Journal articles on the topic 'Projectile weapon elements'

Despite a very large variety of improvised firearms, repeatability of certain actions of the manufacturers can be observed, reflecting the purpose to which such weapons are produced (e.g. poaching), and the availability of appropriate technologies. The aim of this article is to make an attempt to systematize improvised firearms on the basis of the expert opinions elaborated at the Weapon Research and Ballistics Department of the Voivodeship Police Headquarters in Kraków (LK KWP) as well as studies carried out on weapons belonging to the collection of the Department of Forensic Medicine (ZMS) in Kraków. Research material included both primitive devices made by using simple methods and without concern for accuracy or aesthetics, as well as fine-tuned pieces with individual design solutions or copies of factory-made weapons. Improvised firearms can generally be divided into conversions and own designs. The conversion most frequently applies to alarm, gas or pneumatic weapons. It consists in removing factory safety mechanisms or, in the case of pneumatic weapons, in introducing technical modifications, which enable to blast off the cartridge and discharge the projectile by means of gas pressure arising during combustion of the propellant. Own designs may contain certain factory elements, most frequently the barrel, however, in most cases, they are manufactured from scratch. Improvised firearms, even those without the original elements, typically use ammunition with projectiles or, in some cases, the so called blank ammunition converted into live ammunition by adding projectiles.

Simulating fragment penetration into steel involves complicated modeling of severe behavior of the materials through multiple phases of response. Penetration of a fragment-like projectile was simulated using finite element (FE) and meshfree particle formulations. Extreme deformation and failure of the material during the penetration event were modeled with several approaches to evaluate each as to how well it represents the actual physics of the material and structural response. A steel Fragment Simulating Projectile (FSP) – designed to simulate a fragment of metal from a weapon casing – was simulated for normal impact into a flat square plate. A range of impact velocities was used to examine levels of exit velocity ranging from relatively small to one on the same level as the impact velocity. The numerical code EPIC, used for all the simulations presented herein, contains the element and particle formulations, as well as the explicit methodology and constitutive models needed to perform these simulations. These simulations were compared against experimental data, evaluating the damage caused to the projectile and the target plates, as well as comparing the residual velocity when the projectile perforated the target.

The article analyzes possible methods for measuring the pressure of powder gases. The phenomenon of a shot is very complex. Many components of the processes themselves are very complex, interconnected one with the other and strongly depend on the scheme of the device and the design of the weapon, the powder charge and the projectile, on the properties of the gunpowder and on the state of the atmosphere in which the projectile moves. In addition, most of the processes of the phenomenon of a shot occur in very short periods of time and are characterized by high values of physical parameters: speed, pressure, temperature. The complexity and intensity of the phenomenon of a shot do not allow us to study it in full. Therefore, in ballistics they confine themselves to studying the basic regularities of the phenomenon of a shot, on which the movement of a projectile depends very much. This study, necessary for artillery practice, is carried out by theoretical and experimental methods. The parameters of the state of powder gases, as well as a number of parameters of most firing processes that are not directly measured, have to be determined indirectly, primarily from the results of measuring the pressure of powder gases. For this, various laws and relations established on the basis of theoretical and experimental research are usually used, which connect the desired quantities with the pressure of powder gases. Static pressure measurement methods are based on the principle of converting pressure values into strain values or other physical quantities associated with it. Dynamic pressure measurement methods are based on the principle of converting pressure values into kinematic elements of motion: acceleration, speed or path as a function of time. Keywords: pressure, static pressure measurement methods, dynamic pressure measurement methods, tensometric method, piezoelectric method, plastic deformation method, spring deformation method.

The X-ray fluorescence spectral qualitative and quantitative analyses were performed for the elemental composition of 4 marks of bullets for pneumatic weapon of home and foreign production, and also for imitators of common clothing materials camouflage fabric and cotton knitwear. It is determined that lead bullets for pneumatic weapons are capable to introduce some elements of their composition, which are inherent in one or another mark of bullets, to the area of damage on certain clothing materials, in particular, camouflage fabric and cotton knitwear. This expands the possibilities of forensic medical examination when dealing with a problem of determining the type and mark of a bullet or of a small group of bullets similar in their elemental composition, due to which the pneumatical shot injuries of examined objects took place.

The study concerns a man-weapon interaction during a gunshot. The recoil force measurements obtained for the Kalashnikov automatic rifle are presented and analyzed. The influence of shooter’s mass, height and position is described. The breech pressure and projectile velocity data are presented as well. In addition, a finite element (FE) model of the shooter-rifle system is developed in order to qualitatively assess the quantities which could not be determined experimentally, i.e. the stress, strain and displacement fields which are generated in the human body due to the rifle recoil. Several conclusions are drawn that allow for better understanding of the recoil phenomenon and can be useful from the weapon designer’s point of view.

