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This book examines the structures and processes of political decision-making and governance in Nigeria. Since Nigeria returned to elected government in 1999, it has been observed that several factors account for the differences between the design of statutory structures and processes of political decision-making and how they operate in reality. In other words, there are wide gaps between statutes and practice of political decision-making. However, the nexus between the two remains largely understudied by political scientists. Instinctively, political scientists assume that informal influences in political decision-making are aberrations, episodic or temporary. This book is designed to interrogate the nexus between the formal and non-formal dimensions of the dynamics of political decision making in Nigeria and also provide evidence about the actual functioning of governmental structures in Nigeria. The thesis of the book is that the non-formal dimension of political decision making as evidenced in rising ethno-political patronages, religious sentiments, clientelism and factionalism, are interacting with formal decision-making structures in ways that largely undermine the latter and, by extension, the democratic system. The book pursues this thesis by examining the roles of actors and institutions including, electoral choices made by voters, legislations, which perhaps is the most fundamental form of political decision-making, policies made by the executive and administration, as well as decision making within political parties, since parties are sites for articulating and aggregating issues on which decisions are to be made.
A thrilling, exclusive exposè of the hacker collectives Anonymous and LulzSec. We Are Anonymous is the first full account of how a loosely assembled group of hackers scattered across the globe formed a new kind of insurgency, seized headlines, and tortured the feds -- and the ultimate betrayal that would eventually bring them down. Parmy Olson goes behind the headlines and into the world of Anonymous and LulzSec with unprecedented access, drawing upon hundreds of conversations with the hackers themselves, including exclusive interviews with all six core members of LulzSec. In late 2010, thousands of hacktivists joined a mass digital assault on the websites of VISA, MasterCard, and PayPal to protest their treatment of WikiLeaks. Other targets were wide ranging: the websites of corporations from Sony Entertainment and Fox to the Vatican and the Church of Scientology were hacked, defaced, and embarrassed, and the message was that no one was safe. Thousands of user accounts from pornography websites were released, exposing government employees and military personnel. Although some attacks were perpetrated by masses of users who were rallied on the message boards of 4Chan, many others were masterminded by a small, tight-knit group of hackers who formed a splinter group of Anonymous called LulzSec. The legend of Anonymous and LulzSec grew in the wake of each ambitious hack. But how were they penetrating intricate corporate security systems? Were they anarchists or activists? Teams or lone wolves? A cabal of skilled hackers or a disorganized bunch of kids? We Are Anonymous delves deep into the internet's underbelly to tell the incredible full story of the global cyber insurgency movement, and its implications for the future of computer security.
An inspiring look at the hidden stars in every field who perform essential work without recognition In a culture where so many strive for praise and glory, what kind of person finds the greatest reward in anonymous work? Expanding from his acclaimed Atlantic article, "What Do Fact-Checkers and Anesthesiologists Have in Common?" David Zweig explores what we can all learn from a modest group he calls "Invisibles." Their careers require expertise, skill, and dedication, yet they receive little or no public credit. And that's just fine with them. Zweig met with a wide range of Invisibles to discover first hand what motivates them and how they define success and satisfaction. His fascinating subjects include: * a virtuoso cinematographer for major films. * the lead engineer on some of the world's tallest skyscrapers. * a high-end perfume maker. * an elite interpreter at the United Nations. Despite the diversity of their careers, Zweig found that all Invisibles embody the same core traits. And he shows why the rest of us might be more fulfilled if we followed their example.
A brilliant and penetrating look behind the scenes of modern American politics, Primary Colors is a funny, wise, and dramatic story with characters and events that resemble some familiar, real-life figures. When a former congressional aide becomes part of the staff of the governor of a small Southern state, he watches in horror, admiration, and amazement, as the governor mixes calculation and sincerity in his not-so-above-board campaign for the presidency.
