Jumat, 28 Maret 2014

[A262.Ebook] Ebook Download Flip the Script, by Christian P. Acker

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Flip the Script, by Christian P. Acker

Distinctive hand style lettering is an essential skill for artists and designers. Deftly executed hand crafted letter forms are a nearly forgotten art in an age of endless free fonts. Graffiti is one of the last reservoirs of highly refined, well practiced penmanship. The most reviled and persecuted form of Graffiti, the Tag, is seldom appreciated for the raw beauty of its skeletal letter forms. Most tags are removed immediately, and thus the casual viewer seldom has a chance to discern the difference between entry level and advanced hand styles. Within the pages of Flip the Script, author Christian Acker has systematically analyzed the best graffiti hand styles, contextualizing the work of graffiti writers from around the United States. Acker presents the various lettering samples in a clean organized format, giving the material a proper, formal treatment evoking classic typography books.

  • Sales Rank: #258700 in Books
  • Published on: 2013-03-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.90" h x 1.10" w x 8.40" l, 2.45 pounds
  • Binding: Hardcover
  • 224 pages
Features
  • hand styles from graf legends compiled
  • 224 pages
  • hardcover

Most helpful customer reviews

6 of 6 people found the following review helpful.
Modern Penmanship
By qstephe
After checking out Flip the Script, I now have a renewed respect for the scrawled out writings on our city walls. By dissecting each script in the way a calligraphy book treats lettering, you can see how much thought and diversity is involved in the process. The insider information, interviews, and historical context also give weight and depths to what could've been a light weight "tagging tutorial" book.

3 of 3 people found the following review helpful.
It's all about the letters!
By OMJ
When I first heard this book was being produced I knew I was going to buy it. I didn't have to know who was going to be included, I just knew I was going to get it and love it. Now that I have it, I am in no way disappointed. The book is very well produced. The hardcover is chunky and looks like it will stand up well to repeated readings. The recessed electric blue lettering on the stark black background presents a clean, stylish look. I would have liked a bookcover of some sort because I can see myself getting all sorts of finger prints on this but that's just a personal thing. This book is definitely one you can leave on the table without it looking to "graffiti-ish" if that's a concern.

As for the artists included in the book, there seems to be representation from most major regions of the country. Of course there will be gripes that certain folks are missing. As a DC area guy I would have liked to see the Mid-Atlantic area a little more fleshed out. I can imagine that there are a whole lot of writers that Mr. Acker wanted to get in the book but wasn't able to for any number of reasons.

I think this book will appeal to a broad spectrum of people from graffiti writers interested in their history to typography fans to graphic designers looking for fresh inspiration. Buy this book! You won't be disappointed.

2 of 2 people found the following review helpful.
This book is the book we have been waiting for
By Graffiti Diplomacy
This book is PERFECT!

The construction is first class. The black cloth cover has metallic blue writing embossed on the front. It's printed in only black and white with a touch of dusty blue for accents, but that works just right for the subject matter. There is a light bluet ribbon attached to the spine to use as a bookmark. Pure artistry! But that's not what makes this book so special.

The book covers the history of tagging with a breakdown and discussion of handstyles by geographic locations. Very informative. We learned a lot we didn't know. But that's not what makes this book so special either.

What makes this book so special is that each tagger/writer presents an alphabet from A-Z. Included are some remarks from the writers themselves explaining their thinking process. At the top of each writer's page is his/her own tag for comparison. This book handles the topic of graffiti tagging as seriously and with as much depth and respect as would be given to any classical art form. Think sculpture or painting. We use this book as an instructional manuel and workbook. We refer to it everyday and always find new insights.

This book raises the bar for graffiti art books.

