This handbook provides a comprehensive review of the history of non-Darwinian evolutionary thinking from its inception up until now. In doing so, it places Lamarckian Darwinism in a new light. Jean-Baptiste de Lamarck is considered the 'fondateur de la doctrine de l'evolution' (1809). His concept of transformation was the basis of a multifaceted 'Lamarckism', which, as a counter-draft to ultra-selectionist neo-Darwinism (survival of the fittest), was particularly successful in the German-speaking world between 1890 and 1940. Moving away from traditional Darwinian thought, Lamarck focused on development-oriented, evolutionary thinking and as such became a revolutionary thinker in the field of evolution. This first expansive English language book on Lamarckism helps to better understand his views and the existing research of new epigenetic developmental and hereditary systems, making it a must-read for philosophers, historians and evolution theorists.

Repositioning Indian art cinema as a genre that articulated an elite, middle-class social imaginary, Indian Art Cinema and its Cultural Elites examines the form's contentious position within Indian society, at once exclusionary in its outlook and yet instrumental in bringing Indian film into global prominence in the latter half of the twentieth century.

Drawing on Bourdieu's theory of cultural production, Jyotika Virdi looks at how a closed producer-critic-consumer circuit reinforced class distinction through a presumption of superior taste. She traces the trajectory of art cinema in India from the 1950s, when new institutions under Nehru's socialist ideals catalysed its emergence, through the New Wave movement of the 1970s and 1980s, and finally to its gradual decline in the 1990s as economic liberalization once again transformed the social landscape. By examining films like The Apu Trilogy (1955-1959) and Godam (Warehouse) (1973), she showcases the complex contradictions of the middle class, who were both the creative producers and consumers of alternative cinema, especially during the political turbulence of the late 1960s and 1970s.

Combining a meticulous examination of key auteurs such as Satyajit Ray, Mrinal Sen, Mani Kaul, and Ritwik Ghatak, with a broader study of cultural shifts and institutional frameworks, this book reevaluates the intricate relationship between art films, the state that sustains them, and the ruling cultural elite whose influence far exceeds its size.

This book seeks to make sense of competing ideas about misinformation, by setting out a post-critical discourse analysis of the ways in which it is framed, relative to both adjacent and antecedent concepts - including fake news, disinformation, bullshit, conspiracy theory, propaganda, post-truth politics, hoaxing, rumour and gossip. Is misinformation an existential threat to modern life, or is it merely a symptom of an anxious age? To answer this question, it is first necessary to understand how the phenomenon is conceptualised. Researchers and experts from a wide range of disciplines have long grappled with the problem of misinformation; but they do not always make use of the same lexicon when it comes to describing it. This book makes use of the TATI multilevel discourse method, an approach developed by the author, to make sense of some common ways in which the concept is discussed. For some, misinformation is a concept best understood as a Theory that provides an alternative explanation for newsworthy (and often contested) political and cultural events. For others, it is an Aesthetic form (or a form of spectacle) arising not from the distribution of lies as such, but rather from the very subversion of reason itself. Some see it is a Tool; false information that is instrumentalised to sow discord, or to acquire financial return. Alternatively, some see it more as an expression of Ideology; a function of the power structures that invisibly shape our lives. These discourses overlap, and indeed, it is not uncommon to find in any given opinion on misinformation, the presence of more than one of these discourses, each serving a particular rhetorical end. The emphasis in these discursive patterns in what people say about misinformation, this book concludes, may help us to identify some new ways of thinking about misinformation, best understood visually, as representing either 'thick' or 'thin' manifestations of the form.

This book analyses search engines as indexing systems: structures of social memory, designed to organise information access when knowledge is stored in archives. It views indexing systems as a highly improbable outcome of socio-cultural evolution, and charts the main stages of this social process through the impact of printing on knowledge organisation, the rise of mechanical memory, the practice of tagging, and contemporary strategies of de-indexing. In the process, the book sheds new light on the underexplored sociological question "Where do search engines come from?"

