While much of the media industry focused on the churn of headlines, we became increasingly interested in the undercurrents beneath them: the hidden systems, infrastructures and ideologies shaping events across borders and over time.

Again and again, our reporting led us back to the same realization: for a long time, the struggle over information was understood primarily as a question of censorship or access. Who controls information? Who gets to publish? Who gets silenced?

Those questions still matter. But they no longer fully describe the world we live in.

Today, the struggle over information is about who builds the systems through which reality is organized, distributed and trusted. From state propaganda to algorithmic feeds, from platform monopolies to AI-generated noise, the battle is not over facts. It is over the infrastructures that determine which narratives spread, which voices are amplified and which communities remain connected.

Over the past year, these questions led to a collaboration between Coda and The Continent, the pan-African newspaper founded in Johannesburg by Simon Allison and Sipho Kings. Although our reporting emerges from very different histories and geographies, we found ourselves arriving at remarkably similar conclusions about power, fragmentation and the future of journalism in an age of informational instability.

This two-chapter essay is the beginning of that collaboration, and marks the start of a new project called The Atlas. Pilot edition is available here — please feel free to share with friends, family and colleagues, preferably in its entirety.

In Chapter One, I return to the world of my Soviet childhood: propaganda, samizdat and the search for trustworthy signals through noise.

In Chapter Two, The Continent co-founder Simon Allison presents the Parable of Sinn Sisamouth: the story of how some of the greatest songs ever written were nearly lost, and then found, and then lost again. 

Taken together, these essays ask what journalism becomes in a world where information is no longer organized primarily to inform, but to capture attention, manufacture reaction and shape perception at planetary scale.

The Atlas grows out of that question.

Chapter One: Through the Static

Whenever I am asked why I decided to become a journalist, an image from my childhood pops into my head. It’s dusk. I am 10, sitting in the kitchen with my mom. She is glued to a shortwave radio. Outside, the Soviet Union is on the cusp of collapse. Georgia, where we are, is on the brink of civil war. We didn’t use the term back then, but fake news was all we got through official channels. Real news — coming from the West — felt like a lifeline. I was in awe of the crackling radio that held my mother’s full attention. I wanted to become that voice.

Years later, I got my dream job at the BBC and spent much of my adult life moving between wars, uprisings and authoritarian states. Again and again, I found myself in places where truth was contested terrain: Baghdad, Damascus, Donetsk, Sana’a. But over time I realized something fundamental had changed. Modern authoritarianism no longer relied primarily on suppressing information. It had discovered something more effective.

Information could simply be drowned out by static.

That realization became stark for me in eastern Ukraine in the summer of 2014. I arrived in a field of bright yellow sunflowers where the bodies from Flight MH17 still lay scattered across the ground. A Russian missile had blown the passenger plane out of the sky, killing all 298 people on board. Yet almost immediately, the Kremlin flooded the information space with competing explanations. It was a Ukrainian fighter jet. A failed assassination attempt on Putin. The plane had been filled with corpses before takeoff. Each theory contradicted the next, but that hardly mattered. The point was not to persuade, it was to exhaust. It was to create so much noise that truth itself began to feel unstable.

Over the following years, I watched versions of the same logic spread far beyond Russia. Social platforms transformed public conversation into a permanent stream of outrage, performance and distraction, collapsing vastly different kinds of information into the same endless feed. War footage, propaganda, conspiracy theories, journalism and gossip all began competing inside systems designed not to inform people but to capture and hold attention.

Noise became the new censorship.

And increasingly, I found myself thinking about the world of my childhood again. Not because history was repeating itself neatly, but because the emotional landscape felt strangely familiar: confusion, exhaustion, distrust, the constant sense that reality itself was becoming slippery. Back then, people searched desperately for clear signals through the static of Soviet propaganda. Today, we are drowning in a different kind of static, but the instinct, the search for clarity feels remarkably similar.

In the Soviet Union, people developed ways of navigating that confusion. Among my strongest memories from that time is the sound of my parents’ typewriter late at night. Friends would pass around copies of banned Soviet literature and my parents would sit at the kitchen table all night, retyping them page by page so they could be shared again. It was my first encounter with samizdat, although I didn’t know the word then.

Looking back now, what strikes me is that samizdat was never simply about forbidden texts. It was about building trusted alternative systems of circulation when official systems had lost credibility.

