Cartoons

Cartoons' technique is simplicity.
Images are easier to remember than texts.
Frequently they show jokes about politicians, friendly or against the person shown. In the first decades of this century, cartoons were also used for propaganda against artists; remember the famous cartoons of Oscar Wilde being portrayed as a criminal, aiming to destroy his popularity.
As a tool in politics it had fatal consequences by determining stereotypes, which never again could be erased even if detected as pure disinformation. Most famous got the cartoons about Jews, which were not only distributed by Germans and Austrians but all over Europe; and already in the tens and twenties of our century. Most horrifying is the fact that many of those old, fascist and racist cartoons are coming back now, in slightly different design only.

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Iris recognition

Iris recognition relies upon the fact that every individuals retina has a unique structure. The iris landscape is composed of a corona, crypts, filaments, freckles, pits radial furrows and striatations. Iris scanning is considered a particularly accurate identification technology because the characteristics of the iris do not change during a persons lifetime, and because there are several hundred variables in an iris which can be measured. In addition, iris scanning is fast: it does not take longer than one or two seconds.

These are characteristics which have made iris scanning an attractive technology for high-security applications such as prison surveillance. Iris technology is also used for online identification where it can substitute identification by password. As in other biometric technologies, the use of iris scanning for the protection of privacy is a two-edged sword. The prevention of identity theft applies horizontally but not vertically, i.e. in so far as the data retrieval that accompanies identification and the data body which is created in the process has nothing to do with identity theft.

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The "Corpse-Conversion Factory"-rumor

Supposedly the most famous British atrocity story concerning the Germans during World War I was the "Corpse-Conversion Factory"-rumor; it was said the Germans produced soap out of corpses. A story, which got so well believed that it was repeated for years - without a clear evidence of reality at that time. (Taylor, Munitions of the Mind, p.180)

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It is always the others

Disinformation is supposed to be something evil, something ethically not correct. And therefore we prefer to connect it to the past or to other political systems than the ones in the Western hemisphere. It is always the others who work with disinformation. The same is true for propaganda.
Even better, if we can refer it to the past: Adolf Hitler, supposedly one of the world's greatest and most horrible propagandists (together with his Reichsminister für Propaganda Josef Goebbels) did not invent modern propaganda either. It was the British example during World War I, the invention of modern propaganda, where he took his knowledge from. And it was Hitler's Reich, where (racist) propaganda and disinformation were developed to a perfect manipulation-tool in a way that the consequences are still working today.
A war loses support of the people, if it is getting lost. Therefore it is extremely important to launch a feeling of winning the war. Never give up emotions of victory. Governments know this and work hard on keeping the mood up. The Germans did a very hard job on that in the last months of World War II.
But the in the 1990s disinformation- and propaganda-business came back to life (if it ever had gone out of sight) through Iraq's invasion of Kuwait and the reactions by democratic states. After the war, reports made visible that not much had happened the way we had been told it had happened. Regarded like this the Gulf War was the end of the New World Order, a better and geographically broader democratic order, that had just pretended to having begun.

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The North against the South?

"Faced with this process of globalization, most governments appear to lack the tools required for facing up to the pressure from important media changes. The new global order is viewed as a daunting challenge, and it most often results in reactions of introversion, withdrawal and narrow assertions of national identity. At the same time, many developing countries seize the opportunity represented by globalization to assert themselves as serious players in the global communications market."
(UNESCO, World Communication Report)

The big hope of the South is that the Internet will close the education gap and economic gap, by making education easier to achieve. But in reality the gap is impossible to close, because the North is not keeping still, but developing itself further and further all the time; inventing new technologies that produce another gap each. The farmer's boy sitting in the dessert and using a cellular telephone and a computer at the same time is a sarcastic picture - nothing else.

Still, the so called developing countries regard modern communication technologies as a tremendous chance - and actually: which other choice is there left?

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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:



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.

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Louis XIV.

Louis XIV. (1643-1715) became King of France when he was still a young boy. He centralized all the state's power to the crown and created a state of absolutism. In this respect Louis' most famous sentence was: L'état c'est moi. (= The state am I). During his reign the most talented and respectable men in art as well as in philosophy and policy worked for the monarchy. His favor for luxury and the steady wars with other European empires ruined the state morally and financially, but for the history he is still called Roi Soleil (King of the Sun).

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Xerxes

Xerxes (~519-465 BC) was Persian King from 485-465 BC. He led his Army against the Greek but finally was defeated. He was the father of Alexander the Great.

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1896

1896

The Daily Mail was published in Great Britain. It was the first newspaper for the masses. With the emerging of newspapers the manner how politics was perceived by the public changed completely. It became more difficult to keep secrets, while at the same time there was suddenly a new and nearly perfect tool for manipulation.

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Total copyright industries

The total copyright industries encompass the "core copyright industries" and portions of many other industries that either create, distribute, or depend upon copyrighted works. Examples include retail trade (a portion of which is sales of video, audio, software, and books, for example), the doll and toy industry, and computer manufacturing.


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Copyright management information

Copyright management information refers to information which identifies a work, the author of a work, the owner of any right in a work, or information about the terms and conditions of the use of a work, and any numbers or codes that represent such information, when any of these items of information are attached to a copy of a work or appear in connection with the communication of a work to the public.

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