During the Joint Forces (anti-terrorist operation) operation in Donetsk and Luhansk oblasts, civilians and the Armed Forces suffered significanted losses. As a result, we have needed to study impact various weapons on structure roof of buildings which built of different materials to improve protective properties is becoming relevant. Therefore, in modern conditions, design of structures and their elements is not possible without taking into account impact of shells. When designing and constructing structures, it is always necessary to take into account resistance of structural elements to impact of damaging factors, both explosion in general and destructive explosion in particular, which will help avoid future possible human losses. The article presents model of calculation shell penetration into soil thickness covered shelter, consisting of scattering, mattress, distribution layer, load-bearing structure and impact of shells, mines and air bombs to penetrate the thickness of closed structures. The purpose article is to highlight main provisions scientific and methodological approach to calculation multilayer underground protective structures and studies impact of projectiles on multilayer underground protective structure. Our research shows that to determine protective thickness mattress of structure, during penetration of ammunition, first of all, should take into account resistance to scattering, and to determine thickness distribution layer resistance of mattress. Depth of penetration projectile into thickness floor structure will depend on: mass, diameter, shape of main part projectile, as well speed and angle at meeting of projectile with the floor structure.

The paper presents a system that is a worldwide-unique means designed for building engineering barriers, fitting into the quasi-intelligent battlefield concept. The weapons employed are an innovative solution that integrates acoustic, seismic, thermal and laser scanner sensors into a single quasi-intelligent decision-making system. The system enables deploying a minefield section which, after deactivating 1st and 2nd degree safeties, operate autonomously, selecting targets and eliminating them with an explosively formed projectile. The paper presents the concept of the system's design and results of tests of individual elements.

Cel pracy: W pracy przedstawiono podstawowe zasady opiniowania sądowego w sytuacjach postrzeleń ludzi lub zwierząt na polowaniach z broni długiej o lufach gwintowanych, w tym postrzeleń ze skutkiem śmiertelnym. Materiał i metody: Opinie takie wydawane są w oparciu o zgromadzony materiał dowodowy oraz wiedzę biegłego z zakresu broni i amunicji, balistyki jak również z zakresu medycyny anatomopatologicznej. Wyniki: Tego rodzaju kompleksowe analizy pozwalają na wydanie szczegółowej, a zarazem precyzyjnej opinii jako szczególnego środka dowodowego, mającego najistotniejsze znaczenie w przebiegu całego postępowania procesowego. Dlatego też niezmiernie ważnym jest właściwe zabezpieczenie materiału dowodowego w postaci pocisku lub jego fragmentów i konfrontacji tych elementów z oceną rany postrzałowej, a przede wszystkim kształtu i rozmiaru kanału postrzałowego oraz chwilowej jamy postrzałowej. Tego rodzaju postępowania są dość skomplikowane, gdyż wymagają od biegłego szerokiego spektrum wiedzy, dlatego też niejednokrotnie celem rozwikłania skomplikowanej materii będącej przedmiotem opiniowania, zachodzi konieczność wydania opinii nawet przez kilku biegłych. Konkluzja: Opiniowanie sądowe w sprawach dotyczących postrzału, w tym ze skutkiem śmiertelnym, wymaga od biegłego interdyscyplinarnej wiedzy specjalistycznej. Wszelkie analizy w tym zakresie oparte powinny być o ekspertyzę balistyczną w aspekcie oceny rany postrzałowej. Połączenie tych dwóch elementów warunkuje wydanie obiektywnej i niebudzącej wątpliwości interpretacyjnych opinii. Differentiation of shots from hunting weapons with threaded barrels depending on the type of projectiles – forensic opinions Aim of the study: The paper presents the basic principles of judicial review in cases of shooting people or animals on hunting with rifled long weapons, including deaths with a fatal outcome. Material and methods: Such opinions are issued on the basis of the collected evidence and the knowledge of an expert in the field of weapons and ammunition, ballistics as well as in the field of anatomopathological medicine. Results: This type of comprehensive analysis allows for the issuance of a detailed and at the same time precise opinion as a special means of evidence, having the most important importance in the course of the entire trial. Therefore, it is extremely important to properly secure the evidence in the form of a bullet or its fragments and to confront these elements with the assessment of the gunshot wound, and above all the shape and size of the gunshot canal and the momentary gunshot cavity. These types of proceedings are quite complicated, as they require a broad spectrum of knowledge from an expert, therefore, in order to solve the complicated subject matter of the opinion, it is often necessary to issue an opinion even by several experts. Conclusions: Forensic opinions in cases related to gunshots, including fatal ones, require an expert to have interdisciplinary specialist knowledge. All analyzes in this regard should be based on ballistic expertise in the aspect of gunshot wound assessment. The combination of these two elements determines the issuance of an objective and unquestionable interpretation.