NEW YORK TIMES BESTSELLER • “An unflinching examination of how our drinking culture hurts women and a gorgeous memoir of how one woman healed herself.”—Glennon Doyle, #1 New York Times bestselling author of Untamed “You don’t know how much you need this book, or maybe you do. Either way, it will save your life.”—Melissa Hartwig Urban, Whole30 co-founder and CEO The founder of the first female-focused recovery program offers a groundbreaking look at alcohol and a radical new path to sobriety. We live in a world obsessed with drinking. We drink at baby showers and work events, brunch and book club, graduations and funerals. Yet no one ever questions alcohol’s ubiquity—in fact, the only thing ever questioned is why someone doesn’t drink. It is a qualifier for belonging and if you don’t imbibe, you are considered an anomaly. As a society, we are obsessed with health and wellness, yet we uphold alcohol as some kind of magic elixir, though it is anything but. When Holly Whitaker decided to seek help after one too many benders, she embarked on a journey that led not only to her own sobriety, but revealed the insidious role alcohol plays in our society and in the lives of women in particular. What’s more, she could not ignore the ways that alcohol companies were targeting women, just as the tobacco industry had successfully done generations before. Fueled by her own emerging feminism, she also realized that the predominant systems of recovery are archaic, patriarchal, and ineffective for the unique needs of women and other historically oppressed people—who don’t need to lose their egos and surrender to a male concept of God, as the tenets of Alcoholics Anonymous state, but who need to cultivate a deeper understanding of their own identities and take control of their lives. When Holly found an alternate way out of her own addiction, she felt a calling to create a sober community with resources for anyone questioning their relationship with drinking, so that they might find their way as well. Her resultant feminine-centric recovery program focuses on getting at the root causes that lead people to overindulge and provides the tools necessary to break the cycle of addiction, showing us what is possible when we remove alcohol and destroy our belief system around it. Written in a relatable voice that is honest and witty, Quit Like a Woman is at once a groundbreaking look at drinking culture and a road map to cutting out alcohol in order to live our best lives without the crutch of intoxication. You will never look at drinking the same way again.
An exploration of the darker corners of ancient Rome to spotlight the strange sorcery of anonymous literature. From Banksy to Elena Ferrante to the unattributed parchments of ancient Rome, art without clear authorship fascinates and even offends us. Classical scholarship tends to treat this anonymity as a problem or game—a defect to be repaired or mystery to be solved. Author Unknown is the first book to consider anonymity as a site of literary interest rather than a gap that needs filling. We can tether each work to an identity, or we can stand back and ask how the absence of a name affects the meaning and experience of literature. Tom Geue turns to antiquity to show what the suppression or loss of a name can do for literature. Anonymity supported the illusion of Augustus’s sprawling puppet mastery (Res Gestae), controlled and destroyed the victims of a curse (Ovid’s Ibis), and created out of whole cloth a poetic persona and career (Phaedrus’s Fables). To assume these texts are missing something is to dismiss a source of their power and presume that ancient authors were as hungry for fame as today’s. In this original look at Latin literature, Geue asks us to work with anonymity rather than against it and to appreciate the continuing power of anonymity in our own time.
The Power of Mesmerism is erotic fiction. It tells about a young man who learned the power of mesmerism (natural magnetism to influence living beings) and decided to use this skill to fulfill erotic desires. As he gets successful with that, he starts to help other people (mostly his relatives) satisfy their lust as well. The story describes a wide range of sexual activities, including homosexual relations, flagellation, etc., and is closely reminiscent of the memoirs of Marquis De Sade.
“Touching.” —The New York Times For fans of Humans of New York and PostSecret, a collection of raw, urgent, and heartfelt stories, shared anonymously. Helena Dea Bala was an exhausted and isolated DC lobbyist, suffocating under the weight of her student loan debt, when she decided to split her lunch with a man who often panhandled near her office. They chatted effortlessly as they ate; there were no half-truths or white lies, and no fear of judgment. Helena felt connected and unburdened in a way she hadn’t in years. Inspired, she posted an ad on Craigslist promising to listen, anonymously and for free, to whatever the speaker felt he or she couldn’t tell anyone else. Emails from people desperate to connect flooded her inbox, and she listened. Within months, Helena quit her job, deferred her loans, and dove into listening full time. The forty first-person confessions in this book are vivid, intimate, and real; they range from devastating traumas, to lost loves, to reflections on hard choices. Some accounts are quotidian, like that of one increasingly estranged husband: “I want to feel that we’re not just roommates—that we’re not just waiting for the kids to grow up so that we can move on.” Others are deeply disconcerting, like that of a sex addict employed by a religious organization and several are heartening, like that of a mother who dares to hope that her daughter, born with life-threatening heart defects, will one day walk down the aisle: “Sometimes you need to have the audacity to believe that it will all be okay, that it is okay to have the same kinds of dreams as everyone else.” In its complex portrayal of the common human experience, Craigslist Confessional challenges us to explore the depths of our vulnerability and expand the borders of our empathy.