"[...] this is the first anthology to specifically investigate the history and state of cyber warfare in the Middle East. It gathers an array of technical practitioners, social science scholars, and legal experts to provide a panoramic overview and cross-sectional analysis covering four main areas:
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privacy and civil society; the types of cyber conflict; information and influence operations; and methods of countering extremism online. The book highlights the real threat of hacktivism and informational warfare between state actors and the specific issues affecting the MENA region. These include digital authoritarianism and malware attacks in the Middle East, analysis of how ISIS and the Syrian electronic army use the internet, and the impact of disinformation and cybercrime in the Gulf. The book captures the flashpoints and developments in cyber conflict in the past 10 years and offers a snapshot of the region's still-early cyber history. It also clarifies how cyber warfare may develop in the near- to medium-term future and provides ideas of how its greatest risks can be avoided." (Publisher description)
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"The most striking impression is the fact that little research exists. Our review touched studies and discussions of many kinds, all with some relation to the central question, "What are the effects of cross-cultural broadcasting?" Much of what we found is based on fear or undue optimism. The lack o
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f studies firmly rooted in data: this is the overriding fact about this inquiry. While the image of cross-cultural broadcasting may be one of the ''cultural'' interchange, the reality is that of the marketplace. Commercial values are the rule; non-commercial broadcasting is not a major competitor to commercial programming. Programmes intended for any type of social improvement are rare. If they exist at all, they can be found on radio much more than on television or in films. General entertainment programming has a definite social value, but most observers would hope for programming more explicitly geared to the social needs of their diverse audiences. Furthermore, imported entertainment programmes produced for foreign audiences penetrate the host culture in ways that are not understood. Lack of understanding generates uneasiness and fear." (Implications of this report, 40)
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