The era of the Industrial Revolution 4.0 military power became one of the important elements because technological developments have changed the entire order of military strategy. One of them is the development of military equipment technology part of weaponry. As is known, often Indonesia army soldiers conduct shooting exercises to defend the Nation and the Unitary State of the Indonesian People (NKRI). With the shooting training there is a lot of waste from bullet cladding. Bullet cladding or patrun is an object that is a container that wraps around a bullet projectile and consists of propellant (gunpowder), rim, and primer. Bullets/munitions after firing can still be recycled back into active munitions. In accordance with the purpose of this study, researchers modified a cladding machine in order toimprove the performance of thetool effectively than before. The research methods used are a combination of experimental and empirical manual calculations to determine the relevant results. The result destruction can cut 3 grains of cladding even more in everyone round of the cutting blade, so this study modified the transmission system, fixed clutch, shaft, straight gear. The transmission uses a1:60 wpa gearbox ratio, with an electric motor drive power of 1.5 kW/ 2 HP, 1450 r / min, using a flange type clutch.

The contemporary protective structures are now critical elements of the floating units, military, public and other objects. Their task is to weaken the effects of a terrorist action against selected areas with the use of explosives or projectiles. The knowledge of material behaviour at high strain rates is essential for designing the ballistic shields. The hull external shells of the Polish Navy ships now in service do not meet the requirements of ballistic anti-terrorist shields against small arms shooting or the rocket and shell splinters. This is a significant problem in the case of defending a ship against terrorist attack threats. Therefore, there is a tendency for building internal and external ballistic shields in the ship hull structure to protect the critical compartments and action stations. The paper presents investigations of materials subjected to high strain rates, with the 10GHMBA E-620 bainitic steel as an example. The experiments were carried out on the MTS 810.12 testing machine, rotary impact testing hammer, the Taylor test stand and on the ballistic pendulum. In the final part of the paper, some numerical simulations are presented allowing to analyse the fast-changing processes arising during loading the structure by an impact of high velocity bodies.

In the present study, we show that venom of the ant spider Lachesana tarabaevi is unique in terms of molecular composition and toxicity. Whereas venom of most spiders studied is rich in disulfide-containing neurotoxic peptides, L. tarabaevi relies on the production of linear (no disulfide bridges) cytolytic polypeptides. We performed full-scale peptidomic examination of L. tarabaevi venom supported by cDNA library analysis. As a result, we identified several dozen components, and a majority (∼80% of total venom protein) exhibited membrane-active properties. In total, 33 membrane-interacting polypeptides (length of 18–79 amino acid residues) comprise five major groups: repetitive polypeptide elements (Rpe), latarcins (Ltc), met-lysines (MLys), cyto-insectotoxins (CIT) and latartoxins (LtTx). Rpe are short (18 residues) amphiphilic molecules that are encoded by the same genes as antimicrobial peptides Ltc 4a and 4b. Isolation of Rpe confirms the validity of the iPQM (inverted processing quadruplet motif) proposed to mark the cleavage sites in spider toxin precursors that are processed into several mature chains. MLys (51 residues) present ‘idealized’ amphiphilicity when modelled in a helical wheel projection with sharply demarcated sectors of hydrophobic, cationic and anionic residues. Four families of CIT (61–79 residues) are the primary weapon of the spider, accounting for its venom toxicity. Toxins from the CIT 1 and 2 families have a modular structure consisting of two shorter Ltc-like peptides. We demonstrate that in CIT 1a, these two parts act in synergy when they are covalently linked. This finding supports the assumption that CIT have evolved through the joining of two shorter membrane-active peptides into one larger molecule.

The article is devoted to review of the problem of studying traces of metallizing in a smoothbore firearm bore when firing various types of kinetic projectiles. The features of the mechanism of formation of lead traces in a bore as well as conditions contributing to lead plating are considered. The main cases of detecting traces of lead on bore surface in the course of corresponding multidisciplinary forensic ballistic and chemistry analysis are considered. The main methods for detecting traces of lead in the bore of the studied sample of weapon are described, as well as signs on the basis of which it is possible to establish the type of projectile that was fired in cases when a bore has not been thoroughly cleaned. In the course of the survey on the study of traces of metallization, it was found that the contact-diffusion method is suitable only for qualitative analysis of lead traces, it can be used to determine only the presence of lead and visualize the degree of concentration of the studied metal in the contact zone based on the intensity of color display of chemical reaction. To establish quantitative indicators of the chemical elements that make up the traces of metallization, this method is unpromising. Particular attention is paid to the study of traces of metallization in a bore of traumatic guns. The possible problematic aspects of this kind of research are indicated. It is obvious that research in this direction requires the introduction into practice of more advanced equipment and new approaches aimed at identifying individualizing signs of the nature of traces origin.

AbstractProjectile injuries to the face deserve particular attention to evaluate for involvement of critical structures and functional elements and treat the devastating effects on facial aesthetics. Ballistic trauma to the maxillofacial region often has significant soft tissue and bony defects, creating a greater challenge to the reconstructive surgeon. The main goals of treatment of projectile injuries to the face are decreasing the amount of contaminants and nonviable tissue at the site, ensuring functionality, and restoring aesthetic appearance. There exists a lack of robust research on the subject. Soft tissue injuries from high-velocity projectiles have changed the perspective on treating acute injuries to the face and neck. Injuries encountered during both Operation Iraqi Freedom and Operation Enduring Freedom give the author pause to reflect upon a different wounding pattern than that encountered in stateside trauma centers. Given the dissemination of high-velocity weaponry by enemy combatants such as the improvised explosive device, mortar round, and high-velocity rifles, a higher incidence of facial wounds has been reported. The mechanism of injury and a stepwise approach for surgical repair are discussed incorporating advanced trauma life support principles and a reconstructive ladder of repair.