At Coda, we have spent years building journalism against the logic of noise. We slowed stories down. We followed themes instead of headlines. We built a reporting system designed to connect events across borders and over time, helping readers see patterns instead of fragments. But as our globally distributed newsroom adapted to an increasingly fractured information landscape, it became clear that journalism alone was not enough. Distribution shapes understanding as much as reporting does.

Around the same time, in Johannesburg, Simon Allison, Sipho Kings and their team were building something that challenged many of the assumptions dominating digital media. The Continent, their pan-African newspaper, spreads largely through direct sharing networks: passed from reader to reader rather than pushed by algorithms.

Different histories had brought us to remarkably similar questions. What does journalism look like when trust is collapsing, attention is fragmented and the systems that carry information have themselves become instruments of power?

Out of that convergence came The Atlas: a new publication that brings together Coda’s methodology of following systems across borders and over time with The Continent’s radically distributed model for reaching readers beyond algorithmic feeds.

The Atlas is built on a shared conviction: as fragmentation, distrust and informational overload spread across the world, some of the clearest ways through will come from places that have already spent decades navigating propaganda, instability and contested reality. Places once treated as peripheral are becoming essential to understanding the defining question of this age: how can meaning survive systems designed to overwhelm it.

Chapter Two: The second silencing of Sinn Sisamouth

Imagine if your favourite song disappeared, forever. 

Almost every album I have ever loved was recommended to me by my friend An-Rui. A few months ago, he sent me a track by the undisputed King of Khmer Music, the Golden Voice, the Cambodian Elvis himself – Sinn Sisamouth.

I had never heard of him.

I didn’t respond at first, so he nudged me. That night, after the kids were asleep, I put on my headphones, sat in the garden and immediately lost myself in Cambodia’s psychedelic rock scene of the 1960s and ‘70s. I don’t know enough about music to explain exactly what I fell in love with, but within weeks I was, according to Spotify, among the top one percent of Sinn Sisamouth listeners worldwide.

An-Rui had added a note to his recommendation. “the songs are happy but since i know what his fate was and i don’t understand the words, it sounds incredibly sad to me”.

The story goes something like this: A small-town boy with an extraordinary voice moves to the big city, and conquers all before him. He writes hundreds of songs, bridging Khmer musical traditions with new western influences: jazz, rock & roll, bossa nova, blues, the Beatles, and, of course, Elvis Presley. He toured the country. He toured the world. He made music with an actual King, Norodom Sihanouk, and became Cambodia’s most beloved rockstar.

Then, in 1975, the Khmer Rouge seized power. In the course of committing a genocide, the communist regime disappeared Sinn Sisamouth, and banned his music. He has never been seen, or heard from, again.

But his music never died. It lived on brittle records, hidden for generations under floorboards. It lived on scratchy cassettes, passed hand to hand among the diaspora.

It was only decades later that his music was digitised and remastered, and made available on streaming platforms to the likes of me.

When I listen to Sinn Sisamouth, I can’t help but think about how easily we could have lost his masterpieces entirely. And I wonder what else might have been lost that we have not been able to recover.

And then it happened again.

There’s a particular track that I like to play in my car, where I can turn the bass up as high as it goes. I was driving one afternoon and looked for it on Spotify. It was gone, even though the rest of the album was there. 

I looked again on my laptop at home. Nothing. Gone from Spotify. Gone from Apple Music. Gone from YouTube. Like it had never been there in the first place. I started to wonder if I had gone crazy, and maybe imagined the song entirely. And then I started to panic: What if I never heard it again?

Eventually, I found a bootleg YouTube version, using a different transliteration of the Khmer title – Kanlang Pnheu Pran, instead of Konlong Phner Bran. Before I tracked that down, I had to wade through dozens of AI-generated Sinn Sisamouth ‘cover versions’, all uploaded to YouTube within the last few months. If I had never heard it before, I would never have been able to tell which was the original.

It’s not unusual for songs to disappear from the Internet, especially when the music is from non-English-speaking countries. I’ve had similar experiences with the music of Sharhabil Ahmed, the Sudanese jazz legend, and Ethiopia’s Tilahun “The Voice” Gessesse.

In fact, it’s not unusual for other kinds of information to disappear from the internet; to be edited after the fact; or to be simply lost among all the digital noise. Digital information is incredibly precarious, and becoming more so by the day. AI slop is taking over social media platforms. Algorithms determine what information we can and can’t see, shaping our cultural and political preferences. And powerful interests are becoming increasingly bold when it comes to brazenly manipulating information in their favour – or, of even greater concern, restricting the flow of information across borders.

