It will no longer be war that is the continuation of politics by other means, it will be what I have dubbed 'the integral accident' that is the continuation of politics by other means.
War is cinema, and cinema is war
All future wars, all future accidents will be live wars and live accidents.
What happened in Kosovo was the exact reversal of what happened in 'Fortress Europe' in 1943-45. Let me explain. Air Marshall 'Bomber' Harris used to say that 'Fortress Europe' was a fortress without a roof, since the Allies had air supremacy. Now, if we look at the Kosovo War, what do we see? We see a fortress without walls but with a roof! Isn't that disappearance extraordinary?!
Some of the most dramatic consequences of the Kosovo war are linked to the resumption of the arms race and the suicidal political and economic policies of countries like India and Pakistan where tons of money are currently being spent on atomic weaponry. This is abhorrent!
If we look at the Gulf War, the same is also true. Indeed, my work on the logistics of perception and the Gulf War was so accurate that I was even asked to discuss it with high-ranking French military officers. They asked me: 'how is it that you wrote that book in 1984 and now it's happening for real?' My answer was: 'the problem is not mine but yours: you have not been doing your job properly!'
However, the Kosovo War took place in orbital space. In other words, war now takes place in 'aero-electro-magnetic space'. It is equivalent to the birth of a new type of flotilla, a home fleet, of a new type of naval power, but in orbital space!
What is going on now, or should happen in one or two generations, is the disintegration of the world. Real time 'live' technologies, cyberreality, will permit the incorporation of the world within oneself. One will be able to read the entire world, just like during the Gulf War. And I will have become the world. The body of the world and my body will be one.
While the United States (US) can view the war as a success, Europe must see it as a failure for it and, in particular, for the institutions of the European Union (EU).
I am very interested in and that is what Sun Tzu in his ancient Chinese text calls The Art of War.
There is, then, a link between the logistics of perception, the wars in Lebanon and the Gulf as well as with CNN and the Pentagon.
GPS not only played a large and delocalizing role in the war in Kosovo but is increasingly playing a role in social life.
War was my university. Everything has proceeded from there.
Earth is already being integrated into the Pentagon, and the man in the Pentagon is already piloting the world war - or the Gulf War - as if he were a captain whose huge boat would have become his own body. Thus the body simulates the relationship to the world.
For the US, the Kosovo War was a success because it encouraged the development of the Pentagon's 'Revolution in Military Affairs' (RMA). The war provided a test site for experimentation, and paved the way for emergence of what I call in Strategie de la deception 'the second deterrence'.
Nowadays, the tragedy of war is mediated through technology. It is no longer mediated through a human being with moral responsibilities.
The research on vision machines was mainly conducted at the Stanford Research Institute in the US. So, we can say that the events that took place in the Kosovo War were a total confirmation of the thesis of The Vision Machine.
Thus it is no longer a Caesar or a Napoleon who decides on the fate of any particular war but a piece of software! In short, the political intelligence of war and the political intelligence of society no longer penetrate the techno-scientific world.
... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.
I have always been interested in the architecture of war, as can be seen in Bunker Archeology. However, at the time that I did the research for that book, I was very young. My aim was to understand the notion of 'Total War'.
The automation of warfare has, then, come a long way since the Persian Gulf War of 1991.
If we turn to the war in Kosovo, what do we find? We find the manipulation of the audience's emotions by the mass media.
There can be no doubt about this. It even held true for the soldiers involved in the Kosovo War. For the soldiers stayed mostly in their barracks! In this way, polar inertia has truly become a mass phenomenon. And not only for the TV audiences watching the war at home but also for the army that watches the battle from the barracks.
If you look at the Gulf War or new military technologies, they are moving towards cyberwars. Most video-technologies and technologies of simulation have been used for war. For example, video was created after the Second World War in order to radio-control planes and aircraft carriers. Thus video came with the war. It took twenty years before it became a means of expression for artists.
As I have said many times before, I was among the first people to experience the German Occupation of France during the Second World War. I was 7-13 years old during the War and did not really internalise its significance.
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