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Senin, 24 Maret 2014

[A536.Ebook] Download Ebook Power Electronic Converters: DC-DC Conversion (Electric Energy Systems and Engineering Series), by Robert Bausiere, Francis Labrique, Guy

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Power Electronic Converters: DC-DC Conversion (Electric Energy Systems and Engineering Series), by Robert Bausiere, Francis Labrique, Guy

This book is the third in a series of four devoted to POWER ELECTRONIC CONVERTERS: The first of these concerns AC to DC conversion. The second concerns AC to AC conversion. This volume examines DC to DC conversion. The fourth is devoted to DC to AC conversion. Converters which carry out the DC-DC conversion operate by chopping the input voltage or current: they are called choppers or switch-mode power converters. Their operating frequency is not imposed by either the input or the output, both of which are at zero frequency. A frequency which is much greater than that of the industrial network can be chosen, provided that suitable configurations and semiconductor devices are used. This is the first difference compared to the rectifiers and AC-AC converters, analyzed in the previous volumes and which often operate at the industrial network frequency. The second difference concerns the commutation mode. Choppers operate in forced commutation. The beginning of an operating phase does not auto­ matically turn off the semiconductor devices which were conducting during the previous phase and which have to be brought to the blocking state. This turn-off must be carried out autonomously. These two differences - the higher frequency of commutations and, espe­ cially, the different mode of commutation -justify the first two chapters in this work: - Chapter 1 examines general notions concerning converters, supplies and loads, and more especially, how they can be characterized with regard to commutations.

  • Sales Rank: #5332781 in Books
  • Published on: 2013-12-31
  • Released on: 2013-12-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x .98" w x 6.10" l, 1.33 pounds
  • Binding: Paperback
  • 402 pages

Language Notes
Text: English
Original Language: French

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Minggu, 09 Maret 2014

[V533.Ebook] Download PDF Grow or Die: The Unifying Principle of Transformation, by George T. Lockland

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Grow or Die: The Unifying Principle of Transformation, by George T. Lockland

Out of Print.

  • Sales Rank: #2441556 in Books
  • Published on: 1973
  • Format: Import
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover

Most helpful customer reviews

1 of 2 people found the following review helpful.
grow or die
By anya leone
the unending choice.....i loved this book when it first came out and am glad to have found it again. it's a necessary book in my collection.

4 of 4 people found the following review helpful.
A work of genius, ignored for far too long
By Gabriel S. Heilig
This book was nominated for a Pulitzer in 1973 by its publisher and was to be the basis of an entire issue of The Saturday Review, when it was bought out and the plan to do this was dropped. It's a pity and a loss. I've known George Land since 1977. He is a wide-ranging intellect, a great spirit, and a keen observer of the human scene. In this book, at a time when he was a top-tier C-level consultant--often being paid $10,000 a day, and worth it--George authored one of those books that can change forever how you see what is happening around you. In this book, he creates a "unified field theory" of life forms, from amoebas to IBM--from organisms to organizations--integrating information from many of the sciences to draw a map of how Nature grows itself through an ongoing process of pattern formation, self-imitation to a point of success, then renews itself through a process of de- and re-construction of its constituent elements to create a self-transformation that then repeats this cycle of transformational growth across the Natural world. George's ability to integrate so much information and unify it within a single map of the change process in Nature is remarkable. Even more remarkable are its many applications in terms of human activity: the human Nature that Nature has implanted in us. Knowledge is power, they say. There's a lot of power and perspective in these pages. The leaders of economic decision bodies, political parties, and leaders of all stripes would do well to consult its wisdom.

Disclaimer: I've known George Land since I met him at a conference on education of the gifted. He gave the keynote, in which he referred to giftedness as a "special case of retardation." He was speaking of giftedness, mind you, not genius. The way Bobby Fisher was gifted at chess--and a blind and stupid boor in almost every other aspect of his life. George's ability to see the obverse of the obvious is one of his hallmarks. This book is not "an easy read," packed as it is with scientific facts, theories, and cross-comparisons; yet it is thrilling to encounter, much as Joseph Campbell's work is thrilling. You recognize that you are in the presence of something that feels like the underlying truth beneath the shreds of knowledge we think we know and understand. It ties together a lot of human behavior, both individual and organizational. The implications of "third-phase change" this book provides are a roadmap through the paradigm shift that is occurring today in almost every major field of human endeavor. George Land's perspective is even more relevant now than when he first shared it with the world nearly 40 years ago, as paradigms crumble and leaders scurry back to the last paradigm, hoping to huddle safely under its umbrella. Nature is just but unmerciful. Either we grow and transform, or we pay more for refusing Nature's intrinsic pattern. This book, more than most, provides a secure map to the shifting forms of Nature and the crises and processes wrought by human Nature.

