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"Gorgeous War argues that the Nazis used the swastika as part of a visually sophisticated propaganda program that was not only modernist but also the forerunner of contemporary brand identity. When the United States military tried to answer Nazi displays of graphic power, it failed. In the end the best graphic response to the Nazis was produced by the Walt Disney Company. Using numerous examples of US and Nazi military heraldry, Gorgeous War compares the way the American and German militaries developed their graphic and textile design in the interwar period. The book shows how social and cultural design movements like modernism altered and were altered by both militaries. It also explores how nascent corporate culture and war production united to turn national brands like IBM, Coca-Cola, and Disney into multinational corporations that had learned lessons on propaganda and branding that were being tested during the Second World War. What is the legacy of apparently toxic signs like the swastika? The answer may not be what we hoped. Inheritors of the post-Second World War world increasingly struggle to find an escape from an intensely branded environment--to find a place in their lives that is free of advertising and propaganda. This book suggests that we look again at how it is our culture makes that struggle into an appealing Gorgeous War."--

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.

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.

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.

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."

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.

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.