Maintenance of samples of weapons is carried out at the stages of their life cycle and is carried out on the basis of coordination of actions of the customer and the consumer with a wide range of organizations from the main developer to the co-executors, which does not exclude the occurrence of conflict situations. This leads to the problem of implementing the optimal synthesis of such a complex system and does not allow to direct efforts to achieve the extremum of the target function of the system as a whole. Therefore, the emergence of such a problem and the existing conflicts in the process of determining the means of providing arms to military formations is considered as a complex organizational system, and the difficulties of direct solution of the problem of optimal synthesis in this case are related to: the interconnections of a complex system (between systems of the lower level and elements of the system); limited programming abilities; the construction of a mathematical model, etc.; and cause the need to find solutions to this problem. The methods developed at present allow analytically to calculate the technical perfection of the weapons samples that are considered for providing military formations, as investigated when choosing for procurement or development. Such tasks are deterministic, but, considering costs at all stages of the life cycle, there may be stochastic (probable ones) that can be solved by expert methods. At present, the list and content of the source data when choosing ways of providing weapons are not defined at all stages. Thus, having them strictly non-formalized, the statement of the problem of synthesis is carried out under conditions of uncertainty, which in most cases is solved by heuristic methods, which in turn allows elements of subjectivity. Having determined the list and content of the initial data, it is possible to pre-implement the calculations in cost form (strictly mathematical) in the form of expenses, having carried out the projection of expenditures at the stage of the weapon’s life cycle, and such a list to be chosen according to the criterion of the problem of synthesis, while defining the criteria of the restrictions, and to use these data for assessing the quality of this type of weapons and the cost of the stages of their life cycle. Also, in case of incomplete receipt of such data in cost form, with their partial, such an assessment will allow to determine between the corresponding methods when solving the problem of choosing ways of providing arms in the medium term. Even if this method is not analytical, then the relevant statistics will help to reduce the degree of uncertainty and subjectivism when choosing ways to provide armed skills by expert means.

AbstractLate Glacial and Early Holocene bone and antler artifacts are recovered from all over the Polish Lowland. Elements of projectile weaponry, in the form of various points made of osseous raw materials, were an important part of hunter-gatherer equipment of that time. We present the results of AMS dating of a unique collection of thirteen artifacts that had previously been chrono-culturally attributed by means of relative dating using typological approaches only. The results obtained are considered alongside current knowledge and typological arrangements for these types of tools in Europe. We also attempt to determine the interpretative potential of the technological studies to which the discussed osseous points were subjected in terms of possibly identifying processing techniques that can be specific to the given periods of the Stone Age. Suggestions made in this respect are verified through the radiocarbon dating results.

