Works
- 1981 : Le Chewing-gum des yeux (French: Chewing Gum for the Eyes)
- 1989 : La Communication victime des marchands
- 1995 : Cómo nos venden la moto, with Noam Chomsky
- 1996 : Nouveaux pouvoirs, nouveaux maîtres du monde (French: New Powers, New World Masters)
- 1997 : Géopolitique du chaos (French: Geopolitics of Chaos)
- 1998 : Internet, el mundo que llega (Spanish: Internet, the Coming World)
- 1998 : Rebeldes, dioses y excluidos (Spanish: Rebels, Gods, and the Excluded), with Mariano Aguirre
- 1999 : La Tyrannie de la communication (French: The Tyranny of Communication)
- 1999 : Geopolítica y comunicación de final de milenio (Spanish: Geopolitics and Communication at the End of the Millennium)
- 2000 : La golosina visual
- 2000 : Propagandes silencieuses
- 2001 : Marcos, la dignité rebelle
- 2002 : La Post-Télévision
- 2002 : Guerres du XXIe siècle (Wars of the 21st Century)
- 2004 : Abécédaire partiel et partial de la mondialisation, with Ramón Chao and Wozniak
- 2006: Fidel Castro: biografía a dos voces (Spanish: Fidel Castro: Biography with Two Voices) also titled Cien horas con Fidel (One Hundred Hours with Fidel)
Read more about this topic: Ignacio Ramonet
Famous quotes containing the word works:
“The hippopotamus’s day
Is passed in sleep; at night he hunts;
God works in a mysterious way—
The Church can sleep and feed at once.”
—T.S. (Thomas Stearns)
“You are always looking for already-felt emotions, just as you like to get an old pair of trousers back from the cleaners, which seem new when you don’t look too closely. Artists are cleaners, don’t let yourself be taken in by them. True modern works of art are made not by artists but quite simply by men.”
—Francis Picabia (1878–1953)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)