Paul D. Miller

What's Wrong with Christian Nationalism

Religion of American Greatness

DJ Spooky That Subliminal Kid

Sound UnboundSampling Digital Music and Cultureedited by Paul D. Miller aka DJ Spookythat Subliminal Kid foreword by Cory Doctorowintroduction by Steve ReichIf Rhythm Science was aboutthe flow of things, Sound Unbound is about the remix--how music, art, and literature have blurredthe lines between what an artist can do and what a composer can create. In Sound Unbound, RhythmScience author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work andcompositional strategies in their own words. These are reports from the front lines on the role ofsound and digital media in an information-based society. The topics are as diverse as thecontributors: composer Steve Reich offers a memoir of his life with technology, from tape loops tovideo opera; Miller himself considers sampling and civilization; novelist Jonathan Lethem writesabout appropriation and plagiarism; science fiction writer Bruce Sterling looks at dead media; RonEglash examines racial signifiers in electrical engineering; media activist Naeem Mohaiemen exploresthe influence of Islam on hip hop; rapper Chuck D contributes "Three Pieces"; musicianBrian Eno explores the sound and history of bells; Hans Ulrich Obrist and Philippe Parreno interviewcomposer-conductor Pierre Boulez; and much more. "Press 'play,'" Miller writes, "andthis anthology says 'here goes.'" The groundbreaking mix CD that accompanies the book featuresNam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-gardemusic. Most of the CD's content comes from the archives of Sub Rosa, a legendary record label thathas been the benchmark for archival sounds since the beginnings of electronic music.Paul D. Milleraka DJ Spooky that Subliminal Kid is a conceptual artist, writer, and musician living and working inNew York City. His artwork has appeared in the Whitney Biennial, the Venice Biennale forArchitecture, the Andy Warhol Museum, and many other venues. His written work has appeared in suchpublications as the Village Voice and Artforum. He is an editor of the magazine 21c(www.21cmagazine.com) and the author of Rhythm Science (MIT Press, 2004).Contributors [sidebar]DavidAllenby, Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda,Cory Doctorow, Eveline Domnitch, Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige,Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, JosephLanza, Jonathan Lethem, Carlo McCormick, Paul D. Miller aka DJ Spooky that Subliminal Kid, Moby,Naeem Mohaiemen, Alondra Nelson, Keith and Mendi Obadike, Hans Ulrich Obrist, Pauline Oliveros,Philippe Parreno, Ibrahim Quaraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, NadineRobinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams,Jeff E. Winner

Sampling Digital Music and Culture

Sound Unbound

Since 1898, the United States and the United Nations have deployed military force more than three dozen times in attempts to rebuild failed states. Currently there are more state-building campaigns in progress than at any time in the past century—including Afghanistan, Bosnia, Kosovo, the Democratic Republic of Congo, Haiti, Sudan, Liberia, Cote d’Ivoire, and Lebanon—and the number of candidate nations for such campaigns in the future is substantial. Even with a broad definition of success, earlier campaigns failed more than half the time. In this book, Paul D. Miller brings his decade in the U.S. military, intelligence community, and policy worlds to bear on the question of what causes armed, international state-building campaigns by liberal powers to succeed or fail. The United States successfully rebuilt the West German and Japanese states after World War II but failed to build a functioning state in South Vietnam. After the Cold War the United Nations oversaw relatively successful campaigns to restore order, hold elections, and organize post-conflict reconstruction in Mozambique, Namibia, Nicaragua, and elsewhere, but those successes were overshadowed by catastrophes in Angola, Liberia, and Somalia. The recent effort in Iraq and the ongoing one in Afghanistan—where Miller had firsthand military, intelligence, and policymaking experience—are yielding mixed results, despite the high levels of resources dedicated and the long duration of the missions there. Miller outlines different types of state failure, analyzes various levels of intervention that liberal states have tried in the state-building process, and distinguishes among the various failures and successes those efforts have provoked.

Confronting State Failure, 1898–2012

Armed State Building

Walter K. Boyd

John David Jackson

Of all the metals studied, Ti exhibits the greatest sensitivity to impact when immersed in LOX. In fact, its sensitivity approaches that of many organic materials such as greases and oils. Reactivity is observed in liquid oxygen and mixtures of liquid oxygen and liquid nitrogen at 20 ft lb until the LOX concentration is reduced to 30%. Titanium can be partially protected from reactivity in LOX under impact by certain protective coatings, provided the coatings are not broken. Protection is given by electroless copper and nickel, possibly aluminum, and to a lesser extent by Teflon and a fluoride-phosphate coating. Protection is also obtained by nitriding which adds a protective film to the surface, and by annealing which increases the thickness of the oxide film. Titanium exhibits no great reactivity in LOX when deformed by compression, by exposure of a fresh surface by machining or rupture, or by exposure of bulk titanium to high-pressure or high velocity LOX. In gaseous oxygen, titanium is highly reactive when a freshly formed surface is exposed at even moderate pressure.