I remember the first time I saw a dead body. I spawned just before dawn; around me engines were clattering into life, the dim silhouettes of tanks beginning to move out in a steady grinding rumble. I could dimly make out a few other people, the anonymity of their shadowy outlines belied by the names hanging over their heads in a comforting blue. Suddenly, a stream of tracers arced across the sky; explosions sounded nearby, then closer still; a tank ahead of me stopped, turned sluggishly, and fired off a couple of rounds, rocking slightly against the recoil. The radio was filled with talk of Germans in the town, but I couldn’t even see the town. I ran toward what looked like the shattered hulk of a building and dived into what I hoped was a doorway. It was already occupied by another Tommy and together we waited for it to get lighter, listening to the rattle of machine guns, the sharp ping as shells ricocheted off steel, the sickening, indescribable, but immediately recognisable sound when they didn’t. Eventually, the other soldier moved out, but I waited for the sun to peek over the nearby hills. Once I was able to see where I was going, I made straight for the command post on the edge of town, and came across a group of allied soldiers standing in a circle. In the centre of the circle lay a dead German soldier, face up. “Well I’ll be damned,” I said aloud; no one else said anything, and the body abruptly faded. I remember the first time I killed someone. I had barely got the Spit V up to 4000 feet when out of the corner of my eye I caught a glimpse of something below me. I dropped the left wing and saw a Stuka making a bee-line for the base. I made a hash of the turn, almost stalling, but he obviously had no idea I was there. I saddled-up on his six, dropping down low to avoid fire from his gunner, and opened up on him. I must have hit him at perfect convergence because he disintegrated, pieces of dismembered airframe raining down on the field below. I circled the field, putting all my concentration into making the landing that would make the kill count, then switched off the engine and sat in the cockpit for a moment, heart pounding. As you can tell, I’ve been in the wars lately. The first example is drawn from the launch of Cornered Rat Software’s WWII Online: Blitzkrieg (2001) while the second is based on a short stint playing Warbirds 3 (2002). Both games are examples of one of the most interesting recent developments in computer and video gaming: the increasing popularity and range of Massively Multiplayer Online Games (MMOGs); other notable examples of historical combat simulation MMOGs include HiTech Creations Aces High (2002) and Jaleco Entertainment’s Fighter Ace 3.5 (2002). For a variety of technical reasons, most popular multiplayer games—particularly first-person shooter (FPS) games such as Doom, Quake, and more recently Medal of Honor: Allied Assault (2002) and Return to Castle Wolfenstein (2001)—are played on player-organised servers that are usually limited to 32 or fewer players; terrain maps are small and rotated every couple of hours on average. MMOGs, by contrast, feature anywhere from hundreds to tens of thousands of players hosted on a handful of company-run servers. The shared virtual geography of these worlds is huge, extending across tens of thousands of square miles; these worlds are also persistent in that they respond dynamically to the actions of players and continue to do so while individual players are offline. As my opening anecdotes demonstrate, the experience of dealing and receiving virtual death is central to massively multiplayer simulations as it is to so many forms of computer games. Yet for an experience is that is so ubiquitous in computer games (and, some would say, even constitutes their experiential core) death is under-theorised. Mainstream culture tends to see computer and console game mayhem according to a rigid desensitisation argument: the experience of repeatedly killing other players online leads to a gradual erosion of the individual moral sense which makes players more likely to countenance killing people in the real world. Nowhere was this argument more in evidence that in the wake of the murder of fifteen students by Dylan Klebold and Eric Harris at Columbine High School in Littleton, Colorado on April 20, 1999. The discovery that the two boys were enthusiastic players of Id Software’s Doom and Quake resulted in an avalanche of hysterical news stories that charged computer games with a number of evils: eroding kids’ ability to distinguish fantasy from reality, encouraging them to imitate the actions represented in the games, and immuring them to the real-world consequences of violence. These claims were hardly new, and had in fact been directed at any number of violent popular entertainment genres over the years. What was new was the claim that the interactive nature of FPS games rendered them a form of simulated weapons training. What was also striking about the discourse surrounding the Littleton shooting was just how little the journalists covering the story knew about computer, console and arcade games. Nevertheless, their approach to the issue encouraged readers to see games as having real life analogs. Media discussion of the event also reinforced the notion of a connection with military training techniques, making extensive use of Lt. Col. (ret) David Grossman, a former Army ranger and psychologist who led the charge in claiming that games were “mass-murder simulators” (Gittrich, AA06). This controversy over the role of violent computer games in the Columbine murders is part of a larger cultural discourse that adopts the logical fallacy characteristic of moral panics: coincidence equals causation. Yet the impoverished discussion of online death and destruction is also due in no small measure to an entrenched hostility toward popular entertainment as a whole, a hostility that is evident even in the work of some academic critics who study popular culture. Andrew Darley, for example, argues that, never has the flattening of meaning or depth in the traditional aesthetic sense of these words been so pronounced as in the action-simulation genres of the computer game: here, aesthetic experience is tied directly to the purely sensational and allied to tests of physical dexterity (143). In this view, the repeated experience of death is merely a part of the overall texture of a form characterised not so much by narrative as by compulsive repetition. More generally, computer games are seen by many critics as the pernicious, paradigmatic instance of the colonisation of individual consciousness by cultural spectacle. According to this Frankfurt school-influenced critique (most frequently associated with the work of Guy Debord), spectacle serves both to mystify and pacify its audience: The more the technology opens up narrative possibilities, the less there is for the audience to do. [. . .]