10 of 13 people found the following review helpful.
Grow or Die
By cortezhill
In this immensely creative synthesis, George T. Lock Land presents a set of laws through which mankind can not only control its destiny but also extend its freedom. Grow or Die - that is Nature's single mandate - and that is the basis of this new theory of human behavior and evolution. "Transformation Theory" is a re-definition of the process of growth to which every life and pre-life form is subject. Impelled by the most basic and universal drive - the drive to grow - all biological, physical, chemical, psychological and cultural processes are intrinsically equivalent. Cell biology, says Mr. Land, is the template for man's psychological drives, and the key to understanding individual and social behavior is to be found in the behavior of atoms, molecules, and cells. Creativity, mental illness, urban decay, self-sacrifice, colonialism, revolution, sadism, beauty, and human love all thus obey Nature's command to grow or perish.

--- from book's back cover

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A Game of Thrones: The Illustrated Edition: A Song of Ice and Fire: Book One, by George R. R. Martin

Published in celebration of the twentieth anniversary of George R. R. Martin’s landmark series, this lavishly illustrated special edition of A Game of Thrones—featuring gorgeous full-page artwork as well as black-and-white illustrations in every chapter—revitalizes the fantasy masterpiece that became a cultural phenomenon. And now the mystery, intrigue, romance, and adventure of this magnificent saga come to life as never before.
 
A GAME OF THRONES
A SONG OF ICE AND FIRE: BOOK ONE
With a special foreword by John Hodgman
 
Winter is coming, and in the frozen wastes to the North, sinister and supernatural forces are massing beyond the kingdom’s protective Wall. At the center of the conflict lie the Starks of Winterfell, a family as harsh and unyielding as the land they were born to. Sweeping from a region of brutal cold to a distant summertime kingdom of epicurean plenty, here is a tale rife with plots and counterplots, tragedy and betrayal, victory and terror, as each faction endeavors to win that deadliest of conflicts: the game of thrones.

  • Sales Rank: #2102 in Books
  • Published on: 2016-10-18
  • Released on: 2016-10-18
  • Original language: English
  • Dimensions: 9.40" h x 2.00" w x 6.40" l, 2.57 pounds
  • Binding: Hardcover
  • 896 pages

Review
"The major fantasy of the decade . . . compulsively readable."—Denver Post

"We have been invited to a grand feast and pageant: George R.R. Martin has unveiled for us an intensely realized, romantic but realistic world."—Chicago Sun-Times

"A Best Book of 1996: Martin makes a triumphant return to high fantasy . . . [with] superbly developed characters, accomplished prose, and sheer bloodymindedness."—Publishers Weekly, starred review

"A splendid saga . . . . Inventive and intricately plotted."—BookPage

"Magic . . . George R.R.Martin's first fantasy epic [is set] well above the norms of the genre."—Locus

"Such a splendid tale and such a fantasticorical! I read my eyes out and couldn't stop 'til I finished and it was dawn."—Anne McCaffrey


From the Paperback edition.

About the Author
George R. R. Martin is the #1 New York Times bestselling author of many novels, including the acclaimed series A Song of Ice and Fire—A Game of Thrones, A Clash of Kings, A Storm of Swords, A Feast for Crows, and A Dance with Dragons—as well as Tuf Voyaging, Fevre Dream, The Armageddon Rag, Dying of the Light, Windhaven (with Lisa Tuttle), and Dreamsongs Volumes I and II. He is also the creator of The Lands of Ice and Fire, a collection of maps from A Song of Ice and Fire featuring original artwork from illustrator and cartographer Jonathan Roberts, and The World of Ice & Fire, with Elio M. García, Jr., and Linda Antonsson. As a writer-producer, he has worked on The Twilight Zone, Beauty and the Beast, and various feature films and pilots that were never made. He lives with the lovely Parris in Santa Fe, New Mexico.