This book illustrates how white nationalism emerged and maintained itself as a global movement in the years after the Second World War, contending that its international scope was made possible by a network of individuals and groups who depended on media to communicate with each other.
By establishing and maintaining mediated networks, Feshami posits, members of the movement were able to more persuasively communicate not only their ideas and worldview but also-perhaps more compellingly-the personal emotions, narratives, and experiences which have encouraged them to construct and understand their identities as part of a national community fighting for its survival. To that end, he analyzes a variety of archival white nationalist media artifacts as case studies to demonstrate how the movement has historically utilized media to construct and foster an identity grounded in ideas of racial unity, geographical belonging, and perceived existential threats.
As white nationalists attempt to draw larger audiences by shifting cultural attitudes toward their vision of a globally united white nation, Feshami positions this network as a mediated space comprising a social architecture in which participants are encouraged to form core understandings of the self, one's relationship to others, and one's place in the larger world. In doing so, they seek to grow a movement that threatens the future of democratic and pluralist societies.

This edited volume investigates the phenomenon of parasocial interaction in the context of contemporary media and presents a comprehensive exploration of the evolving nature of parasocial relationships -- and their implications -- in the landscape of media consumption.

Contributors unravel the complexities of parasocial interaction and relationships in the modern media landscape and offer valuable insights to scholars, students, and practitioners in the field of communication and media studies.

In The Cinema of Social Death: Blackhood At-Large, Tryon P. Woods argues that cinematic counter-narratives to society's deep-seated racist culture, while claiming to advance racial justice, fail to escape the trappings of anti-blackness and instead function to disguise a parasitic and antagonistic relationship toward blackness, rather than expose how the paradigm works.
Through analyses of a selection of purportedly anti-racist narratives from documentarian Liz Garbus and a trio of independent black filmmakers, Tanya Hamilton, Haile Gerima, and Spike Lee, Woods demonstrates the precarious nature of telling stories of racial justice without falling into the contradictory trap of imposing antiblack notions of gender and sexuality. Contrary to the prevalent sentiment that these visual narratives disrupt and unravel the suffering, lack, and pathology attached to blackness, Woods posits that the films being examined are detrimental to black liberation, and thus, to human deliverance.

As such, this book's chief concern is in how our efforts to unravel the problems of the world become part of the problem. In the process, Woods highlights the trap of visual culture and its racial discourse as it obfuscates the modern era's assault on human reciprocity and connection.

This book investigates the construction of risks through discourse to provide new insights into the relationship between risk discourse and society.
It explores how British newspapers used language to discursively construct four different types of risks to life, namely terror attacks, earthquakes, road accidents, and heart attacks, between 2017 and 2020, examining what makes some risk events newsworthy, and how this relates to the way they are perceived.

The author offers new insights into risk reporting by using an approach combining theories and methodologies from corpus linguistics and critical discourse studies focusing on news values and risk perception. Through a focus on risks to life, related social actors, and consequences, he demonstrates salient discursive strategies found in risk reporting, including dramatisation, naturalisation, impersonalisation, blame, responsibility, and risk management. These strategies contribute differently to the construction of the risks and can potentially be linked to how the media amplify or attenuate risk perception in society, a consequence of media language use.

This interdisciplinary book goes beyond linguistics to engage with discussions related to media studies, e.g. the concentration of media ownership in the UK, and news values; risk literature, e.g. risk perception, sociological theories of risk, and risk communication; and the relationship between media and risk perception, and studies related to each risk.

Community Media, Sustainability and Crisis examines how community media responds when existing structures and normal expectations are upended, across a global set of perspectives.
This original collection draws on a truly global set of perspectives, with authors from Asia, Europe, Africa, and both North and South America, who explore a range of ideological, political, economic, and cultural factors that shape how community media projects respond to crises. Contributors analyze how to evaluate the sustainability and operation of community media, using case studies centered on community radio station responses from across a range of geographical settings during the COVID-19 pandemic. Through broadening focus to discuss community radio with other forms of crisis such as communities rebuilding after earthquakes and natural disasters, the authors describe how community media can be an important resource for community resilience and recovery.

While existing publications on the Cold War tend to characterise this period exclusively in terms of conflict or on the basis of irreconcilable ideological differences, this book - through a number of fascinating international case studies - shows that there were also many media-related examples of attempts for reconciliation on both sides of the Iron Curtain.

Scholars of media history, more often than not, have looked at the role of media in times of conflict, war, crises, social and political upheaval. Yet, media such as film, radio and television have also played a decisive role in processes of conflict resolution. As such, media in one way or another affected nation building processes, the fight for civil rights, equality, the reconciliation of former enemies, the democratisation of totalitarian states and peacekeeping missions around the world. This was also true during the Cold War which could be considered the longest-simmering conflict of the 20th century with far-reaching consequences that could be felt to this day.

