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That helped deliver the numbers that the West needed to see—enough for the New York Times to declare it "A Victory for Russian Democracy"—parroting the laughably cheerful assessment of President Clinton and his team.But the more important task of creating domestic acceptance through a new post-Soviet brand of sophisticated, virtual reality propaganda, beamed onto a bewildered Russian viewing public, is what helped ensure that Yeltsin’s stolen election wasn't followed by unrest.What made Pomerantsev's lobbying appearance with the neocons so disturbing to me is that he's not the sort of crude, arrogant meat-head I normally identify with Pomerantsev's book, "Nothing is True and Everything is Possible", is the most talked-about Russia book in recent memory.His many articles on the Kremlin's "avant-garde" "information war" and its "political technologists" have been hits in the thinking-man's press: Atlantic Monthly, London Review of Books...The most popular comical novel of the late 1990s/early 2000s, Viktor Pelevin’s “Generation ‘P’”, tells the story of a second-rate poet who goes from selling vodka in a Moscow kiosk in the early 1990s, to working as an advertising copywriter and "political technologist" in the belly of Russia's PR industry beast.Pelevin’s book, released in 1999, describes a world in which all Russian politics and consumer reality is created on Silicon Graphics workstations in secret TV studios, all with the aim of increasing advertising revenues.In the late Soviet times, most Russians knew that the far cruder Soviet propaganda was propaganda—but this was something new, the ability to wildly distort reality, paint your political opponent as the greatest monster in history, and have it accepted as news because it looked much more modern than the crude old Soviet propaganda productions.

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What surprised even Dick Morris’ spin-doctor buddies was how effective they were in fooling the raw Russian public into believing that their crude propaganda efforts, distorting reality to falsely portray opposition candidate Zyuganov as a genocidaire-in-waiting, was not propaganda at all.

"We focus-grouped the issue several times," says Shumate.

The results were contained in a June 7 wrap-up memo on TV coverage.

Dynamic video bas-relief — the appearance is rendered always at the same angle. They're much smaller — you can squeeze one of them on to a hard disk.”“Aagh, no . And what if he suddenly has a stroke — are we supposed to set up the whole shebang all over again?

It's the same technology, but it cuts the work down by two orders of magnitude. " Even the notoriously drunken buffoon Yeltsin is a computer graphics invention, using an old studio actor who'd done Shakespeare on stage, hooked up to wires and force-fed cheap vodka so that he'd be authentically drunk during filming: * * * * Which brings me back now to Pomerantsev's book, “Nothing is True and Everything is Possible,” and his thesis driven home in articles and in the halls of US-UK government power: That Putin’s brand of totalitarianism represents something absolutely new, innovative and uniquely threatening — an avant-garde totalitarianism for which we in the West are nearly helpless against; a totalitarianism constructed entirely out of virtual reality, political technologies, and distorted realities, beamed through televisions and the Internet, brainwashing the Russian public and anyone else who crosses their information-beams in ways so sophisticated and disruptive, everything we hold dear is doomed to collapse before it.

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