Excerpt. © Reprinted by permission. All rights reserved.
The morning had dawned clear and cold, with a crispness that hinted at the end of summer. They set forth at daybreak to see a man beheaded, twenty in all, and Bran rode among them, nervous with excitement. This was the first time he had been deemed old enough to go with his lord father and his brothers to see the king's justice done. It was the ninth year of summer, and the seventh of Bran's life.

The man had been taken outside a small holdfast in the hills. Robb thought he was a wildling, his sword sworn to Mance Rayder, the King-beyond-the-Wall. It made Bran's skin prickle to think of it. He remembered the hearth tales Old Nan told them. The wildlings were cruel men, she said, slavers and slayers and thieves. They consorted with giants and ghouls, stole girl children in the dead of night, and drank blood from polished horns. And their women lay with the Others in the Long Night to sire terrible half-human children.

But the man they found bound hand and foot to the holdfast wall awaiting the king's justice was old and scrawny, not much taller than Robb. He had lost both ears and a finger to frostbite, and he dressed all in black, the same as a brother of the Night's Watch, except that his furs were ragged and greasy.

The breath of man and horse mingled, steaming, in the cold morning air as his lord father had the man cut down from the wall and dragged before them. Robb and Jon sat tall and still on their horses, with Bran between them on his pony, trying to seem older than seven, trying to pretend that he'd seen all this before. A faint wind blew through the holdfast gate. Over their heads flapped the banner of the Starks of Winterfell: a grey direwolf racing across an ice-white field.

Bran's father sat solemnly on his horse, long brown hair stirring in the wind. His closely trimmed beard was shot with white, making him look older than his thirty-five years. He had a grim cast to his grey eyes this day, and he seemed not at all the man who would sit before the fire in the evening and talk softly of the age of heroes and the children of the forest. He had taken off Father's face, Bran thought, and donned the face of Lord Stark of Winterfell.

There were questions asked and answers given there in the chill of morning, but afterward Bran could not recall much of what had been said. Finally his lord father gave a command, and two of his guardsmen dragged the ragged man to the ironwood stump in the center of the square. They forced his head down onto the hard black wood. Lord Eddard Stark dismounted and his ward Theon Greyjoy brought forth the sword. "Ice," that sword was called. It was as wide across as a man's hand, and taller even than Robb. The blade was Valyrian steel, spell-forged and dark as smoke. Nothing held an edge like Valyrian steel.

His father peeled off his gloves and handed them to Jory Cassel, the captain of his household guard. He took hold of Ice with both hands and said, "In the name of Robert of the House Baratheon, the First of his Name, King of the Andals and the Rhoynar and the First Men, Lord of the Seven Kingdoms and Protector of the Realm, by the word of Eddard of the House Stark, Lord of Winterfell and Warden of the North, I do sentence you to die." He lifted the great sword high above his head.

Bran's bastard brother Jon Snow moved closer. "Keep the pony well in hand," he whispered. "And don't look away. Father will know if you do."

Bran kept his pony well in hand, and did not look away.
His father took off the man's head with a single sure stroke. Blood sprayed out across the snow, as red as summerwine. One of the horses reared and had to be restrained to keep from bolting. Bran could not take his eyes off the blood. The snows around the stump drank it eagerly, reddening as he watched.

The head bounced off a thick root and rolled. It came up near Greyjoy's feet. Theon was a lean, dark youth of nineteen who found everything amusing. He laughed, put his boot on the head,and kicked it away.

"Ass," Jon muttered, low enough so Greyjoy did not hear. He put a hand on Bran's shoulder, and Bran looked over at his bastard brother.

"You did well," Jon told him solemnly. Jon was fourteen, an old hand at justice.

It seemed colder on the long ride back to Winterfell, though the wind had died by then and the sun was higher in the sky. Bran rode with his brothers, well ahead of the main party, his pony struggling hard to keep up with their horses.

"The deserter died bravely," Robb said. He was big and broad and growing every day, with his mother's coloring, the fair skin, red-brown hair, and blue eyes of the Tullys of Riverrun. "He had courage, at the least."

"No," Jon Snow said quietly. "It was not courage. This one was dead of fear. You could see it in his eyes, Stark." Jon's eyes were a grey so dark they seemed almost black, but there was little they did not see. He was of an age with Robb, but they did not look alike. Jon was slender where Robb was muscular, dark where Robb was fair, graceful and quick where his half brother was strong and fast.

