Teletronic warfare isn’t typically conceived as a media development, despite regular comparisons of drone ‘pilots’ to computer gamers. That’s clearly due far more to institutional information control than to the character of the technological process. It is becoming impossible for an even moderately modernized military to destroy anything without the simultaneous production of a media event (which has then to be withheld from mass Internet-based circulation by an extrinsic application of policy). A virtual morbid super-spectacle is generated alongside the war, as munitions converge with narrative agency. When considering the content locked up in the basement of the Web, this material has to be a huge part of it.
“What did you do as a child, Pythia?”
“From what I can remember, I seem to have spent a lot of time cooking monkeys in hell.”
NOTE: Paul Virilio’s War and Cinema: The Logistics of Perception (1989), which emphasized the parallel development of the movie camera and the machine-gun, stands as a prophetic forecast of sensible weaponry, whose story — told from its own increasingly high-resolution perspective — is already beginning to leak out.