Reactivity of Metals with Liquid and Gaseous Oxygen

Contrary to widespread belief, the United States has been following a broadly consistent grand strategy across presidential administrations for more than a century by using American power to create and expand the liberal international system. This liberal order is the outer perimeter of American security. Today, after the wars in Iraq and Afghanistan, some are calling for a policy of restraint or pulling back because they believe America is relatively safe and its resources are overstretched. Paul D. Miller argues that they are wrong. American security and the liberal international order need US leadership and are in jeopardy from nuclear-armed autocracies, violent non-state actors, and the failed states who harbor them. In response, the United States should not pull back but should continue to promote five pillars of American grand strategy: maintaining a favorable balance of power among the great powers, defending the U.S. homeland from attack, promoting democracy, investing in good governance abroad, and punishing rogue actors that threaten allies or the stability of the international system. Miller does however call for reprioitzing where around the globe the United States should focus its energies in the future, and he proposes common sense reforms to the US national security state so as to better manage foreign policy.

A Conservative Internationalist Grand Strategy

American Power and Liberal Order

Svitlana Matviyenko

The mobile app as technique and imaginary tool, offering a shortcut to instantaneous connection and entertainment. Mobile apps promise to deliver (h)appiness to our devices at the touch of a finger or two. Apps offer gratifyingly immediate access to connection and entertainment. The array of apps downloadable from the app store may come from the cloud, but they attach themselves firmly to our individual movement from location to location on earth. In The Imaginary App, writers, theorists, and artists—including Stephen Wolfram (in conversation with Paul Miller) and Lev Manovich—explore the cultural and technological shifts that have accompanied the emergence of the mobile app. These contributors and interviewees see apps variously as “a machine of transcendence,” “a hulking wound in our nervous system,” or “a promise of new possibilities.” They ask whether the app is an object or a relation, and if it could be a “metamedium” that supersedes all other artistic media. They consider the control and power exercised by software architecture; the app's prosthetic ability to enhance certain human capacities, in reality or in imagination; the app economy, and the divergent possibilities it offers of making a living or making a fortune; and the app as medium and remediator of reality. Also included (and documented in color) are selected projects by artists asked to design truly imaginary apps, “icons of the impossible.” These include a female sexual arousal graph using Doppler images; “The Ultimate App,” which accepts a payment and then closes, without providing information or functionality; and “iLuck,” which uses GPS technology and four-leaf-clover icons to mark places where luck might be found. Contributors Christian Ulrik Andersen, Thierry Bardini, Nandita Biswas Mellamphy, Benjamin H. Bratton, Drew S. Burk, Patricia Ticineto Clough, Robbie Cormier, Dock Currie, Dal Yong Jin, Nick Dyer-Witheford, Ryan and Hays Holladay, Atle Mikkola Kjøsen, Eric Kluitenberg, Lev Manovich, Vincent Manzerolle, Svitlana Matviyenko, Dan Mellamphy, Paul D. Miller aka DJ Spooky That Subliminal Kid, Steven Millward, Anna Munster, Søren Bro Pold, Chris Richards, Scott Snibbe, Nick Srnicek, Stephen Wolfram

The Imaginary App

The report summarizes the corrosion behavior of beryllium. The effects on beryllium of the following environments are considered: moisture, salt solutions, acids, alkalis, gases, organic liquids, molten materials, and solid materials. Stress-corrosion cracking and galvanic effects are also discussed. A final section of the report reviews various types of coatings for protection of beryllium from corrosion by a variety of environments.

Corrosion of Beryllium

Antarctica, the only uninhabited continent, belongs to no single country and has no government. While certain countries lay claim to portions of the landmass, it is the only solid land on the planet with no unified national affiliation. Drawing on the continent's rich history of inspiring exploration and artistic endeavors, Paul D. Miller a.k.a. DJ Spooky has put together his own multimedia, multidisciplinary study of Antactica. Book of Ice is one aspect of this ongoing project. In light of climate change and tireless human enterprise to be present everywhere on the planet, Miller uses Antarctica as a point on entry for contemplating humanity's relationship with the natural world. Using photographs and film stills from his journey to the bottom of the world, along with original artworks and re-appropriated archival materials, Miller ponders how Antarctica could liberate itself from the rest of the world. Part fictional manifesto, part history and part science book, Book of Ice furthers Miller's reputation as an innovative artist capable of making the old look new. The Book of Ice contains an introduction by celebrated physicist Brian Greene, author of the bestselling Fabric of the Cosmos. "This is not cool, this is freezing. I still have frostbite." --Stefan Sagmeister "A rare mind encounters a rare place--this is an entirely new take on the bottom of the world, very cool (but getting warmer)." --Bill McKibben, American environmentalist, journalist, and author "Antarctica is full of wonder. Paul D Miller has visited and returned with treasure. You hold in your hand interviews, photographs, histories, architectural plans, propaganda, sheet music, hyperlinks and a manifesto demanding that you never set foot there. This is work as unbounded and untameable as the continent itself. Read it and feel dislocated in the best possible way." --Raj Patel, author of The Value of Nothing

The Book of Ice

They consider the control and power exercised by software architecture; the app's prosthetic ability to enhance certain human capacities, in reality or in imagination; the app economy, and the divergent possibilities it offers of making a living or making a fortune; and the app as medium and remediator of reality. Also included (and documented in color) are selected projects by artists asked to design truly imaginary apps, "icons of the impossible." These include a female sexual arousal graph using Doppler images; "The Ultimate App," which accepts a payment and then closes, without providing information or functionality; and "iLuck," which uses GPS technology and four-leaf-clover icons to mark places where luck might be found. ContributorsChristian Ulrik Andersen, Thierry Bardini, Nandita Biswas Mellamphy, Benjamin H. Bratton, Drew S.

Paul D. Miller

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