Robb was not impressed. "The Others take his eyes," he swore. "He died well. Race you to the bridge?"

"Done," Jon said, kicking his horse forward. Robb cursed and followed, and they galloped off down the trail, Robb laughing and hooting, Jon silent and intent. The hooves of their horses kicked up showers of snow as they went.

Bran did not try to follow. His pony could not keep up. He had seen the ragged man's eyes, and he was thinking of them now. After a while, the sound of Robb's laughter receded, and the woods grew silent again.

That was when Jon reappeared on the crest of the hill before them. He waved and shouted down at them. "Father, Bran, come quickly, see what Robb has found!" Then he was gone again.

Jory rode up beside them. "Trouble, my lord?"

"Beyond a doubt," his lord father said. "Come, let us see what mischief my sons have rooted out now." He sent his horse into a trot. Jory and Bran and the rest came after.

They found Robb on the riverbank north of the bridge, with Jon still mounted beside him. The late summer snows had been heavy this moonturn. Robb stood knee-deep in white, his hood pulled back so the sun shone in his hair. He was cradling something in his arm, while the boys talked in hushed, excited voices.

The riders picked their way carefully through the drifts, groping for solid footing on the hidden, uneven ground. Jory Cassel and Theon Greyjoy were the first to reach the boys. Greyjoy was laughing and joking as he rode. Bran heard the breath go out of him. "Gods!" he exclaimed, struggling to keep control of his horse as he reached for his sword.

Jory's sword was already out. "Robb, get away from it!" he called as his horse reared under him.

Robb grinned and looked up from the bundle in his arms. "She can't hurt you," he said. "She's dead, Jory."

Bran was afire with curiosity by then. He would have spurred the pony faster, but his father made them dismount beside the bridge and approach on foot. Bran jumped off and ran.

By then Jon, Jory, and Theon Greyjoy had all dismounted as well. "What in the seven hells is it?" Greyjoy was saying.

"A wolf," Robb told him.

"A freak," Greyjoy said. "Look at the size of it."

Bran's heart was thumping in his chest as he pushed through a waist-high drift to his brothers' side.

Half-buried in blood stained snow, a huge dark shape slumped in death. Ice had formed in its shaggy grey fur, and the faint smell of corruption clung to it like a woman's perfume. Bran glimpsed blind eyes crawling with maggots, a wide mouth full of yellowed teeth. But it was the size of it that made him gasp. It was bigger than his pony, twice the size of the largest hound in his father's kennel.

"It's no freak," Jon said calmly. "That's a direwolf. They grow larger than the other kind."

Theon Greyjoy said, "There's not been a direwolf sighted south of the Wall in two hundred years."

"I see one now," Jon replied.

Bran tore his eyes away from the monster. That was when he noticed the bundle in Robb's arms. He gave a cry of delight and moved closer. The pup was a tiny ball of grey-black fur, its eyes still closed. It nuzzled blindly against Robb's chest as he cradled it, searching for milk among his leathers, making a sad little whimpery sound. Bran reached out hesitantly. "Go on,"Robb told him. "You can touch him."

Bran gave the pup a quick nervous stroke, then turned as Jon said, "Here you go." His half brother put a second pup into his arms. "There are five of them." Bran sat down in the snow and hugged the wolf pup to his face. Its fur was soft and warm against his cheek.

"Direwolves loose in the realm, after so many years," muttered Hullen, the master of horse. "I like it not."

"It is a sign," Jory said.

Father frowned. "This is only a dead animal, Jory," he said. Yet he seemed troubled. Snow crunched under his boots as he moved around the body. "Do we know what killed her?"

"There's something in the throat," Robb told him, proud to have found the answer before his father even asked. "There, just under the jaw."
His father knelt and groped under the beast's head with his hand. He gave a yank and held it up for all to see. A foot of shattered antler, tines snapped off, all wet with blood.

A sudden silence descended over the party. The men looked at the antler uneasily, and no one dared to speak. Even Bran could sense their fear, though he did not understand.

