Ethan W Stoneman

This article examines mid-century mind control experiments—carried out by intelligence services like MK-Ultra and the CIA—as biopolitical strategy. This analysis has two main goals: first, to build theory at the boundaries of biopolitical research, examining the conditions under which something like a “programmable subject” can emerge; and second, to reframe a key episode in the scientific management of the US population. In service of these aims, the article builds upon theories of anatomo-politics and dividuated biopower to analyze how subjects are governed via the manipulation of their data-processing faculties. This method of governmentality targets the subject by pre-processing its data inputs and commands, thus managing its conduct at a pre-ideological, sub-representational level. To illustrate, we analyze how this subject appeared in the CIA’s psychochemical experiments with LSD, hypnosis, “truth serums,” and other methods of behavioral management.

This paper focuses on the Czech-born philosopher Vilém Flusser's notion of telematic society, arguing that it implies a media-theoretical revision of Friedrich Schiller's project for an aesthetic model of civic education, according to which aesthetic effectivity is reconsidered in light of a history of media based on a technological alternation of images and texts. After a brief overview of Schiller's aesthetic letters, it examines the ways in which Flusser repositions and expands upon Schiller's vision of an aesthetic education (most importantly, the aesthetic condition or middle disposition), highlighting the role that Flusser assigns to the evolution of codes inherent in the most important cultural and media techniques, namely, images, texts, and technical images. It then shows how this modification results in a forecasting of a telematic model of aesthetic education, before concluding by addressing the prospects of such a model in a post-digital world of automated media bias.

This article examines the confessional booth as an architected space that, by serving as a geo-epistemological enclosure, prefigures digital forms of data capture and production. In conversation with critical scholarship about 'confessional culture,' it analyzes how confessionals and digital enclosures embody different historical iterations of a cultural technique that promises absolution - understood as a cleansing process of transparent exposure. It argues that, with digital enclosures, the renunciative self-mortification that lies at the heart of classic Christian confession is reprogrammed into what Byung-Chul Han calls a 'pornographic self-presentation.' The self-death dealt by the confessional thus becomes an apparently voluntary self-exploitation for the social media subject. In both cases, however, absolution governs via rituals of cathartic transparency, submitting interiority to processes of legible exteriorization and articulating the subject via an exhibitive logic that blurs the boundaries between communicative freedom and compulsory self-exposure.

This paper examines how white-nationalist and identitarian fan communities read The Dark Knight film series as a coded attack on liberal values by the secretly sympathetic writer-director Christopher Nolan. In a classic esoteric reading, white nationalists posit super villains like Ra's al Ghul and Bane as giving voice to the true message of the trilogy, namely, that liberal countries have become decadent and must be destroyed so as to give rise to archeofuturistic ethnostates. We examine the white nationalists' criticisms of traditional media critics on both the left and the right in a way that helps differentiate esoteric hermeneutics from more conventional professional critical readings. We highlight the peculiar capacity of pronoiac, fan-based esotericism to resignify and circulate pop-cultural memes for radical, right-wing ends and to do so in ways that avoid the strategies of cultural censors.

The purpose of this essay is to provide an interpretive and evaluative introduction to Franco ‘Bifo’ Berardi’s critical media theory and to situate it with a view to understanding but also thinking beyond the limitations of an aesthetic practice rooted almost exclusively in conscious, language-based thought. It begins by examining the way in which Berardi conceptualizes the techno-social paradigm emerging in the passage from late industrial society to semiocapitalism (a form of capitalism based on immaterial labour and the explosion of the infosphere), connecting this to the ecological-aesthetic concerns of Félix Guattari. It concludes by questioning the prospects of poetry to forge lines of escape from the determinism of techno-linguistic governance, suggesting, by way of N. Katherine Hayles and Donna Haraway, that extra-linguistic, nonconscious resources may provide a broader and more viable theoretical palette for conceiving of indeterminability beyond, behind, and in the interstices of a complex digital ecology.

