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From Military Threats to Everyday Fear: Computer Games as the Representation of Military Information Operations

机译:从军事威胁到日常恐惧:计算机游戏是军事信息作战的代表

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The history of combat is primarily the history of radically changing fields of perception. In other words, war consists not so much of scoring territorial, economic or other material victories but of appropriating the immateriality of perceptual field. The function of the eye has become the function of the weapons (Virilio, 1989; 2009). To understand information age warfare we have to understand the concept of representation as a part of our process of violence. The idea oj information warfare or an information operation is based on the process where the physical target is no longer destroyed with the kinetic systems, but the process where the non-kinetic systems, like information, scan the symbols-semiotics networks. We like to consume safety different kind of fears. The feeling of the safety fear based on the virtual boundaries, which are set in the movement from "principle" to "practice, in other words in the actualization of the cyber-form. The power of fear is not a form. It is not abstract. It is the movement of form into the content outside of which it is a void of potential function, of the abstract into the particular it cannot be or do without. (see Massumi 1993, 20-21) Today, particularly the advanced mobile technology, the Internet and the entertainment industry immensely exploit the experiences from different wars and conflicts for example as ideas of computer games. In return the military industrial complex represents its own language for example in the concept of information operations with the help of applications particularly rising from the entertainment industry. The roles of Hector and Achilles, the teachings of Jomini and Clausewitz have an effect in the background of games and gaming. Opposite to Clauseiwitz's thinking, Jomini took the view that the amount of force deployed should be kept to the minimum in order to lower casualties and that war was a science, not an art. The most central genres in gaming are "strategy", "adventure", "shooter", "sports", "simulation", "music", "role playing" and "puzzle ". All of these are related to warfare one way or another. Another interestingfact is that in the 1950's the first computer games were mathematic strategy based games that that had been developed in universities (Czosseck 2009; Peltoniemi, 2009).
机译:战斗史主要是观念领域发生根本变化的历史。换句话说,战争不仅仅在于为领土,经济或其他物质上的胜利打分,而是在于对感知领域的非物质性的占有。眼睛的功能已成为武器的功能(Virilio,1989; 2009)。要了解信息时代的战争,我们必须了解代表概念,这是我们暴力过程的一部分。信息战或信息作战的思想是基于物理目标不再被动力学系统破坏的过程,而是基于非动力学系统(如信息)扫描符号-符号网络的过程。我们喜欢消耗安全性的不同恐惧。基于虚拟边界的安全恐惧感,是在从“原则”到“实践”的移动中设定的,换句话说,是在网络形式的实现中。恐惧的力量不是形式,不是形式。抽象是形式向内容的移动,在其中没有潜在的功能,从抽象向特定的内容的移动是不可能或没有的(参见Massumi 1993,20-21)今天,特别是高级移动设备技术,互联网和娱乐业极大地利用了来自不同战争和冲突的经验,例如作为计算机游戏的思想;作为回报,军事工业园区在诸如应用程序特别是新兴应用的帮助下,在信息操作概念中代表了自己的语言。来自娱乐业的角色,赫克托和阿喀琉斯的角色,乔米尼和克劳塞维茨的教have在游戏和游戏的背景下产生了影响,与克劳塞维兹的思想相反,乔米尼他认为,为了减少人员伤亡,应将部署的武力保持在最低水平,而战争是一门科学,而不是一门艺术。游戏中最主要的类型是“策略”,“冒险”,“射击”,“运动”,“模拟”,“音乐”,“角色扮演”和“拼图”。所有这些都与战争有某种联系。另一个有趣的事实是,在1950年代,第一批计算机游戏是在大学中开发的基于数学策略的游戏(Czosseck 2009; Peltoniemi,2009)。

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