Amazon changes the contents of books on people’s Kindles without telling anyone. News websites quietly alter critical stories, post-publication, to remove evidence of wrongdoing (my favourite example: the Financial Express published a story critical of India’s richest family; only to replace it with a glorified press release a few days later. They neglected to amend the URL, however, which contains the original headline). Governments shut down internet access on a whim, or legislate which apps and websites are available to specific populations.

For journalism, this is an existential threat. Our job is not just to hold power to account – it is also to write the first draft of history. But if we can’t preserve that first draft, or distribute it effectively, then what, exactly, is the point?

The Continent and Coda Story are working together to try something different. We want to publish news about the world, produced and verified by humans, that cannot be edited after the fact; and to distribute it in a way that dramatically decreases our reliance on unaccountable algorithms or search engine optimisation. The Atlas — pilot edition available here — is our answer to the precarity of information online. It’s a work in progress.

Stay tuned: if we’re going to succeed, we’ll need your help. And if we do succeed, the secret of our success will be those very same transnational networks that kept the music of Sinn Sisamouth alive. Communities of like-minded people, of friends and families will always find a way to stay connected, no matter how vast the distances between them, or how great the obstacles. So what does a global newspaper look like if we design it with exactly these communities in mind?

As soon as I found that bootleg on YouTube, I ripped an MP3 copy and sent it to An-Rui on Signal. “KEEP THIS SAFE,” I told him. I don’t know what happened to the song on Spotify, or if it is ever coming back. But I can’t take the risk of never hearing that bassline again. And here it is, in case you want to hear it too.

The post The new samizdat appeared first on Coda Story.

On May 3, an unusual procession moved through Washington DC. Several hundred people walked beneath the monuments of the American capital carrying portraits of Red Army soldiers. Children waved Soviet flags. A live orchestra played wartime songs at the World War II memorial. The Russian embassy had filed the permit; the DC Metropolitan Police provided an escort. Russian state media celebrated the event as proof that, with the return of Donald Trump, historical truth too had returned to America.

One organizer told Russian state television: “We love, respect Russia, honor the memory of our heroes.”

Similar marches took place in Paris, Amsterdam and Busan. In Berlin, authorities announced that Soviet flags, Russian symbols and military songs would once again be banned near Soviet war memorials during May 8 and 9 commemorations.

But in Moscow, Victory Day itself appeared haunted by fear.

For decades, May 9 has been Russia’s most sacred annual political ritual, binding victory, patriotism and state power into a single language. But this year, Kremlin spokesman Dmitry Peskov was reduced to announcing that the Immortal Regiment march in Moscow would continue only “in electronic format.”

The run up to this year’s Victory Day became the most anxious Moscow has experienced in recent memory. The Kremlin canceled the traditional procession in the Russian capital, moving it online. Military equipment was removed from the parade. Mobile internet access across Moscow was intermittently shut down in the days leading up to May 9. Spectator numbers in St. Petersburg were reportedly slashed from thousands to just a few hundred. The Victory Parade in Kaliningrad was canceled entirely. Russian media outlets published extraordinary reports about Vladimir Putin retreating deeper into protected bunkers amid fears of Ukrainian drone strikes and assassination attempts.

Russia’s Foreign Ministry even warned foreign governments to evacuate diplomats from Kyiv before May 9, threatening massive retaliation if Ukraine targeted the celebrations with drones.

And then came another extraordinary twist. Volodymyr Zelensky publicly “allowed” the parade to proceed. In a deliberately tongue-in-cheek decree issued after negotiations around a temporary ceasefire, the Ukrainian president formally excluded Red Square from Ukraine’s operational strike plans for the duration of the celebrations, even listing the exact geographic coordinates of the square itself.

Watching it all unfold, I kept wondering whether empires collapse more easily than the systems of feeling they create. The Soviet Union fell apart more than 30 years ago, but the architecture built around victory, sacrifice and historical grievance survived it, stretching across borders, diasporas and rival political projects. What began as Soviet myth-making about liberation has evolved into a transnational political language through which governments, activists, diasporas and rival ideological movements compete over legitimacy, victimhood and belonging.