The last decade witnessed a drastic reconfiguration of American conservatism by way of a newly emergent and energized dissident right. Beyond the question of ideology, this article argues that an essential aspect of this realignment occurs at the level of strategy, specifically with the adoption of agitational tactics pioneered by the progressive left. It attempts to make sense of this sea change, first, by tracing in broad strokes the history of American conservatism's opposition to much of what passes for agitational politics. It then examines the right's seemingly abrupt adoption of three species of agitational practice: Alinsky-styled radicalism, identity politics, and accelerationism. It concludes by discussing the implications of this shift, in terms of what it means both for the future of conservative discourse and for leftist groups who must now take into account the possibility of having to outmaneuver their own set of tactics.

From 19th-century novels to contemporary computer-animated adventure films, popular media culture provides no shortage of representations that subserve colonialist attitudes and perspectives. Thor: Ragnarok (2017) provides a rare decolonial fantasy, which is especially surprising given that it does so through the veneer of the big-budget superhero film. Registering a deep concern with public memory, the film spotlights and challenges the various uses of public memory in the maintenance of colonial legitimation. In doing so, Thor: Ragnarok offers an incisive and uncompromising indictment of colonization and colonialism, one that ends not with a call for reform but with the end of the world.

This paper takes as its point of departure the newly resurgent controversy about whether the possible civic or pedagogical functions of true-crime documentaries outweigh the harm they are occasionally known to inflict. Although supporters of true-crime documentaries tend to downplay their potential to create or exacerbate trauma, their arguments, like those of the subgenre's critics, presuppose that trauma functions as an unwanted byproduct. This paper maintains that while this assumption buttresses belief in a shared moral universe of what qualifies as the just administration of law or authority it also conceals the dual possibility: (1) that the design of certain true-crime documentaries constitute an exercise of extra-juridical punitive power; and (2) that viewers are capable of deriving pleasure from such an exercise. To that end, the paper examines three recent, critically acclaimed true-crime documentaries-The Thin Blue Line, Tickled, andThe Act of Killing-identifying in each a specific form of technologically enabled retribution: interrogation, surveillance, and torture, respectively. It argues that insofar as the films succeed as entertainments and elicit pleasure from audiences, they engender and maintain subjective adherence to extra-juridical practices of retributive justice, at both a cognitive and affective level.

Hillary Clinton and Katy Perry drink the blood of murdered children to live forever, Barack Obama and Tom Hanks participate in the sex trafficking and molestation of children, and a cabal of Satan worshippers control global events from behind the scenes. This is the central, animating idea behind QAnon, a right-wing populist conspiracy theory that has achieved a level of saturation in American and global politics (in)commensurate with its peculiarity. Although part of the reason for QAnon's enormous success must reside in widespread conditions of political distrust and epistemological uncertainty, another part consists in its exploitation of a technologically enabled mode of rhetorical hermeneutics. This article focuses on the latter, arguing that there exists a tendency among QAnon followers to read and write esoterically, primarily in relation to President Trump, and to do so via the amateur “produsage” made possible by a serpentine pipeline of digital-cultural interactivity and networked internet platforms. This is not to say, of course, that any QAnon participant is versed in the history of esoteric writing, only that QAnon as a discourse appears to rely heavily on a communicative strategy of encoding and decoding that bears strong resemblance to an esoteric hermeneutic, but one played out across social media.

This article makes the case for reading the German philosopher and cultural theorist Peter Sloterdijk as a media ecologist. Tracing the media ecological implications of what is perhaps his most significant work, the three-volume Spheres project, it argues that Sloterdijk's spatial analysis of human habitats, what he terms spherology, can be interpreted as offering a promising, distinctive approach to the study of media as environments. By redescribing media as morpho-immunological spheres, or shared spatial interiors, Sloterdijk recasts both human existence and sociocultural change as the result of the interplay or mediation between a relative enclosure into a protective space and a world considered to be outside. This framework, which enables Sloterdijk to chart a grand narrative of globalization, yields a therapeutic methodological strategy by means of which media ecologists may increase the spacious dimensions of the world while strengthening the immune systems of newly designed artificial atmospheres.