Arguing that cultural politics were a vital part of the Cold War experience, Conflict Resolution and the Cold War: Media Encounters across the Iron Curtain brings together international scholars with expertise in different media to take a closer look at this often-overlooked role media played in conflict resolution and initiatives for reconciliation. Owing to the very few, if any, opportunities to meet people from the other side of the political divide in person, media often provided an important sphere where the East and the West could learn from one another. Examples include BBC broadcasts, films such as The Charterhouse of Parma (1948), television networks, television programs such as Doctor Who, and Danish journalists returning from exile in London and Stockholm, among others.

This open-access book is an interdisciplinary and transnational study of how screen media can shape our perception of Roman women and project present gender inequalities onto them. Maria Wyke and Monika Wozniak explore a range of representations that have given life to Roman women through a multisensory experience of history as image, movement and sound, starting from the 1900s through to the 2020s (from the arrival of cinema to the ascendance of video games). This book asks: what sources do screen media draw on for their Roman women (given the scarcity of suitable ancient material), how are they assembled aesthetically and ideologically using the specific devices of such media (from camerawork to gameplay), and who are they made by and for (especially in terms of gender)?

Each chapter investigates the diverse ways these representations interlock with the social position of women at the time in which they were made, and consider to what extent they have responded to the emergence of feminism, the revisionist scholarship on ancient women that emerged in the mid-1970s, and the rise of the #MeToo movement from 2006. The challenge of creating authentic yet compelling portrayals of Roman women is greater than ever, in a media culture marked by anti-feminist rhetoric and a wide gap between our ancient sources (where female agency is tightly constrained) and current expectations for powerful women in popular culture. The volume will therefore provide a stronger platform on which to build the Roman women of the future.

The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by University College London.

Individuating action depends upon how people comprehend value judgements about the consequences of an action to distinguish-or not to distinguish-between them.

The question "what is action?" cannot be fully addressed until it is established whether two action descriptions-whether in law, business, insurance policies, or ordinary conversation-refer to the same or different actions. This book approaches the problem of action individuation by arguing for a variantist account, where the moral valence of the consequences of an action plays a foundational role in distinguishing between actions. Actions with bad consequences are associated with the originating act from which the action arises; actions with positive consequences are separate from their originating act. When we consider whether a bad or good consequence is identical to an originating action, the normative valence of the consequences of the action matter. Drawing from an empirical assessment that tests non-philosophers' intuitions about individuating actions, along with real-world examples, Joseph Ulatowski explores the practical and philosophical significance of how we distinguish between actions.

The essays in this volume provide a textured analysis of streaming video in the global South, revealing both the impacts of and challenges faced by Northern streamers in Southern markets, as well as new possibilities and constraints experienced by producers and performers from the South.

In recent years, major streaming video companies from the global North like Netflix, Amazon Prime Video, and Disney + have begun expanding to international markets, which are increasingly in the global South. Yet, much scholarship on the streaming of film and television focuses primarily on North America and Europe. This volume contests the prevailing perspective by focusing on media environments across the vast, yet relatively understudied, contexts of Asia, Africa, and Latin America and by tracking emerging trends in digitized audiovisual culture through their example.
Moving between political-economic and textual approaches, and exploring a variety of formats and genres (from serialized drama to feature-length documentary), the volume argues that the complexities of the global streaming landscape impel us to interrogate long-standing theories of Western cultural imperialism imposed on the non-Western world and to attend closely to shifting dynamics between the global North and South.

This handbook provides a comprehensive review of the research and practice of engaging with children's and young adult literature in education. Drawing across scholarship focused on genre, creation, and utilization of children's literature, it provides a unique perspective on the role that children's literature can play in educational spaces from age 2 to 18, and from picture books to YA literature.

The volume is divided into two main sections: first, a review of the history of children's literature and its application in education; and second, a discussion of methodological approaches for studying children's literature in educating young people - particularly in relation to critical literacy and multimodality. The chapters cover a range of topics including diversity, intersectionality, transactional theory, representation, trauma-informed pedagogy, anti-racism, immigration, folk and fairy tales and more.