. When the spectacle conceals the practice of the artists who create it, it [announces]…itself as an expression of a universe beyond human volition and effort (Filewood 24). In supposedly sapping its audience’s critical faculties by bombarding them with a technological assault whose only purpose is to instantiate a deterministic worldview, spectacle is seen by its critics as exemplifying the work of capitalist ideology which teaches people not to question the world around them by establishing, in Althusser’s famous phrase, an “imaginary relationship of individuals to their real conditions of their existence” (162). The desensitisation thesis is thus part of a larger discourse that considers computer games paradoxically to be both escapist and as having real-world effects. With regard to online death, neo-Marxism meets neo-Freudianism: players are seen as hooked on the thrill not only of destroying others but also of self-destruction. Death is thus considered the terminus of all narrative possibility, and the participation of individuals in fantasy-death and mayhem is seen to lead inevitably to several kinds of cultural death: the death of “family values,” the death of community, the death of individual responsibility, and—given the characterisation of FPS games in particular as lacking in plot and characterisation—the death of storytelling. However, it is less productive to approach computer, arcade and console games as vehicles for force-feeding content with pre-determined cultural effects than it is to understand them as venues within and around which players stage a variety of theatrical performances. Thus even the bêtes noire of the mainstream media, first-person shooters, serve as vehicles for a variety of interactions ranging from the design of new sounds, graphics and levels, new “skins” for player characters, the formation of “tribes” or “clans” that fight and socialise together, and the creation of elaborate fan fictions. This idea that narrative does not simply “happen” within the immediate experience of playing the game, but is in fact produced by a dynamic interplay of interactions for which the game serves as a focus, also suggests a very different way of looking at the role of death online. Far from being the logical endpoint, the inevitable terminus of all narrative possibility, death becomes the indispensable starting point for narrative. In single-player games, for example, the existence of the simple “save game” function—differing from simply putting the game board to one side in that the save function allows the preservation of the game world in multiple temporal states—generates much of the narrative and dramatic range of computer games. Generally a player saves the game because he or she is facing an obstacle that may result in death; saving the game at that point allows the player to investigate alternatives. Thus, the ever-present possibility of death in the game world becomes the origin of all narratives based on forward investigation. In multiplayer and MMOG environments, where the players have no control over the save game state, it is nevertheless the possibility of a mode of forward projection that gives the experience its dramatic intensity. Flight simulation games in particular are notoriously difficult to master; the experience of serial death, therefore, becomes the necessary condition for honing your flying skills, trying out different tactics in a variety of combat situations, trying similar tactics in different aircraft, and so on. The experience of online death creates a powerful narrative impulse, and not only in those situations where death is serialised and guaranteed. A sizable proportion of the flight sim communities of both Warbirds and Aces High participate in specially designed scenario events that replicate a specific historical air combat event (the Battle of Britain, the Coral Sea, USAAF bomber operations in Europe, etc.) as closely as possible. What makes these scenarios so compelling for many players is that they are generally “one life” events: once the player is dead, they are out for the rest of the event and this creates an intense experience that is completely unlike flying in the everyday free-for-all arenas. The desensitisation thesis notwithstanding, there is little evidence that this narrative investment in death produces a more casual attitude toward real-life death amongst MMOG players. For example, when real-world death intrudes, simulation players often reach for the same rituals of comfort and acknowledgement that are employed offline. Recently, when an Aces High player died unexpectedly of heart failure at the age of 35, his squadron held an elaborate memorial event in his honor. Over a hundred players bailed out over an aerodrome—bailing out is the only way that a player in Aces High can acquire a virtual human body—and lined the edges of the runway as members of the dead player’s squad flew the missing man formation overhead (GrimmCAF). The insistence upon bodily presence in the context of a classic military ceremony marking irrecoverable absence suggests the way in which the connections between real and virtual worlds are experienced by players: as tensions, but also as points where identities are negotiated. This example does not seem to indicate that everyday familiarity with virtual death has dulled the players’ sensibilities to the sorrow and loss accompanying death in the real world. I began this article talking about death in simulation MMOGs for a number of reasons. In the first place, MMOGs are more commonly identified with their role-playing examples (MMORPGs) such as Ultima Online and Everquest, games that focus on virtual community-building and exploration in addition to violence and conquest. By contrast, simulation games tend to be seen as having more in common with first-person shooters like Quake, in the way in which they foreground the experience of serial death. Secondly, it is precisely the connection between simulation and death that makes games in general (as I demonstrated in relation