His father tossed the antler to the side and cleansed his hands in the snow. "I'm surprised she lived long enough to whelp," he said. His voice broke the spell.

"Maybe she didn't," Jory said. "I've heard tales . . . maybe the bitch was already dead when the pups came."

"Born with the dead," another man put in. "Worse luck."

"No matter," said Hullen. "They be dead soon enough too."

Bran gave a wordless cry of dismay.

"The sooner the better," Theon Greyjoy agreed. He drew his sword.

"Give the beast here, Bran."

The little thing squirmed against him, as if it heard and understood.

"No!" Bran cried out fiercely. "It's mine."

"It be a mercy to kill them," Hullen said.

Bran looked to his lord father for rescue, but got only a frown, a furrowed brow. "Hullen speaks truly, son. Better a swift death than a hard one from cold and starvation."

"No!" He could feel tears welling in his eyes, and he looked away. He did not want to cry in front of his father.

"Lord Stark," Jon said. It was strange to hear him call Father that, so formal. Bran looked at him with desperate hope. "There are five pups," he told Father. "Three male, two female."

"What of it, Jon?"

"You have five true born children," Jon said. "Three sons, two daughters. The direwolf is the sigil of your House. Your children were meant to have these pups, my lord."

Bran saw his father's face change, saw the other men exchange glances. He loved Jon with all his heart at that moment. Even at seven, Bran understood what his brother had done. The count had come right only because Jon had omitted himself. He had included the girls, included even Rickon, the baby, but not the bastard who bore the surname Snow, the name that custom decreed be given to all those in the north unlucky enough to be born with no name of their own.

Their father understood as well. "You want no pup for yourself, Jon?" he asked softly.

"The direwolf graces the banners of House Stark," Jon pointed out. "I am no Stark, Father."

Their lord father regarded Jon thoughtfully. Robb rushed into the silence he left. "I will nurse him myself, Father," he promised. "I will soak a towel with warm milk, and give him suck from that."

"Me too!" Bran echoed.

The lord weighed his sons long and carefully with his eyes. "Easy to say, and harder to do. I will not have you wasting the servants' time with this. If you want these pups, you will feed them yourselves. Is that understood?"

Bran nodded eagerly. The pup squirmed in his grasp, lickedat his face with a warm tongue.

It was not until they were mounted and on their way that Bran allowed himself to taste the sweet air of victory. By then, his pup was snuggled inside his leathers, warm against him, safe for the long ride home. Bran was wondering what to name him.

Halfway across the bridge, Jon pulled up suddenly.

"What is it, Jon?" their lord father asked.

"Can't you hear it?"

Bran could hear the wind in the trees, the clatter of their hooves on the ironwood planks, the whimpering of his hungry pup, but Jon was listening to something else.

"There," Jon said. He swung his horse around and galloped back across the bridge. They watched him dismount where the direwolf lay dead in the snow, watched him kneel. A moment later he was riding back to them, smiling.

"He must have crawled away from the others," Jon said.

"Or been driven away," their father said, looking at the sixth pup. His fur was white, where the rest of the litter was grey. His eyes were as red as the blood of the ragged man who had died that morning. Bran thought it curious that this pup alone would have opened his eyes while the others were still blind.

"An albino," Theon Greyjoy said with wry amusement. "This one will die even faster than the others."

Jon Snow gave his father's ward a long, chilling look. "I think not, Greyjoy," he said. "This one belongs to me."


From the Trade Paperback edition.

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[Z184.Ebook] Fee Download A Century of Media, A Century of War, by Robin Andersen

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A Century of Media, A Century of War, by Robin Andersen

Forged over the course of a century, the connections between war and media run long and deep. As this book reveals, the history of war and its telling has been a battle over public perception. The selection of which stories are told and which are ignored helps justify past battles and ensure future wars. Narratives of protest and pain, defeat and suffering, guilt and abuse struggle to be heard amid the empowering myths of war and heroism.
As Robin Andersen argues, the history of struggle between war and its representation has changed the way war is fought and the way we tell the stories of war. Information management, once called censorship and propaganda, has developed in tandem with new media technologies. Now, digital imaging creates virtual battlefields as computer-based technologies transform the weapons of war. Along the way, images on the nightly news, on movie screens, and in video games have turned war into entertainment. In the grip of virtual war, it is difficult to realize the loss of compassion or the consequences for democracy.

