their sources and people with whom they work. The book enables readers to: Examine the state of free media around the world Learn which nations violate press freedom with impunity Discover the most dangerous beats and regions Delve inside specific, increasingly complex challenges CPJ's mission is to defend the rights of journalists to report the news without fear of reprisal. Attacks on the Press provides a platform for direct advocacy with governments and the diplomatic community, for giving voice to journalists globally, and for ensuring that those journalists have a seat in discussions at the United Nations, the Organization of American States, the European Union, the African Union, and others.

From the fall of the Berlin Wall to the advert of the Web, everywhere you turn you are told that we live in age of unparalleled freedom. This is dangerously naive. From the revolution in Iran that wasn’t to the imposition of super-injunctions from the filthy rich, we still live in a world where you can write a book and end up dead.After the fall of the Berlin Wall, the collapse of Communism, and the advent of the Web which allowed for even the smallest voice to be heard, everywhere you turned you were told that we were living in an age of unparalleled freedom.You Can't Read This Book argues that this view is dangerously naive. From the revolution in Iran that wasn't, to the Great Firewall of China and the imposition of super-injunctions from the filthy rich protecting their privacy, the traditional opponents of freedom of speech – religious fanaticism, plutocratic power and dictatorial states – are thriving, and in many respects finding the world a more comfortable place in the early 21st century than they did in the late 20th.This is not an account of interesting but trivial disputes about freedom of speech: the rights and wrongs of shouting 'fire' in a crowded theatre, of playing heavy metal at 3 am in a built-up area or articulating extremist ideas in a school or university. Rather, this is a story that starts with the cataclysmic reaction of the Left and Right to the publication and denunciation of the Satanic Verses in 1988 that saw them jump into bed with radical extremists. And it ends at the juncture where even in the transgressive, liberated West, where so much blood had been spilt for Freedom, where rebellion is the conformist style and playing the dissenter the smart career move in the arts and media, you can write a book and end up destroyed or dead.

In this study of the reciprocities binding religion, politics, law, and literature, Debora Shuger offers a profoundly new history of early modern English censorship, one that bears centrally on issues still current: the rhetoric of ideological extremism, the use of defamation to ruin political opponents, the grounding of law in theological ethics, and the terrible fragility of public spheres. Starting from the question of why no one prior to the mid-1640s argued for free speech or a free press per se, Censorship and Cultural Sensibility surveys the texts against which Tudor-Stuart censorship aimed its biggest guns, which turned out not to be principled dissent but libels, conspiracy fantasies, and hate speech. The book explores the laws that attempted to suppress such material, the cultural values that underwrote this regulation, and, finally, the very different framework of assumptions whose gradual adoption rendered censorship illegitimate. Virtually all substantive law on language concerned defamation, regulating what one could say about other people. Hence Tudor-Stuart laws extended protection only to the person hurt by another's words, never to their speaker. In treating transgressive language as akin to battery, English law differed fundamentally from papal censorship, which construed its target as heresy. There were thus two models of censorship operative in the early modern period, both premised on religious norms, but one concerned primarily with false accusation and libel, the other with false belief and immorality. Shuger investigates the first of these models—the dominant English one—tracing its complex origins in the Roman law of iniuria through medieval theological ethics and Continental jurisprudence to its continuities and discontinuities with current U.S. law. In so doing, she enables her reader to grasp how in certain contexts censorship could be understood as safeguarding both charitable community and personal dignitary rights.