Over the years, at Coda, in our Rewriting History current, we have tracked how the remembrance of World War II became central to Putin’s machinery of legitimacy and repression. Soon after he came to power, Russian public culture became saturated with stories of the Great Patriotic War. Watching Russian state television often felt as if the war had ended yesterday. New films, schoolbooks, drama series, speeches, parades and television specials turned victory into the emotional foundation of Putin’s Russia. Scholars of Russian memory politics have described how, under Putin, collective memory of the war became a tool for claiming legitimacy, discrediting opposition and presenting the Russian state as the eternal defender against fascism.

 It resonated because it tapped into genuine emotion passed on for generations. It was never just propaganda. It rested on something real: the scale of Soviet loss and the private grief carried by millions of families.

The Immortal Regiment began in 2012 in the Siberian city of Tomsk as a local act of remembrance. Ordinary people walked through the streets carrying photographs of relatives who died in the war. By 2015, Putin was leading the Moscow procession himself, while state-backed organizations coordinated chapters in dozens of countries. But in Putin’s Russia, where victory had already become the central organizing myth of the state, the boundary between private mourning and political mythology dissolved.

The speed of that transformation still feels important to me. It says something about the way modern political systems absorb private emotion and fold it back into the language of the state.

The Kremlin framed these Victory Day rituals as a defense against what it called Western attempts to “rewrite history” by minimizing the Soviet role in defeating fascism or equating Stalinism with Nazism. Ukraine and many Eastern Europeans came to see the marches instead as vehicles for imperial nostalgia and wartime propaganda. 

But the argument, it seems, is no longer only about what happened in the past. It is about who gets to turn memory and grief into political legitimacy in the present.

This year Germany found itself in the extraordinary position of having to ban Soviet flags and military songs near Soviet memorials, effectively regulating the symbolic language of antifascism itself. Historian Timothy Snyder once warned that “if fascists take over the mantle of antifascism, the memory of the Holocaust will itself be altered.” That is precisely the moral and historical dilemma Berlin has now forced into the open. What happens when the symbols of genuine antifascist sacrifice become inseparable from the imagery of an ongoing war? When the flags carried by the soldiers who liberated Auschwitz are also flown at embassy-organized rallies while Russian bombs fall on Kharkiv? 

At Coda, we explored some of these tensions years ago, in our documentary “What To Do With Stalin,” which examined the strange afterlife of Stalin’s image across the former Soviet world. While filming in Georgia, we encountered arguments that now feel strikingly familiar: whether remembering Stalin represented patriotism or denial, historical pride or historical amnesia.

https://www.youtube.com/watch?v=NdfTH6rfe7E

Even then, it was obvious these battles were never really about the past.

Putin himself acknowledged as much during this year’s Victory Day speech, describing the war in Ukraine as a “just” continuation of the struggle against fascism and accusing the West of fueling confrontation with Russia “to this day.” Hours later, he suggested the war might finally be over. “I think that the matter is coming to an end,” he told reporters.

Victory Day 2026 may ultimately be remembered not for the military parade itself, but for revealing how unstable that memory system has become. Moscow performed triumph while fearing attack. Berlin restricted Soviet symbols in the name of democratic security. Washington hosted embassy-linked Soviet commemorations beneath American monuments.

I was ten years old when the Soviet Union collapsed. For those of us who grew up inside it, the end of the empire felt at once chaotic and exhilarating. Borders opened, old certainties disappeared and ideology lost its grip almost overnight. I still feel fortunate that, as a child, I witnessed an empire built on terror and repression collapse into history.

In the decades that followed, we watched Russia slowly turn the symbols and emotional reflexes of the Soviet system into instruments of political power once again. Victory Day became one of the most potent of these instruments: a ritual that fused together grief, patriotism, historical trauma and state legitimacy into a single, powerful sentiment.

Russia’s ambassador to Washington, Alexander Darchiev, praised what he described as the Trump administration’s dramatically changed attitude toward Victory Day commemorations. The holiday, he said, now played “an unequivocally positive role” in Russia-US relations. He pointed specifically to the marches held in the center of Washington, DC.

But the more I think about this year’s Victory Day, the less it feels like a story about Russia alone. When the Soviet Union collapsed, many of us assumed its emotional architecture would disappear with it. Instead, parts of it were patiently cultivated and repurposed for a new era by the men in charge of Putin’s Russia.  

