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This chapter focuses on how the United Kingdom, historically and contemporarily, has generally resolved the dichotomy between the conflicting public interest principles of media freedom to publish and governmental duty to protect, in the field of national security. The fundamental principles common to all democracies are discussed, the history of UK government/media interaction described, two detailed recent case studies are used of the UK's system of officially informed but voluntary self-censorship (during Afghanistan 1 and Iraq 2), and lessons on government/media balance are drawn. In today's high-speed international communications environment, it is no longer feasible for governments to suppress information widely in the public domain electronically and in other countries. Governments therefore achieve better protection of necessarily secret national and allied security information at source by not attempting to suppress publication of other security information seen by large numbers of insiders as being of low security importance.

The disintegration of the SFRY, which had its roots in the late 1970s and 1980s (Delevic, 1998), started with the decision of the Slovenian and Croat governments in 1990 to seek independence from Belgrade. The event triggering the outbreak of war in Slovenia was the takeover of Yugoslav custom houses by the Slovenia government, which prompted the YPA to intervene militarily, pitting a well-armed conventional army against the security forces of a nascent state, largely consisting of milita-style Territorial Defense Units (Lucic & Lynch, 1996, pp. 183–185). The EC and the United States moved quickly to impose an arms embargo against Yugoslavia following the military escalation of the crisis in June 1991. This was followed by resolution 713 of the UNSC (1991) imposing a “general and complete embargo on the delivery of weapons and military equipment to Yugoslavia” on 25 September 1991. During this early stage of the conflict, there was agreement among the key international actors (USA, Russia and the EU) that the conflict in Yugoslavia had to be contained and that the breakup of the federal republic should be avoided at all costs, not least because it would set a dangerous precedent for other parts of Eastern Europe. Some permanent members of the Security Council (such as France, Russia and the United Kingdom) sympathized with the Serbian position vis-à-vis the break-away republics and while the decision to apply the arms embargo on Yugoslavia as a whole was justified by the fact that none of the republics had been recognized as a subject of international law, policymakers must have been aware that they were putting Slovenia and Croatia at a military disadvantage through this decision (Lucic & Lynch, 1996, pp. 295–300).

Advances in information technology have enabled consumers to connect and communicate as they never have before. This chapter conceptualizes information and the digital machines that enable contemporary connection and communication as being part of a “Moveable Feast.” A brief historical review tracing the impact and evolution of information technology on consumers’ lives and the marketplace is first provided. Culminating the historical review is a metaphorical description of the current period as a “Moveable Feast” of information, whereby consumers and digital machines interact to create and share information “dishes” with other consumers worldwide. With this guiding metaphor in place, current marketing-relevant information phenomena are described within a framework of three important digital dyads proposed to exist between humans and machines. Deep discussion of machine–machine, human–machine, and human–human dyads points to the importance of information as a resource that consumers create and exchange in the contemporary marketplace. This chapter concludes by encouraging marketers and marketing researchers to consider the impact and importance of digital information and information technology on consumers’ ability to connect and communicate with digital machines and with one another.

For a variety of reasons, both ordinary citizens and political leaders have failed since 1914 to be passionate and imaginative enough in the pursuit of peace. As technological advances have made it possible to kill increasing numbers of people and put civilians increasingly at risk, our moral development has lagged far beyond. We need to emulate Gandhi more, whose moral passion and non-violent resistance tactics have inspired other seekers of peace like Dorothy Day and Martin Luther King, Jr. Although political leaders have different responsibilities than ordinary citizens, they too can be ardent and imaginative peace seekers, as the examples of West Germany’s Willy Brandt, Soviet leader Mikhail Gorbachev, South Africa’s Nelson Mandela, and U.S. President John F. Kennedy (during the last year of his life) demonstrate. At present, the Ukrainian Crisis cries out for just such leadership, but heretofore has not been forthcoming.

Two extreme positions set the tone in learned literature on the feasibility of democracies in the information society. In the opinion of a number of authors, the widely proclaimed “electronic revolution” will inevitably take us to “direct democracy”. The only question these computopeans hold different views on is to what extent active steering of the further introduction of technology is necessary to reach direct democracy. Some of them (like De Sola Pool, 1983) are of the opinion that technologies of freedom are involved, which will almost automatically result in a more democratic society, provided that the free market is left to its own devices. Other authors believe that the new technology enables a drastic renewal of political culture and structure, provided that it is used deliberately in a practical and sensible way (Etzioni, Laudon, & Lipson, 1975; Becker, 1981; Hollander, 1985; Barber, 1988; Abramson, Arterton, and Orren, 1988).

Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.

Using visual materials to understand a social object requires the researcher to know that object's purpose, and this is true whether the object is an artifact, a restricted event, a small social world, or something as massive as the modern city. I argue that the purpose of the city as a settlement is driven by the need to safely sleep in peace at night while satisfying other basic biophysical needs during the day as conveniently as possible. An examination of these needs identifies 10 functional prerequisites for human settlement, entangling its inhabitants in involuntary community with entities and events other than themselves, whether they like it or not. In addition, the rise of the modern city exacerbates the challenge of living in a reluctant community and pressures its inhabitants to come to terms with the consequences for how these relationships affect daily life. I highlight nine challenges posed as questions that have been particularly salient in American urban history since the mid-nineteenth century. How these challenges have been addressed indicates not only what it takes to make a modern city a settlement suitable for satisfying human needs, but also just how deeply invested its residents are in making the city work. Finally, the 10 functional prerequisites and nine moral challenges not only provide a framework for researching the city, but also suggest a coherent outline for imagining a “shooting script” or guide for conducting visual research.