  • Sales Rank: #687590 in Books
  • Brand: Brand: Peter Lang Publishing
  • Published on: 2006-09-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.06" h x .70" w x 6.30" l, 1.14 pounds
  • Binding: Paperback
  • 350 pages
Features
  • Used Book in Good Condition

Review
«Robin Andersen has long been an incisive media critic with great scope and depth. In ‘A Century of Media, A Century of War’, she provides a sharp overview of a grisly media landscape. This book is a fierce light that removes the shadowy evasions of our easy reveries for war. The result is a chilling panorama of what we routinely hide from ourselves - bitter truths about media systems that deceive men and women into avidly or passively supporting the latest war. Readers can take little comfort from this well-documented story, but they can learn crucial lessons about real-life consequences when media outlets serve the warfare state.» (Norman Solomon, Author, ‘War Made Easy: How Presidents and Pundits Keep Spinning Us to Death’)

From the Back Cover
"Robin Andersen has long been an incisive media critic with great scope and depth. In A Century of Media, A Century of War, she provides a sharp overview of a grisly media landscape. This book is a fierce light that removes the shadowy evasions of our easy reveries for war. The result is a chilling panorama of what we routinely hide from ourselves—bitter truths about media systems that deceive men and women into avidly or passively supporting the latest war. Readers can take little comfort from this well-documented story, but they can learn crucial lessons about real-life consequences when media outlets serve the warfare state."

—Norman Solomon, author, War Made Easy: How Presidents and Pundits Keep Spinning Us to Death

About the Author
The Author: Robin Andersen is Associate Professor of Communication and Media Studies and Director of the Peace and Justice Studies Program at Fordham University. She received her Ph.D. at the University of California, Irvine. Her writings appear in numerous book chapters and journal articles, and she is the author of Consumer Culture and TV Programming (1995) and co-editor of Critical Studies in Media Commercialism (2000).

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11 of 11 people found the following review helpful.
A Must Read to Better Understand the War in Iraq
By Word Warrior
Media critic Robin Andersen's timely work, A Century of Media, A Century of War, is a must read for those seeking to understand how we were drawn into the war in Iraq.

Just how did the Bush Administration and its corporate media allies sell us on successive lies to get us into this war? Director of the Peace and Justice Studies Program at Fordham University, Professor Andersen investigates the collaborative relationship of the media with the current and past administrations to promote the wars of the last 100 years.

The chapter, "The Military Entertainment Complex: Permanent War and the Digital Spectacular," is the most cogent look yet at the nexus of the media industry and the Pentagon as Andersen examines the Department of Defense's (DOD) funding of corporate research and development of "militainment" for the recruitment, training and selling of current and future wars.

In her conclusion, "War, Humanism and Democracy," Andersen clearly elucidates the threat the media/DOD collusion is to democracy, writing, "Militainment does not fulfill the media's democratic mandate, any more than does the simple dissemination of government proclamations."

This seminal work provides the reader with a better understanding of how we are being manipulated and gives us the tools to cut through the media fog surrounding wars and maybe, just maybe, help prevent future armed conflicts that are not in the nation's interest.

5 of 5 people found the following review helpful.
An amazing study of the US state's wars and the media
By William Podmore
This is an amazing book. Robin Andersen, Associate Professor of Communication and Media Studies at Fordham University, studies the US media's role in times of war. Her book is full of the most dreadful facts about the USA's wars. From print in World War One to video games in the Gulf War, the media have used the most up-to-date advertising and marketing techniques to whip up public support for those wars.

War video games promote war as a fun, empowering game. They are also used for military training. The video game America's Army became the army's most important recruitment tool. At one time it had three million players, making it the number one free online action game.

Digital spectaculars like Top Gun, Rambo, Saving Private Ryan, and Black Hawk Down all promote war as heroic and humane. Who needs reasons for war when there are such striking images of war?

The military becomes part of entertainment, especially sports events. Propaganda is silent about deaths, especially civilian deaths, about the use of vile anti-personnel weapons like phosphorus bombs and cluster bombs, about international law, and about opposition to the war.