The emotional logic that once underpinned the Soviet system no longer belongs only to Russia and the shattered geography of its former empire. Grievances, historical trauma and rituals of belonging now shape political life all around the world. Digital networks and algorithmic systems did not create these emotional impulses, but they amplified them at a scale the Soviet state could only dream of. Perhaps that is the true afterlife of an empire: not the survival of its borders or ideology, but of the emotional systems it builds to organize fear, belonging and historical destiny.

Additional research by Masho Lomashvili and Irina Matchavariani

The post The afterlife of empire appeared first on Coda Story.

THE RECKONING PROJECT AND CODA STORY PRESENT

Russian officials and propagandists built cover stories for war crimes before those crimes were committed. Lawyers call this an information alibi. And they think it's prosecutable.

The post The Alibi Machine appeared first on Coda Story.

“Whenever you're looking at war crimes, crimes against humanity, there's always the excuse that this is a one-off, there's a bad apple, one person did something. When you see it as a pattern, when you see the actors repeating, then you can go, okay, this is part of a consistent behavior, part of a plan, and it becomes like a character trait for a criminal in a court case.“

Peter Pomerantsev

The Reckoning Project Co-Founder

The Syrian civil war morphed out of the pro-democracy Arab Spring protests of 2011, when demonstrations against President Bashar al-Assad's authoritarian government were met with violent repression. 

The country fractured into a complex conflict involving government forces, armed opposition groups, and jihadist factions including Al Qaeda and Islamic State.

Russia entered the Syrian civil war at the request of President Assad in late 2015. 

Syrian forces had already used chemical weapons against civilians by the time Russia entered the war. By 2016, their use was ‘widespread and systematic,’ according to Human Rights Watch.

"One of the possible mistakes the Russian info alibi machine could have made was to publish information about a strike on the Kramatorsk railway station before it actually took place.

It's a sort of sloppy mistake that you always want the criminal to make. Without all the other evidence, I don't think we'd be seeing the important patterns that we're looking into, but it's always good for a lawyer if the criminal ends up leaving a shoe at the crime scene.”

Peter Pomerantsev 

The Reckoning Project Co-Founder

Photo Credits: 1.Mohammed Khair/Anadolu Agency/Getty Images. 2.Stringer/AFP via Getty Images. 3. White helmets/Handout/Anadolu Agency/Getty Images. 4. Louai Beshara/AFP via Getty Images. 5. Hamza Al-AjwehAFP via Getty Images. 6. Satellite image (c) 2023 Maxar Technologies. 7. Andriy Zhyhaylo/Obozrevatel/Global Images Ukraine via Getty Images. 8. Fadel Senna/AFP via Getty Images. 9. Grzedzinski for The Washington Post via Getty Images.

The post The Alibi Machine: The Pattern appeared first on Coda Story.

“Understanding the system depends in part on knowing who participates in it. So firstly, we have to identify a hierarchical network involved in a particular information operation. This may include senior political leaders, media organizations, and social media influencers… We have to prove that there were some orders or instructions that were given by more senior groups to less senior groups.”

Nadiia Vaskivska,

Legal Advisor at Global Rights Compliance

They distribute the talking points — called “temniki” — directly to editors-in-chief of Russia’s biggest state media outlets: TASS, Channel One, Rossiya, RIA Novosti.

We asked Alexey Kovalev — a Russian journalist in exile who once worked inside one of those outlets — to describe how it functions.

“The presidential administration intervenes with specific instructions. It has a kill switch that can immediately blacklist any coverage in Kremlin-controlled media of any unwanted, undesirable topics, like protests, for example. The presidential administration is like the central nervous system of the beast.” 

Alexey Kovalev

The Kremlin ‘brain’ doesn't only issue orders. It also enforces silence. Russia's official censorship body, Roskomnadzor, can red-flag content and suspend licences. The effect, Kovalev says, is a system that rarely needs to give explicit instructions because everyone already knows the rules.

"You should instinctively know what things to cover, what things not to cover, and from which angle. Do what you think is expected of you." 

Alexey Kovalev

These are the people whose job it is to take Kremlin narratives and project them onto the world stage. As well as Sergei Shoigu, Minister of Defense, and Foreign Minister Sergey Lavrov, several names crop up regularly in the information alibis we’ve looked at:

Igor Konashenkov, spokesman for the Russian Ministry of Defense — the military's public voice, whose briefings provide official cover for Russian military actions.

