Commercial vs. Independent Content: Human and Financial Resources

Concerning their human and financial resources commercial media and independent content provider are an extremely unequal pair. While the 1998 revenues of the world's leading media conglomerates (AOL Time Warner, Disney, Bertelsmann, Viacom and the News Corporation) amounted to US$ 91,144,000,000 provider of independent content usually act on a non-profit basis and to a considerable extent depend on donations and contributions.

Also the human resources they have at their disposal quite differ. Viacom for example employs 112,000 people. Alternative media conversely are mostly run by a small group of activists, most of them volunteers. Moreover the majority of the commercial media giants has a multitude of subsidiaries (Bertelsmann for instance has operations in 53 countries), while independent content provider in some cases do not even have proper office spaces. Asked about their offices number of square meters Frank Guerrero from RTMark comments "We have no square meters at all, because we are only on the web. I guess if you add up all of our servers and computers we would take up about one or two square meters."

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The Secret Behind

The secret behind all this is the conception that nothing bad could ever be referred to the own nation. All the bad words belong to the enemy, whereas the "we" is the good one, the one who never is the aggressor but always defender, the savior - not only for ones own sake but also for the others, even if they never asked for it, like the German population during World War I and II.
The spiritualization of such thinking leads to the point that it gets nearly impossible to believe that this could be un-true, a fake. To imagine injustice committed by the own nation gets more and more difficult, the longer the tactic of this kind of propaganda goes on. U.S.-Americans voluntarily believe in its politics, believing also the USA works as the police of the world, defending the morally good against those who just do not have reached the same level of civilization until today.
To keep up this image, the enemy must be portrayed ugly and bad, like in fairy-tales, black-and-white-pictures. Any connection between oneself and the enemy must be erased and made impossible. In the case of Slobodan Milosevic or Saddam Hussein this meant to delete the positive contact of the last years from the consciousness of the population. Both had received a high amount of money and material help as long as they kept to the rules of the Western game. Later, when the image of the friend/confederate was destroyed, the contact had to be denied. The media, who had reported that help, no longer seemed to remember and did not write anything about that strange change of mind. And if any did, they were not really listened to, because people tend to hear what they want to hear. And who would want to hear that high amounts of his taxes had formerly gone to "a man" (this personification of the war to one single man is the next disinformation) who now is the demon in one's mind.

All of this is no invention of several politicians. Huge think tanks and different governmental organizations are standing behind that. Part of their work is to hide their own work, or to deny it.

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Virtual Marylin Monroe

This is the story of the virtual Marylyn Monroe created by MRALab in Switzerland. The biography features her personal and professional stories. This being the biography of a virtual being, it does not end with the present and includes, instead, a chapter on her destiny.

http://www.miralab.unige.ch/MARILYN/VIRTUAL/virtual.html

http://www.miralab.unige.ch/MARILYN/VIRTUAL/v...
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Avatar

Traditionally, an avatar is a mythical figure half man half god. In Hindu mythology, avatars are the form that deities assume when they descend on earth. Greek and Roman mythologies also contain avatars in animal form or half animal, half man. In virtual space, the word avatar refers to a "virtual identity" that a user can construct for him / herself, e.g. in a chat-room. Avatars have also been a preferred object of media art.

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