to the media coverage of the Columbine murders) so problematic. In response, I would argue that one of the most interesting aspects of computer games recently has been the degree to which generic distinctions have been breaking down. MMORPGs, which had their roots in the Dungeons and Dragons gaming world, and the text-based world of MUDs and MOOs have since developed sophisticated third-person and even first-person representational styles to facilitate both peaceful character interactions and combat. Likewise, first-person shooters have begun to add role-playing elements (see, for example, Looking Glass Studios’ superb System Shock 2 (1999) or Lucasarts' Jedi Knight series). This trend has also been incorporated into simulation MMOGs: World War II Online includes a rudimentary set of character-tracking features, and Aces High has just announced a more ambitious expansion whose major focus will be the incorporation of role-playing elements. I feel that MMOGs in particular are all evolving towards a state that I would describe as “simulance:” simulations that, while they may be associated with a nominal representational reality, are increasingly about exploring the narrative possibilities, the mechanisms of theatrical engagement for self and community of simulation itself. Increasingly, none of the terms "simulation,” "role-playing" or indeed “game” quite captures the texture of these evolving experiences. In their complex engagement with both scripted and extemporaneous narrative, the players have more in common with period re-enactors; the immersive power of a well-designed flight simulator scenario produces a feeling in players akin to the “period rush” experienced by battlefield re-enactors, the frisson between awareness of playing a role and surrendering completely to the momentary power of its illusory reality. What troubles critics about simulations (and what also blinds them to the narrative complexity in other forms of computer games) is that they are indeed not simply examples of re-enactment —a re-staging of supposedly real events—but a generative form of narrative enactment. Computer games, particularly large-scale online games, provide a powerful set of theatrical tools with which players and player communities can help shape narratives and deepen their own narrative investment. Obviously, they are not isolated from real-world cultural factors that shape and constrain narrative possibility. However, we are starting to see the way in which the games use the idea of virtual death as the generative force for new storytelling frameworks based, in Filewood’s terms, on forward investigation. As games begin to move out of their incunabular state, they may contribute to the re-shaping of culture and consciousness, as other narrative platforms have done. Far from causing the downfall of civilisation, game-based narratives may bring with them a greater cultural awareness of simultaneous narrative possibility, of the past as sets of contingent phenomena, and a greater attention to practical, hands-on experimental problem-solving. It would be ironic, but no great surprise, if a form built around the creative possibilities inherent in serial death in fact made us more attentive to the rich alternative possibilities of living. Works Cited Aces High. HiTech Creations, 2002. http://www.bartleby.com/201/1.html Althusser, Louis. “Ideology and Ideological State Apparatuses (Notes Toward an Investigation).” Lenin and Philosophy and Other Essays. By Louis Althusser, trans. Ben Brewster. New York, 1971. 127-86. Barry, Ellen. “Games Feared as Youths’ Basic Training; Industry, Valued as Aid to Soldiers, on Defensive.” The Boston Globe 29 Apr 1999: A1. LexisNexis. Feb. 7, 2003. Cornered Rat Software. World War II Online: Blitzkrieg. Strategy First, 2001. http://www.wwiionline.com/ Darley, Andrew. Visual Digital Culture: Surface Play and Spectacle in New Media Genres. London: Routledge, 2000. Debord, Guy. The Society of the Spectacle. Donald Nicholson-Smith. New York: Zone Books, 1994. 1967. Der Derian, James. “The Simulation Syndrome: From War Games to Game Wars.” Social Text 8.2 (1990): 187-92. Filewood, Alan. “C:\Games\Dramaturgy: The Cybertheatre of Computer Games.” Canadian Theatre Review 81 (Winter 1994): 24-28. Gittrich, Greg. “Expert Differs with Kids over Video Game Effects.” The Denver Post 27 Apr 1999: AA-06. LexisNexis. Feb. 7 2003. GrimmCAF. “MojoCAF’s Memorial Flight.” Aces High BB, 13 Dec. 2002. http://www.hitechcreations.com/forums/sh... IEntertainment Network. Warbirds III. Simon and Schuster Interactive, 2002.http://www.totalsims.com/index.php?url=w... Jenkins, Henry, comp. “Voices from the Combat Zone: Game Grrlz Talk Back.” From Barbie to Mortal Kombat: Gender and Computer Games. Ed. Justine Cassell and Henry Jenkins. Cambridge, Massachusetts: MIT P, 1998. 328-41. Lieberman, Joseph I. “The Social Impact of Music Violence.” Statement Before the Governmental Affairs Committee Subcommittee on Oversight, 1997. http://www.senate.gov/member/ct/lieberma... Feb. 7 2003. Murray, Janet H. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. New York: Free, 1997. Poole, Steven. Trigger Happy: Videogames and the Entertainment Revolution. New York: Arcade Publishing, 2000. Pyro. “AH2 FAQ.” Aces High BB, 29 Jan. 2003. Internet. http://www.hitechcreations.com/forums/sh... Feb. 8 2003. Links http://www.wwiionline.com/ http://www.idsoftware.com/games/doom/ http://www.hitechcreations.com/ http://www.totalsims.com/index.php?url=wbiii/content_home.php http://www.hitechcreations.com/forums/showthread.php?s=&amp;amp;amp;amp;amp;threadid=77265 http://www.senate.gov/member/ct/lieberman/releases/r110697c.html http://www.idsoftware.com/games/wolfenstein http://www.idsoftware.com/games/quake/ http://www.ea.com/eagames/official/moh_alliedassault/home.jsp http://www.jaleco.com/fighterace/index.html http://www.bartleby.com/201/1.html http://www.hitechcreations.com/forums/showthread.php?s=&amp;amp;amp;amp;amp;threadid=72560 Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Mullen, Mark. "It Was Not Death for I Stood Up…and Fragged the Dumb-Ass MoFo Who'd Wasted Me" M/C: A Journal of Media and Culture 6.1 (2003). Dn Month Year < http://www.media-culture.org.au/0302/03-itwasnotdeath.php>. APA Style Mullen, M., (2003, Feb 26). It Was Not Death for I Stood Up…and Fragged the Dumb-Ass MoFo Who'd Wasted Me. M/C: A Journal of Media and Culture, 6,(1). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0302/03-itwasnotdeath.html

