Ergo cinematic substitution culminates in the form of a ‘war of images’, or, Infowar. Infowar is not really a traditional war. In Infowar images are not produced of actual battles. Instead it is a war where the difference between the images of battles and the actual battles is undone and serialized. To be as clear as possible, Virilio, wars are not about confrontation. They have to do more with movement .Quiet like Baudrillard’s infamous claim that the Gulf War did not take place; Virilio’s assertion that war and cinema are virtually indistinguishable is open to debate. However Virilio’s stand as far as Infowar is considered, remains intact with the view that the only way to keep track of cultural advancements. He remains affirm in his belief on the parallels that exist between the war, the cinema and the nuances of perception.
The first rule or principle Virilio marks out is that there war and representation go hand in hand. War has graduated and has become more scientific and meticulous then it could ever before. It doesn’t stay away from the ‘pre-technical’ notions of war as deception and illusion, spectacle and captivation. So other than mere maps and strategizing (representations of the battlefield) there are mediations such as the piercing sound of swooping planes and missiles. They were specifically created to paralyze their predictable victims. Ergo, what was claimed as the “theatre of operations” before has been taken over by the “theatre weapon” not just on battle ground but also in theaters. (Stevenson)
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