Maria Zakharova, Russian Foreign Ministry spokesperson, who amplifies narratives across international media from behind her podium.

Vasily Nebenzia, Russia's Ambassador to the United Nations, who takes the alibi to the Security Council, where it can be delivered with diplomatic immunity and broadcast live to the world.

“The Russian mission to the UN plays a very central role in this ecosystem. It picks up and amplifies disinformation that has been seeded in more esoteric parts of the internet and gives it a global platform.”

Peter Pomerantsev

The words of these officials have the full weight of the state behind them. And that helps achieve one of the key goals of the information alibi.

“The Russian use of info alibis has to be seen in their general kind of strategy of ultimately avoiding responsibility and giving their allies enough “implausible” deniability about what the Russians are up to… It gives allies at the UN, for example, a way to go ‘well, we just don't know what happened, maybe this was an accident, maybe the Ukrainians bombed themselves.’”

Peter Pomerantsev

The Reckoning Project Co-Founder

This includes organizations that look independent, but which are actually funded by and have direct links to the Russian state.

ANO Dialog and the Social Design Agency — both now sanctioned by the U.S., UK and EU — are the engine room of this layer.

ANO Dialog — reportedly directly linked to Sergey Kiriyenko and the Presidential administration — distributes billions of rubles in grants to social media creators. Its network of social media channels started spreading fakes about Ukraine from the start of the invasion. One of the examples — a pseudo fact-checking Telegram channel War on Fakes, with over 400k subscribers.

“It's a way to ensure that every content creator is hooked on the government money… The ‘don't bite the hand that feeds you’ mentality.”

Alexey Kovalev

The Social Design Agency (SDA) operates differently — it focuses on creating and spreading Russian disinformation abroad.

“The Social Design Agency is industrialized disinformation, and it can be terrifyingly effective because explicitly pro-Kremlin narratives created by the SDA were shared by people like Elon Musk and Marjorie Taylor Greene. The stuff that they're creating is really bleeding into mainstream Western discourse.”

Alexey Kovalev

Let’s take the Mariupol hospital attack as an example. 

It appears that bloggers and Telegram channels were the first to point to maternity wards being used as firing positions.

A week before the attack, DPR People's Militia channels were claiming that maternity wards were being used as firing positions. Pro-war Telegram channels amplified it within hours. 

It was after that, that official spokespeople reinforced the message:

• Igor Konashenkov, Defense Ministry spokesman, accused the Ukrainian army of turning hospitals into firing positions. 

• Vasily Nebenzia, UN Ambassador told the Security Council that Ukrainian forces had placed a firing position in a Mariupol maternity ward before the attack, and reminded them of his warning two days after the attack.

• Maria Zakharova, Foreign Ministry spokesperson — remember the briefing she gave just four hours before the bombs fell on the maternity ward?

And then, almost before the dust had settled, the bloggers and Telegram channels echoed the narrative the spokespeople had told the world.

So, as far as who’s leading who, Vasily Gatov, former Russian media strategist and disinformation researcher, thinks it’s a two-way street. Some indications come from the Kremlin, other initiatives are launched from the bottom.

“My opinion is that most of these information operations are created in small groups, mostly people with very limited knowledge of psychology and especially media effects. Some are military, maybe military intelligence. Some are journalists, war journalists. And most of them are people who make their living from telling the Kremlin they're doing a great job.”

Vasily Gatov

Alexey Kovalev agrees that, in his experience as a journalist, there are rarely detailed instructions flowing from the top. Each individual is expected to use their own judgment, as long as it’s favorable to the Kremlin.

“It's a way of controlling by omission that you should not say under any circumstances, and that is anything that is not on the Russian defense ministry's website. Steer clear from any Ukrainian perspective. It doesn't matter. Ukrainians don't have agency. Flood the zone with shit, with a million conflicting narratives. It doesn't really matter that they don't make any sense or it falls apart at the slightest scrutiny. Seeds of doubt have been sowed.”

Alexey Kovalev

“We can tell when an info alibi is peaking. We can look at the online patterns and see how it's spiked. We can see so many telltale signs that this is not organic activity, but part of a planned operation. The technology is a double-edged sword and I think this war is going to be a game changer globally for holding propagandists accountable.”

Peter Pomerantsev

The Reckoning Project Co-Founder

The post The Alibi Machine: The Suspects appeared first on Coda Story.