What we consume largely is fakery. For public consumption. On the other hand the fake can only go so far and do so much. After, not before, the world took knee to the invisible virus of great lethality, after, not before imprisonment by lockdown, after, not before mandatory injections, after, not before resistance, and after, not before prosecution stirs and bankruptcy looms for Pfizer and Moderna, tied into the global Deep State. Shock and Awe: no war without representation
The first rule or principle Virilio outlines is that there is no war without representation. As scientific and meticulous as war becomes, it never breaks from the ‘pre-technical’ ideas of war as deception and illusion, spectacle and captivation. So in addition to maps and planning (representations of the battlefield) there are mediations such as the piercing sound of swooping planes and missiles, designed to paralyze their soon-to-be victims. What was previously called the “theatre of operations” has been replaced by the “theatre weapon” (7).
Looking to cultural and economic ties between the industries, Virilio argues that cinema fits perfectly within the war machine: he cites, for example, arms industry funding of the German film company UFA in the 1930s, and the role of cinema stars and directors during the two World Wars (in propoganda, but also selling war bonds, etc.). Conversely, he writes that the war machine – with its focus on mass-management over diverse locales, logistics and planning – fits with cinema, and points to the scaling-up of production for films like Birth of a Nation. https://mastersofmedia.hum.uva.nl/blog/2008/03/10/notes-on-paul-virilios-war-and-cinema/
What we consume largely is fakery. For public consumption. On the other hand the fake can only go so far and do so much. After, not before, the world took knee to the invisible virus of great lethality, after, not before imprisonment by lockdown, after, not before mandatory injections, after, not before resistance, and after, not before prosecution stirs and bankruptcy looms for Pfizer and Moderna, tied into the global Deep State. Shock and Awe: no war without representation
The first rule or principle Virilio outlines is that there is no war without representation. As scientific and meticulous as war becomes, it never breaks from the ‘pre-technical’ ideas of war as deception and illusion, spectacle and captivation. So in addition to maps and planning (representations of the battlefield) there are mediations such as the piercing sound of swooping planes and missiles, designed to paralyze their soon-to-be victims. What was previously called the “theatre of operations” has been replaced by the “theatre weapon” (7).
Looking to cultural and economic ties between the industries, Virilio argues that cinema fits perfectly within the war machine: he cites, for example, arms industry funding of the German film company UFA in the 1930s, and the role of cinema stars and directors during the two World Wars (in propoganda, but also selling war bonds, etc.). Conversely, he writes that the war machine – with its focus on mass-management over diverse locales, logistics and planning – fits with cinema, and points to the scaling-up of production for films like Birth of a Nation. https://mastersofmedia.hum.uva.nl/blog/2008/03/10/notes-on-paul-virilios-war-and-cinema/
the ghost of kiev is actually a ghost.
How much of the current conflict is imaginary then? And how did that guy survive a tank rolling over him?