Sovieticus

How Soviet scientists and pseudoscientists pursued telepathic research, cybernetic simulations, and mass hyptonism over television to control the minds of citizens. In October 1989, as the Cold War was ending and the Berlin Wall about to crumble, television viewers in the Soviet Union tuned in to the first of a series of unusual broadcasts. “Relax, let your thoughts wander free...” intoned the host, the physician and clinical psychotherapist Anatoly Mikhailovich Kashpirovsky. Moscow's Channel One was attempting mass hypnosis over television, a therapeutic session aimed at reassuring citizens panicked over the ongoing political upheaval—and aimed at taking control of their responses to it. Incredibly enough, this last-ditch effort to rally the citizenry was the culmination of decades of official telepathic research, cybernetic simulations, and coded messages undertaken to reinforce ideological conformity. In Homo Sovieticus, the art and media scholar Wladimir Velminski explores these scientific and pseudoscientific efforts at mind control. In a fascinating series of anecdotes, Velminski describes such phenomena as the conflation of mental energy and electromagnetism; the investigation of aura fields through the “Aurathron”; a laboratory that practiced mind control methods on dogs; and attempts to calibrate the thought processes of laborers. “Scientific” diagrams from the period accompany the text. In all of the experimental methods for implanting thoughts into a brain, Velminski finds political and metaphorical contaminations. These apparently technological experiments in telepathy and telekinesis were deployed for purely political purposes.

Gorbachev, dissidents, and Cold War perils are some of the topics discussed in this book that provides the historical context and informed analysis so often lacking in American commentary on Soviet affairs today.

Focusing on urban areas in the 1930s, this college professor illuminates the ways that Soviet city-dwellers coped with this world, examining such diverse activities as shopping, landing a job, and other acts.

WINNER OF THE 2017 NATIONAL BOOK AWARD IN NONFICTION FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARDS WINNER OF THE NEW YORK PUBLIC LIBRARY'S HELEN BERNSTEIN BOOK AWARD NAMED A BEST BOOK OF 2017 BY THE NEW YORK TIMES BOOK REVIEW, LOS ANGELES TIMES, WASHINGTON POST, BOSTON GLOBE, SEATTLE TIMES, CHRISTIAN SCIENCE MONITOR, NEWSWEEK, PASTE, and POP SUGAR The essential journalist and bestselling biographer of Vladimir Putin reveals how, in the space of a generation, Russia surrendered to a more virulent and invincible new strain of autocracy. Award-winning journalist Masha Gessen's understanding of the events and forces that have wracked Russia in recent times is unparalleled. In The Future Is History, Gessen follows the lives of four people born at what promised to be the dawn of democracy. Each of them came of age with unprecedented expectations, some as the children and grandchildren of the very architects of the new Russia, each with newfound aspirations of their own--as entrepreneurs, activists, thinkers, and writers, sexual and social beings. Gessen charts their paths against the machinations of the regime that would crush them all, and against the war it waged on understanding itself, which ensured the unobstructed reemergence of the old Soviet order in the form of today's terrifying and seemingly unstoppable mafia state. Powerful and urgent, The Future Is History is a cautionary tale for our time and for all time.

Personalist Economics: Moral Convictions, Economic Realities, and Social Action examines the nature of the worker and consumer from a personalist perspective, comparing that body of knowledge to what is received from conventional economics. A running theme throughout this book is that personalist economics is attentive to both aspects of human material need - physical need and the need for work as such - in a way that does not disregard human wants. Accordingly, this book is more concerned about the philosophical base and description of the economy's significant characteristics than social economic policy. Personalist Economics explores four dimensions of particularly acute human physical need: unemployment, poverty, homelessness, and death. In addressing these four aspects of need, the book delves into the second and third domains of social economics: description of the significant characteristics of the economy, and social economic policy. In the same way, Personalist Economics explores two types of economic cooperation - supra-firm alliances and inter-firm partnerships - as means for addressing certain aspects of human material need. This book concludes with a lengthy discussion of the challenges facing personalist economics in the years ahead.

Masters at visual propaganda, the Bolsheviks produced thousands of vivid and compelling posters after they seized power in October 1917. Intended for a semi-literate population that was accustomed to the rich visual legacy of the Russian autocracy and the Orthodox Church, political posters came to occupy a central place in the regime's effort to imprint itself on the hearts and minds of the people and to remold them into the new Soviet women and men. In this first sociological study of Soviet political posters, Victoria Bonnell analyzes the shifts that took place in the images, messages, styles, and functions of political art from 1917 to 1953. Everyone who lived in Russia after the October revolution had some familiarity with stock images of the male worker, the great communist leaders, the collective farm woman, the capitalist, and others. These were the new icons' standardized images that depicted Bolshevik heroes and their adversaries in accordance with a fixed pattern. Like other "invented traditions" of the modern age, iconographic images in propaganda art were relentlessly repeated, bringing together Bolshevik ideology and traditional mythologies of pre-Revolutionary Russia. Symbols and emblems featured in Soviet posters of the Civil War and the 1920s gave visual meaning to the Bolshevik worldview dominated by the concept of class. Beginning in the 1930s, visual propaganda became more prescriptive, providing models for the appearance, demeanor, and conduct of the new social types, both positive and negative. Political art also conveyed important messages about the sacred center of the regime which evolved during the 1930s from the celebration of the heroic proletariat to the deification of Stalin. Treating propaganda images as part of a particular visual language, Bonnell shows how people "read" them—relying on their habits of seeing and interpreting folk, religious, commercial, and political art (both before and after 1917) as well as the fine art traditions of Russia and the West. Drawing on monumental sculpture and holiday displays as well as posters, the study traces the way Soviet propaganda art shaped the mentality of the Russian people (the legacy is present even today) and was itself shaped by popular attitudes and assumptions. Iconography of Power includes posters dating from the final decades of the old regime to the death of Stalin, located by the author in Russian, American, and English libraries and archives. One hundred exceptionally striking posters are reproduced in the book, many of them never before published. Bonnell places these posters in a historical context and provides a provocative account of the evolution of the visual discourse on power in Soviet Russia.