Written by leading scholars based in Australia, the US, Norway, South Korea, and the UK, the handbook represents the global use of children's literature in schools, revealing connections across international contexts while also honoring the differences in how literature is conceptualized and utilized across the world.

How digital humanities can shape and be shaped by the infrastructures that sustain our world

Critical Infrastructure Studies and Digital Humanities reimagines the digital humanities (DH) through the expanding field of critical infrastructure studies. Featuring voices from around the globe, this volume explores how DH builds on and extends theories and technologies of infrastructure that affect society, culture, and knowledge in different national and regional contexts. Examining DH's own infrastructural genealogy, the contributors offer readers critical reflections and bold visions for the future as they address issues of environmentalism, decolonization, Indigenous sovereignty, multilingualism, labor justice, feminism, national development, and beyond from a variety of disciplinary perspectives embedded in concrete digital systems. Including innovative "infrastructure manifests," the essays in this book illuminate how DH can both study and shape the systems that sustain culture, scholarship, and connection.

Contributors: Anne Beaulieu, U of Groningen; Kyle Booten, U of Connecticut; Ann Borda, U of Melbourne; Susan Brown, U of Guelph; Toby Burrows, U of Western Australia; Ashley Caranto Morford, Weber State U; Javier Cha, U of Hong Kong; Jing Chen, Nanjing U; Arianna Ciula, King's College London; Maya Dodd, FLAME U, Pune, India; Martin Paul Eve, Birkbeck, U of London; Allan Gomez, Philly Community Wireless; Matthew N. Hannah, Purdue U; Matthew Hockenberry, Fordham U; Arun Jacob, U of Toronto; Mike Jones, U of Tasmania; Lucie Kolb, Basel Academy of Art and Design FHNW; Ian M. Miller, St. John's U, New York; Sylvia K. Miller, Duke U; Sarah Montoya, Mellon Humanities Postdoctoral Fellow; Saumyaa Naidu, independent researcher; Sharika Parmar, FLAME U, Pune, India; Kush Patel, Srishti Manipal Academy of Higher Education, Bengaluru; Miriam Posner, UCLA; Puthiya Purayil Sneha, International Institute of Information Technology, Hyderabad; Paul Spence, King's College London; Lik Hang Tsui, City U of Hong Kong; Deb Verhoeven, U of Alberta; Miguel Vieira, King's College London; Devren Washington, Philly Community Wireless; Alex Wermer-Colan, Temple U and Philly Community Wireless; Darren Wershler, Concordia U; Grant Wythoff, Princeton U and Philly Community Wireless.

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In 1945, W. Averell Harriman, US Ambassador to the Soviet Union, was presented with a carved wooden plaque of the Great Seal of the United States as a 'gesture of friendship' by a delegation from the Soviet's Young Pioneer Organization.
Unbeknownst to him, one of the first covert listening devices, invented by Leon Theremin was hidden within it and was subsequently used to listen in on the ambassador's conversations for six years before being discovered. This book uses remarkable tales like this to tell the story of how modern audio surveillance developed and its important role in the evolution of today's artificial intelligence.

Beginning with post-WW2 monitoring devices, Listening In traces an arc through the Cold War era into the present day in which state and commercial spyware can record our calls, copy messages and secretly film us. It subsequently moves into the near future where AI-assisted technologies can listen to things we have not yet said as well as digitally simulate and record our voices after we have died. Exploring how mass audio surveillance is carried out through devices such as smart phones, speakers and baby monitors and used to inform and train AI algorithms, the book provides fresh insights into how we are allowing our personal privacies to be traded for enhanced social connectivity and technological convenience. Ultimately Listening In reveals how the urge to listen and record everything that has ever been uttered is scored deeply into the technological operating systems of cultures from around the world.

Listening In is also available in audiobook format from audiobook retailers.

In Fantasies of Singledom, Kate R. Gilchrist examines how the representation of the single woman manifests itself in contemporary popular culture across the United Kingdom, the United States, and Europe, placing this image in juxtaposition to the lived experiences and self-narratives of single femininity in everyday life.

Gilchrist skillfully brings these two conceptualizations of feminine singlehood into conversation with one another by incorporating in-depth interviews with twenty-five women living in London alongside critical analyses of eight cross-genre media texts which foreground single women. In doing so, she illuminates not only the ways in which women's experiences draw on or converge with media representations, but also where their narratives resist or rework such ideas, interrogating recurring themes of success, transformation, autonomy, silencing, invisibility, and-perhaps most prominently-the notion of the "ideal" femininity being a coupled one.

