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How perceptual technologies have shaped the history of war from the Renaissance to the present From ubiquitous surveillance to drone strikes that put “warheads onto foreheads,” we live in a world of globalized, individualized targeting. The perils are great. In The Eye of War, Antoine Bousquet provides both a sweeping historical overview of military perception technologies and a disquieting lens on a world that is, increasingly, one in which anything or anyone that can be perceived can be destroyed—in which to see is to destroy. Arguing that modern-day global targeting is dissolving the conventionally bounded spaces of armed conflict, Bousquet shows that over several centuries, a logistical order of militarized perception has come into ascendancy, bringing perception and annihilation into ever-closer alignment. The efforts deployed to evade this deadly visibility have correspondingly intensified, yielding practices of radical concealment that presage a wholesale disappearance of the customary space of the battlefield. Beginning with the Renaissance’s fateful discovery of linear perspective, The Eye of War discloses the entanglement of the sciences and techniques of perception, representation, and localization in the modern era amid the perpetual quest for military superiority. In a survey that ranges from the telescope, aerial photograph, and gridded map to radar, digital imaging, and the geographic information system, Bousquet shows how successive technological systems have profoundly shaped the history of warfare and the experience of soldiering. A work of grand historical sweep and remarkable analytical power, The Eye of War explores the implications of militarized perception for the character of war in the twenty-first century and the place of human subjects within its increasingly technical armature.
An exceptional photographic history of the changing face of war and combat photo journalism through the last 150 years fully illustrated with over 200 photographs
A grunt’s-eye view of the Vietnam War through hundreds of personal photos Marc Waszkiewicz served three tours (1967, 1968, 1969) as an artillery forward observer with the U.S. Marine Corps in Vietnam, where he took thousands of photos capturing the beauty, drudgery, hilarity, and horror of the war. 1,000-Yard Stare collects the best of these in a book that presents an unvarnished grunt’s-eye view of the Vietnam War. These are amazing, well-shot photos--most of them color, many of them truly arresting--of Marines in the field, in camp, on base, fighting, patrolling, writing, drinking, carrying on. Some have the feeling of candid snapshots while others are more composed (Waszkiewicz was, and is, an amateur photographer), with subjects ranging from a gunner calculating ranges with pencil and protractor and a chaplain conducting a battlefield mass to grunts smoking illicit substances while pretending to fish and images of barbed wire twisting in the jungle and watchtowers at twilight. Also included are photographs from Waszkiewicz’s postwar decades of coming to terms with his experiences, such as a sequence of poignant photos from The Wall in Washington and his trip back to Vietnam. This is a visual memoir of the war.
Winner of the Army Historical Foundation Distinguished Book Award, The Eyes of Orion is a highly personal account of the day-to-day experiences of five platoon leaders who served in the same tank battalion in the 24th Infantry Division during Operations Desert Shield and Desert Storm. While professional soldiers and historians will undoubtedly glean much from this narrative, the heart of the account concerns the experiences of the five young lieutenants as they prepared for and served in combat--from their deployment to Saudi Arabia through their six months in the desert training for war, their four days in combat and several weeks of occupation in Iraq, and finally their homecoming. The authors treat their combat experience in Saudi and Kuwait from the perspective of junior officers, all in their twenties and just out of college (four are graduates of West Point and one received his commission through an ROTC program), who served on the front line--facing physical, personal, moral, and leadership challenges.
This collection provides a transnational, interdisciplinary perspective on artistic responses to war from 1914 to the present, analysing a broad selection of the rich, complex body of work which has emerged in response to conflicts since the Great War. Many of the creators examined here embody the human experience of war: first-hand witnesses who developed a unique visual language in direct response to their role as victim, soldier, refugee, resister, prisoner and embedded or official artist. Contributors address specific issues relating to propaganda, wartime femininity and masculinity, women as war artists, trauma, the role of art in soldiery, memory, art as resistance, identity and the memorialisation of war.
"Collection of incunabula and early medical prints in the library of the Surgeon-general's office, U.S. Army": Ser. 3, v. 10, p. 1415-1436.