Anonymous Battles Media Gorgons
We Are Anonymous Index: http://cryptome.org/2012/05/we-are-anon-index.pdf (2MB)
Excerpt on alleged IRC chats between Hector "Sabu" Monsegur and Julian Assange:
Anonymous Battles Media Gorgons, May 26, 2012
By John Young "Cryptome" (New York, NY)
This review is from: We Are Anonymous: Inside the Hacker World of LulzSec, Anonymous, and the Global Cyber Insurgency (Hardcover)
We Are Anonymous portrays the battle unfolding for control of the Internet era as insurgent skills and techniques for cyber and real world challenges are invented, shared and applied in a struggle with armies of governments, commerce and institutions accustomed to collusive domination.
Parmy Olson's highly informative account based on extensive interviews, IRC chats, emails of celebrated nics of Anonymous, LulzSec and other subversive inititatives demonstrates that these well-publicized skirmishes are only a small part of a much greater conflict underway between agile, swarming, anarchic, proficient dissidents and heirarchical, sclerotic, bloated and inept authorities worldwide.
This is a amply resourced book to learn about a rapidly spreading under-culture undermining the over-culture, to enjoy its Encyclopedia Dramatica humor, to be infected by its gutsy courage, for appreciating its generous, bountiful, defiant lulz.
Above all, though, this rollicking narrative of misbehavior and disobedience can inspire opposition to the pretentious, ponderous, manipulative ideology of using the Internet to enforce knowledge consumption manufactured by gov, com, edu and org.
This volume shows that the prime force working both sides of the contest is opportunistic multi-headed media gorgon of journalism, film, documentaries, scholarship and personal data aggregating -- social engineering, egging on, flattering, seducing, lying, betraying, cheating, double-crossing, promising fame, notoriety and gratification -- deploying the traditional means and methods of uniquely privileged spies operating outside the rules of engagement, claiming the high ground above the battleground from their own protected overlook to broadcast beguiling events as they fabricate and churn opinion, news and knowledge.
Succumb to the allure of publicity gorgons and be packaged for sale to your enemies.
The gorgons are legion. Expect them to promote suspicion. This should make U mad.
From a New York Times review of Buzz Bissinger's latest book:
In a line that’s as slashing as anything in Janet Malcolm’s book “The Journalist and the Murderer,” he says: “All writers silently soak up despair for our own advantage; like dogs rolling in the guts of dead animals, the stink of others makes us giddy. We deny it but we lie in denying it.”
The Journalist and the Murderer is an examination of the professional choices that shape a work of non-fiction, as well as a rumination on the morality that underpins the journalistic enterprise. The journalist in question is the author Joe McGinniss; the murderer is the former Special Forces Captain Jeffery MacDonald, who became the subject of McGinniss' 1983 book Fatal Vision.
When Malcolm's work first appeared in March 1989, as a two-part serialization in The New Yorker magazine, it caused a sensation, becoming the occasion for wide-ranging debate within the news industry.
Malcolm's thesis, and the most widely quoted passage from The Journalist and the Murderer, is presented in the book's opening paragraph: "Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible." She continues:
He is a kind of confidence man, preying on people's vanity, ignorance or loneliness, gaining their trust and betraying them without remorse. Like the credulous widow who wakes up one day to find the charming young man and all her savings gone, so the consenting subject of a piece of nonfiction learns—when the article or book appears—his hard lesson. Journalists justify their treachery in various ways according to their temperaments. The more pompous talk about freedom of speech and "the public's right to know"; the least talented talk about Art; the seemliest murmur about earning a living."