Building on research that has largely centered on North American contexts until now, Gilchrist also considers how these discourses manifest intersectionally, demonstrating the necessity of a multi-faceted approach in achieving a fuller understanding of how experiences of singledom are shaped by external factors. Ultimately, Fantasies of Singledom significantly expands upon and complicates existing theorizations of the relationship between cultural representation and gendered subjectivity formation in postfeminist cultural contexts.

Games That Haunt Us: Gothic Game Space as a Living Nightmare is an examination of how the Gothic appears in game space to interrogate an area of substantial importance to contemporary games, with a focus on environments, bodies, and defining the Gothic in games.

The Gothic, both as a literary and videogame genre has increased in prominence amongst literature, media, and culture scholars globally, as games studies becomes a more recognized and exciting field of study and as Gothic scholars find new ways to apply their works across emerging mediums.

But why have Gothic games risen in popularity since 2010? What do players feel when they play these games? Why are themes surrounding fraught identities, mourning, and monstrosity gaining so much attention? Games That Haunt Us investigates the very nature of the Gothic and how video games provide new ways of connecting with the genre. The scholars in this collection look at why Gothic games are having their moment of popularity, the unsettling themes they evoke in unstable times, why we are fascinated with death and decay, theories surrounding body horror, and how games transform avatars and ourselves.

Games That Haunt Us is arranged into three sequential themes: what makes a Gothic game; Gothic environments in game space; and how Gothic bodies are approached and utilized in ludonarratives.

A panoramic view of the cosmos must begin with the tension of a single political moment. In Quantum History, Slavoj Zizek brings together Hegelian dialectics, Lacan psychoanalysis and quantum mechanics to rethink history, reality and political possibility.

Taking up Lenin's challenge to radically reconsider materialism in the wake of each big scientific discovery, and rejecting the recent vogue for giving a vague spiritualist spin to wave mechanics, Zizek embraces the philosophical implications of quantum mechanics with characteristic erudition and verve. Drawing on the central themes of the holographic universe, non-commutativity and the collapse of superpositions, Zizek evolves a quantum-inspired ontology which reinvents the historical materialism of Hegel and Heidegger - and compels a brutal, often darkly funny, inquisition into the chances of radical emancipatory acts today.

Quantum History takes the reader from the absolute contradiction of the primordial void through quantum oscillations to our ordinary reality, weaving in Lacan and Deleuze, Rovelli and Schelling, opera, cinema, sex and war. Zizek is at his sharpest, saddest, most provocative best as he demonstrates that there is no way of extracting ourselves from the texture of history, no neutral position from which the workings of the world can be observed transparently - we must act from a contingent, complex and inscrutable political moment, in sadness and in doubt, but defiantly.

An English translation of Itabashi Yu?jin's reading of Nishida Kitaro's philosophy of the body that connects to problems in everyday life.

Using the major Japanese philosopher Nishida Kitaro as a guide, Itabashi Yu?jin thinks through what it means to be and have a tensed-up body under conditions of societal control, be it during the pandemic or due to certain aesthetic regimes that declare what an optimal body should be.

Yu?jin unravels the bodily tensing response to such conditions. He lays bare that tension and thinks about how one can come to terms with living in a body under conditions of difficulty. This systematic exploration into how aspects of Nishidian philosophy, including the relationship between the self and the other, is set in relation to being embodied in a certain time and place. Yu?jin delves into the role of the body in the early work of philosopher Kitaro without neglecting important developments in the late philosophy of Nishida himself and beyond.

By reflecting on the difficulty of living well, Yu?jin offers a fresh interpretation of Nishida and a timely investigation of the role of the body in modern Japanese society. This exploration of the relationship between the self and the world reveals the lasting impact of Nishida's philosophy.

Exploring where animality meets digital media in the shadow of climate crisis

Digital Animalities is a groundbreaking investigation into the entanglements of animal life, media infrastructures, and digital technologies in a time of environmental precarity and digital saturation. Revealing the digital as a dynamic site where animal agency and technological systems collide, the contributors eschew simplistic binaries to emphasize complex mediations between animals and digital media.

