In the late 20th and early 21st centuries, increased computing power has made possible extraordinary leaps in film special effects. This article argues that special effects developed since the beginning of digital animation, when coupled with standard editing room techniques (jump cuts, cutaways), have brought us to an era where the eye cannot keep pace with on-screen events. It is arguable that video gamers are best equipped to handle the visual overload produced by action films' effects. The article enumerates a (...) series of techniques used in current action films to bring about visual excess that has an upsetting, exciting, overwhelming somatic effect on the viewer; these same effects are indispensable for the success of contemporary blockbuster action movies. Following theorist Paul Virilio's arguments, this article suggests that a machine ideology drives the perceptual system to dizzying limits, resulting in the “speed death of the eye.”. (shrink)

Guns, slug-throwing weapons, have evolved as humans have increased their grasp of the mechanical arts. In the near future, however, it seems likely that soldiers' rifles operating at punishing cyclic rates of fire face the limits of physics and materials science— heat and speed will cost accuracy and distance. This article considers not only the near future of the personal weapon carried by soldiers in battlespace but also the rifle's evolution as an index of alterations in 20th-and 21st-century war fighting. (...) The arc traced by multiple-fire weapons, from the Gatling to the laser rifle, is a narrative of humans, machinery, and their cocreative symbiotic relationship. This article begins by examining some current examples of late-generation rifles and their imagined futures, continues by pursuing the linkages between guns and soldiers, and finally asks what new guns will mean for soldiers being born now. (shrink)

Unmanned (or Uninhabited) Aerial Vehicles are a key part of the American military's so-called revolution in military affairs (RMA) as practiced over Iraq. They are also part of the drive to shift agency away from humans and toward machines. This article considers the ways in which humans have, in calling on high technologies to distance them from what the military calls the “dull, the dirty, and the dangerous,” hoped to avoid responsibility for murder in wartime. In examining the claims of (...) weapons manufacturers and their military customers, the article focuses on the concept of “systems of systems” and the various outcomes such battlespace imaginings might have for human beings. The article concludes that the RMA entertains a fantasy of human agency while technological systems call out to and conjure up other technological systems that are possessed not only of their own logics but also purposes that are hidden and disturbing. (shrink)

Ender’s Game, Orson Scott Card’s award-winning 1985 novel, has been discovered and rediscovered by generations of science fiction fans, even being adopted as reading by the U.S. Marine Corps. Ender's Game and its sequels explore rich themes — the violence and cruelty of children, the role of empathy in war, and the balance of individual dignity and the social good — with compelling elements of a coming-of-age story. Ender’s Game and Philosophy brings together over 30 philosophers to engage in wide-ranging (...) discussion on issues such as: the justifiability of pre-emptive strikes; how Ender’s disconnected and dispassionate violence is mirrored in today’s drone warfare; whether the end of saving the species can justify the most brutal means; the justifiability of lies and deception in wartime, and how military schools produce training in virtue. The authors of Ender’s Game and Philosophy challenge readers to confront the challenges that Ender’s Game presents, bringing new insights to the idea of a just war, the virtues of the soldier, the nature of childhood, and the serious work of playing games. (shrink)

This article examines 50 films produced and released between the years 2001 and 2012 that are concerned with the American wars in Iraq and Afghanistan. Using Jacques Ellul’s theories set out in his book Propaganda, the article argues that while the films have failed at the box office, they were intended to function as integration propaganda. The article proposes six different tropes or common frames for understanding how the films avoid dealing with problems raised by the wars. Why the films (...) failed, and what functioned as integration propaganda instead, is the subject for a second article titled “Eyeless in America, the Sequel.”. (shrink)

This article builds on conclusions drawn in the article “Eyeless in America,” by the same author and considers how 50 American films about the wars in Iraq and Afghanistan intended to function as what Jacques Ellul called “integration propaganda,” fared. This article considers and rejects a number of theories about why most feature war films failed between 2002 and 2012 and proposes what war films might look like in the near future.

The Bush Administration's quiet resumption of, or initiation of new, nuclear weapons programs aimed militarizing space, and erecting a missile defense shield that would have the effect of rolling back 19 years of solid détente, has gone largely unnoticed over the last eight years. Weapons makers, government officials and politicians have expressed excitement at these new developments, despite the immediate stress loaded onto relations between the United States and Europe, particularly ex-Soviet satellite countries. This paper revisits arguments about nuclear weaponry (...) and the possibility for defense against and survival of a nuclear war. The paper considers the way new nuclear technologies are inherently determinist, and reflects on the threat of the apocalyptic world as seen in American author Cormac McCarthy's unflinching 2006 novel, The Road. (shrink)

Creating memory during and after wartime trauma is vexed by state attempts to control public and private discourse. Science fiction author Iain Banks’ novel Look to Windward proposes different ways of preserving memory and culture, from posthuman memory devices, to artwork, to architecture, to personal, local ways of remembering.