General MacArthur admitted that the US forces' scorched earth policy had created `a wasteland' in North Korea. One of the Korean War's main activists, Dean Rusk, said, the USAF bombed `everything that moved, every brick standing on top of another brick'. An official communiqué said, "It's hard to find good targets, for we have burned out almost everything." In the 1950 No Gun Ri massacre, in South Korea, "Roughly three hundred civilians, many of them women and children, were bombed and strafed from the air by U.S. gunner pilots under direct military command to do so."

The best historian of the Korean War, Bruce Cumings, wrote of "three years of genocidal bombing by the U.S. Air Force which killed perhaps two million civilians (one-quarter of the population), dropped oceans of napalm, left barely a modern building standing, opened large dams to flood nearby rice valleys and kill thousands of peasants by denying them food, and went far beyond anything done in Vietnam in a conscious program of using air power to destroy a society ..."

"El Salvador's new government today made its first get-tough reply to protesting leftists ..." CBS, 28 October 1979. The media always assume that the government in allied states is democratic, whatever the facts, and they always present its acts as self-defence, reactive and necessary. The media always assume that the opposition in enemy states is democratic, whatever the facts, and they always present its acts as self-defence, reactive and necessary.

The US invasion of Grenada was a `violation of international law', as the UN Security Council decided on 2 November 1983. In 1986 the International Court of Justice found the US state guilty of terrorism against Nicaragua. Former contra leader Edgar Chamorro wrote in his book Packaging the contras: a case of CIA disinformation, "During my four years as contra director, it was premeditated policy to terrorize civilian non-combatants to prevent them from cooperating with the Government. Hundreds of civilian murders, tortures and rapes were committed in pursuit of this policy, of which the `contra' leaders and their CIA superiors were well aware."

Chamorro also wrote, "It is a gross fabrication to claim that the contras are composed of democratic groups.... This is how murder and torture were justified, how the destruction of property and the sabotage of the economy and the social fabric of a nation were excused, all in the name of patriotism and anticommunism."

In 1990, a Kuwaiti girl lied to the US Congress that Iraqi soldiers had stormed Kuwaiti hospitals and thrown premature babies out of their incubators and left them on the floor to die. Amnesty International fell for this and stated in its report to Congress that 312 babies were killed. The girl who told this lie was the daughter of the Kuwaiti ambassador to the USA. The girl had been coached by the PR firm Hill and Knowlton. She later admitted her story was not true.

During the Gulf War of 1990-91, a study found that the more television that people watched, the less they knew and the more they backed the war.

The Downing Street memo of July 2002 said that war on Iraq was `inevitable' and that "facts were being fixed around the policy". Yet for months afterwards Bush and Blair lied that war would only be `a last resort'.

3 of 3 people found the following review helpful.
Totally Unbiased Reporting
By Carioca56
This book is mostly fact, intertwined with the author's interpretation of the latter.

On page 315 author Robin Andersen writes about Abe Lincoln who said: "I am a firm believer in people. If given the truth, they can be depended upon to meet the national crisis."

Unfortunately, the people are NOT given the facts, as Ms. Andersen shows for more than 300 pages.

This book documents how America's imperial tendencies have not simply been ignored, but promoted by the mass media.

Some quotes are as follows............

The author Robin Andersen refers to suffering and death as "an acceptable practice in contemporary democratic society." Is she referring to contemporary American democratic society, or contemporary world democratic society? One can only imagine.

On the Iraq War Andersen quotes a Dr. Jabbar who said: "I saw the cluster bombs with my own eyes. Not less than 60% of the dead were women and children."

Probably, most telling, she points out that the operation to rescue an elite group of American soldiers, documented in the film "Black Hawk Down," left more than one thousand Somalis dead, in order to rescue a dozen odd American soldiers.

A horribly accurate tale of government and media collaboration to present war to the public as something that we can't live without.

Four stars. One star missing for the staccato style of reporting. But this woman is a scholar, not a writer.

Thank you Ms. Andersen.

P.S. I am still upset with Amazon.com for their denial of internet services to Wikileaks.

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