Digital, Political, Radical is a siren call to the field of media and communications and the study of social and political movements. We must put the politics of transformation at the very heart of our analyses to meet the global challenges of gross inequality and ever-more impoverished democracies. Fenton makes an impassioned plea for re-invigorating critical research on digital media such that it can be explanatory, practical and normative. She dares us to be politically emboldened. She urges us to seek out an emancipatory politics that aims to deepen our democratic horizons. To ask: how can we do democracy better? What are the conditions required to live together well? Then, what is the role of the media and how can we reclaim media, power and politics for progressive ends? Journeying through a range of protest and political movements, Fenton debunks myths of digital media along the way and points us in the direction of newly emergent politics of the Left. Digital, Political, Radical contributes to political debate on contemporary (re)configurations of radical progressive politics through a consideration of how we experience (counter) politics in the digital age and how this may influence our being political.

Radical Democracy and the Internet provides a systematic and mutual interrogation of radical democratic theory and Internet practice. Contributors critically examine a range of radical democratic theories in relation to online communication, from deliberative to agonistic to autonomist Marxist, and explore how such communication may be advancing democracy beyond what is conceptualized and practised within present liberal-capitalist political contexts. The result is an important contribution to both democratic theory and new media studies, and essential reading in politics, media studies, communications, and sociology.

When independent filmmakers, activists, and amateurs document the struggle for rights, representation, and revolution, they instrumentalize images by advocating for a particular outcome. Ryan Watson calls this "militant evidence." In Radical Documentary and Global Crises, Watson centers the discussion on extreme conflict, such as the Iraq War, the occupation of Palestine, the war in Syria, mass incarceration in the United States, and child soldier conscription in the Congo. Under these conditions, artists and activists aspire to document, archive, witness, and testify. The result is a set of practices that turn documentary media toward a commitment to feature and privilege the media made by the people living through the terror. This footage is then combined with new digitally archived images, stories, and testimonials to impact specific social and political situations. Radical Documentary and Global Crises re-orients definitions of what a documentary is, how it functions, how it circulates, and how its effect is measured, arguing that militant evidence has the power to expose, to amass, and to adjudicate.

How should one understand the nature and possibilities of political radicalism today? The political radical is normally thought of as someone who stands on the left, opposing backward-looking conservatism. In the present day, however, the left has turned defensive, while the right has become radical, advocating the free play of market forces no matter what obstacles of tradition or custom stand in their way. What explains such a curious twist of perspective? In answering this question Giddens develops a new framework for radical politics, drawing freely on what he calls "philosophic conservatism", but applying this outlook in the service of values normally associated with the Left. The ecological crisis is at the core of this analysis, but is understood by Giddens in an unconventional way - as a response to a world in which modernity has run up against its limits as a social and moral order. The end of nature, as an entity existing independently of human intervention, and the end of tradition, combined with the impact of globalization, are the forces which now have to be confronted, made use of and coped with. This book provides a powerful interpretation of the rise of fundamentalism, of democracy, the persistence of gender divisions and the question of a normative political theory of violence. It will be essential reading for anyone seeking a novel approach to the political challenges which we face at the turn of the twenty-first century.

No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.

From the upheavals of recent national elections to the success of the #MyDressMyChoice feminist movement, digital platforms have already had a dramatic impact on political life in Kenya – one of the most electronically advanced countries in Africa. While the impact of the Digital Age on Western politics has been extensively debated, there is still little appreciation of how it has been felt in developing countries such as Kenya, where Twitter, Facebook, WhatsApp and other online platforms are increasingly a part of everyday life. Written by a respected Kenyan activist and researcher at the forefront of political online struggles, this book presents a unique contribution to the debate on digital democracy. For traditionally marginalised groups, particularly women and people with disabilities, digital spaces have allowed Kenyans to build new communities which transcend old ethnic and gender divisions. But the picture is far from wholly positive. Digital Democracy, Analogue Politics explores the drastic efforts being made by elites to contain online activism, as well as how 'fake news', a failed digital vote-counting system and the incumbent president's recruitment of Cambridge Analytica contributed to tensions around the 2017 elections. Reframing digital democracy from the African perspective, Nyabola's ground-breaking work opens up new ways of understanding our current global online era.

This book considers the radical effects the emergence of social media and digital politics have had on the way that advocacy organisations mobilise and organise citizens into political participation. It argues that these changes are due not only to technological advancement but are also underpinned by hybrid media systems, new political narratives, and a new networked generation of political actors. The author empirically analyses the emergence and consolidation within advanced democracies of online campaigning organisations, such as MoveOn, 38 Degrees, Getup and AVAAZ. Vromen shows that they have become leading political advocates, and influential on both national and international level governance. The book critically engages with this digital disruption of traditional patterns of political mobilisation and organisation, and highlights the challenges in embracing new ideas such as entrepreneurialism and issue-driven politics. It will be of interest to advanced students and scholars in political participation and citizen politics, interest groups, civil society organisations, e-government and politics and social media.