Further Tools: Photography Art has always contributed a lot to disinformation. Many modern tools for disinformation are used in art/photography. Harold D. Lasswell once stated that propaganda was cheaper than violence. Today this is no longer true. Technology has created new tools for propaganda and disinformation - and they are expensive. But by now our possibilities to manipulate pictures and stories have gone so far that it can get difficult to tell the difference between the original and a manipulation. Trillions of photographs have been taken in the 20th century. Too many to look at, too many to control them and their use. A paradise for manipulation. We have to keep in mind: There is the world, and there exist pictures of the world, which does not mean that both are the same thing. Photographs are not objective, because the photographer selects the part of the world which is becoming a picture. The rest is left out. Some tools for manipulation of photography are: retouch cutting colouring blue box montage morphing (71) wet operation (73) neutralizing (74) masks (75) damnatio memoriae (78) Some of those are digital ways of manipulation, which helps to change pictures in many ways without showing the manipulation. Pictures taken from the internet could be anything and come from anywhere. To proof the source is nearly impossible. Therefore scientists created on watermarks for pictures, which make it impossible to "steal" or manipulate a picture out of the net.

TEXTBLOCK 1/1 // URL: http://world-information.org/wio/infostructure/100437611661/100438658730

Napoleon Napoleon I. (1769-1821) was French King from 1804-1815. He is regarded as the master of propaganda and disinformation of his time. Not only did he play his game with his own people but also with all European nations. And it worked as long as he managed to keep up his propaganda and the image of the winner. Part of his already nearly commercial ads was that his name's "N" was painted everywhere. Napoleon understood the fact that people believe what they want to believe - and he gave them images and stories to believe. He was extraordinary good in black propaganda. Censorship was an element of his politics, accompanied by a tremendous amount of positive images about himself. But his enemies - like the British - used him as a negative image, the reincarnation of the evil (a strategy still very popular in the Gulf-War and the Kosovo-War) (see Taylor, Munitions of the Mind p. 156/157).

INDEXCARD, 1/1