From wildlife camera traps and virtual zoos to gaming environments and animation tools, these essays explore how animals are captured, played with, and consumed through digital technologies, elaborating their agency in these mediations of ecological and biopolitical processes. Rethinking animality as a fluid and contested terrain shaped by climate change, extinction pressures, and emerging ecopolitical paradigms, Digital Animalities shifts how we consider the impact of the digital on sentient lives and their futures.

Contributors: Giovanni Aloi, Art Institute of Chicago; Etienne S. Benson, Max Planck Institute for the History of Science, Berlin; Sarah Bezan, U College Cork; Michael Fisch, U of Chicago; Kate Galloway, Rensselaer Polytechnic Institute; Christine L. Marran, U of Minnesota; Brian McCormack; Jonathan Osborn; Hannah Tollefson, U of Toronto Scarborough; Tom Tyler, U of Leeds; Paul Wells, Loughborough U; Hang Wu.

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What does feminist filmmaking in the 21st century look like? This book assesses the influence of Western feminist theory on contemporary film and television - nearly fifty years after Claire Johnston and Laura Mulvey called for a feminist counter-cinema - highlighting the cross-fertilization between feminist film theory and practice.

Is there a #Metoo genre? Have traditional Hollywood genres been reframed? How has intersectional feminist film theory been explored on screen? In essays spanning film and television in a broad range of genres from the US, the UK and India, contributors renew definitions of feminist filmmaking since second wave feminist film scholars first grappled with the image of women in film and the role of women in the film industry. Feminist Visions provides an insightful space for discussion of feminist film theory as applied to recent TV series such as Devious Maids (2013-2016), Unbelievable (2019), Greenleaf (2016-2020), I May Destroy You (2020) and Insecure (2016-2021) and films including Maid in Manhattan (2002), Night Moves (2014), Gone Girl (2014), I Care a Lot (2020) and The Discreet Charm of the Savarnas (2020).

This book explores the synergetic cooperation and sometimes complex relationship between Western pop songs and East Asian films. While much research has examined the impact of songs in films, the nuances that emerge when films and songs come from different cultural contexts has not been as widely explored. Do English-language songs originating in Western cultures continue to carry specific meanings with them into films outside their original culture-or are they fully remade by their new context? Moreover, how do the same song recordings serve different films from different regions, and ones with significant cultural differences? Looking primarily at Chinese and South Korean films, this book first discusses the broader phenomenon of cross-cultural 'reuse', and the widespread acceptance of Western cultural products more generally in East Asia. It also addresses the 'Orientalisation' central to such cultural exchanges, an area of research which is currently scarce but urgently needed. Individual case studies of songs used cross-culturally in films-including Boney M's 'Sunny', Simon & Garfunkel's 'The Sound of Silence', and Carl Douglas's 'Kung Fu Fighting', among others-are then examined at length, breaking down specific aspects of each song and the different filmic contexts in which it exists in order to examine how these affect potential meanings. Cross-cultural communication and understanding in film music is considered from the perspectives of aesthetics, theory, history, and social context, addressing bigger-picture questions about what the relationship between song and film can tell us about regional and global culture.

Revealing the unheralded contributions of women of color to the foundation and development of the digital economy

The Inattention Economy challenges the widespread myth that the internet was born from the labor of a handful of white male entrepreneurs, recovering the uncredited and unpaid contributions of women of color. Focusing on three key inflection points in computing - the microchip era of the 1960s and '70s, the rise of social media in the 2000s, and A.I.-fueled virtual reality in the 2020s - Lisa Nakamura illuminates these women's instrumental roles in building new technologies and making them coherent to users.

From the Navajo women who manufactured the first semiconductor circuits in New Mexico to Tila Tequila, the queer Vietnamese American refugee who became the first true internet influencer in the MySpace age, to Black virtual reality creators, Nakamura highlights how women's gendered and racialized identities have uniquely positioned them to mediate the development and proliferation of new technologies. She exposes how these women have been structurally excluded from racial capitalism's benefits while their labor is considered as exploitable and inexhaustible as that of machines. Confronting this injustice, she focuses our attention on their work, which undergirds and makes possible the platforms ingrained in our daily lives.

Arguing for both recognition and material compensation for these women's labor, The Inattention Economy is a powerful counterhistory of Silicon Valley and a persuasive call to imagine a different kind of internet.

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