On the morning of Thursday, 4 May 2006, the United States House Permanent Select Committee on Intelligence held an open hearing entitled “Terrorist Use of the Internet.” The Intelligence committee meeting was scheduled to take place in Room 1302 of the Longworth Office Building, a Depression-era structure with a neoclassical façade. Because of a dysfunctional elevator, some of the congressional representatives were late to the meeting. During the testimony about the newest political applications for cutting-edge digital technology, the microphones periodically malfunctioned, and witnesses complained of “technical problems” several times. By the end of the day it seemed that what was to be remembered about the hearing was the shocking revelation that terrorists were using videogames to recruit young jihadists. The Associated Press wrote a short, restrained article about the hearing that only mentioned “computer games and recruitment videos” in passing. Eager to have their version of the news item picked up, Reuters made videogames the focus of their coverage with a headline that announced, “Islamists Using US Videogames in Youth Appeal.” Like a game of telephone, as the Reuters videogame story was quickly re-run by several Internet news services, each iteration of the title seemed less true to the exact language of the original. One Internet news service changed the headline to “Islamic militants recruit using U.S. video games.” Fox News re-titled the story again to emphasise that this alert about technological manipulation was coming from recognised specialists in the anti-terrorism surveillance field: “Experts: Islamic Militants Customizing Violent Video Games.” As the story circulated, the body of the article remained largely unchanged, in which the Reuters reporter described the digital materials from Islamic extremists that were shown at the congressional hearing. During the segment that apparently most captured the attention of the wire service reporters, eerie music played as an English-speaking narrator condemned the “infidel” and declared that he had “put a jihad” on them, as aerial shots moved over 3D computer-generated images of flaming oil facilities and mosques covered with geometric designs. Suddenly, this menacing voice-over was interrupted by an explosion, as a virtual rocket was launched into a simulated military helicopter. The Reuters reporter shared this dystopian vision from cyberspace with Western audiences by quoting directly from the chilling commentary and describing a dissonant montage of images and remixed sound. “I was just a boy when the infidels came to my village in Blackhawk helicopters,” a narrator’s voice said as the screen flashed between images of street-level gunfights, explosions and helicopter assaults. Then came a recording of President George W. Bush’s September 16, 2001, statement: “This crusade, this war on terrorism, is going to take a while.” It was edited to repeat the word “crusade,” which Muslims often define as an attack on Islam by Christianity. According to the news reports, the key piece of evidence before Congress seemed to be a film by “SonicJihad” of recorded videogame play, which – according to the experts – was widely distributed online. Much of the clip takes place from the point of view of a first-person shooter, seen as if through the eyes of an armed insurgent, but the viewer also periodically sees third-person action in which the player appears as a running figure wearing a red-and-white checked keffiyeh, who dashes toward the screen with a rocket launcher balanced on his shoulder. Significantly, another of the player’s hand-held weapons is a detonator that triggers remote blasts. As jaunty music plays, helicopters, tanks, and armoured vehicles burst into smoke and flame. Finally, at the triumphant ending of the video, a green and white flag bearing a crescent is hoisted aloft into the sky to signify victory by Islamic forces. To explain the existence of this digital alternative history in which jihadists could be conquerors, the Reuters story described the deviousness of the country’s terrorist opponents, who were now apparently modifying popular videogames through their wizardry and inserting anti-American, pro-insurgency content into U.S.-made consumer technology. One of the latest video games modified by militants is the popular “Battlefield 2” from leading video game publisher, Electronic Arts Inc of Redwood City, California. Jeff Brown, a spokesman for Electronic Arts, said enthusiasts often write software modifications, known as “mods,” to video games. “Millions of people create mods on games around the world,” he said. “We have absolutely no control over them. It’s like drawing a mustache on a picture.” Although the Electronic Arts executive dismissed the activities of modders as a “mustache on a picture” that could only be considered little more than childish vandalism of their off-the-shelf corporate product, others saw a more serious form of criminality at work. Testifying experts and the legislators listening on the committee used the video to call for greater Internet surveillance efforts and electronic counter-measures. Within twenty-four hours of the sensationalistic news breaking, however, a group of Battlefield 2 fans was crowing about the idiocy of reporters. The game play footage wasn’t from a high-tech modification of the software by Islamic extremists; it had been posted on a Planet Battlefield forum the previous December of 2005 by a game fan who had cut together regular game play with a Bush remix and a parody snippet of the soundtrack from the 2004 hit comedy film Team America. The voice describing the Black Hawk helicopters was the voice of Trey Parker of South Park cartoon fame, and – much to Parker’s amusement – even the mention of “goats screaming” did not clue spectators in to the fact of a comic source. Ironically, the moment in the movie from which the sound clip is excerpted is one about intelligence gathering. As an agent of Team America, a fictional elite U.S. commando squad, the hero of the film’s all-puppet cast, Gary Johnston, is impersonating a jihadist radical inside a hostile Egyptian tavern that is modelled on the cantina scene from Star Wars. Additional laughs come from the fact that agent Johnston is accepted by the menacing terrorist cell as “Hakmed,” despite the fact that he utters a series of improbable clichés made up of incoherent stereotypes about life in the Middle East while dressed up in a disguise made up of shoe polish and a turban from a bathroom towel. The man behind the “SonicJihad” pseudonym turned out to be a twenty-five-year-old hospital administrator named Samir, and what reporters and representatives saw was nothing more exotic than game play from an add-on expansion pack of Battlefield 2, which – like other versions of the game – allows first-person shooter play from the position of the opponent as a standard feature. While SonicJihad initially joined his fellow gamers in ridiculing the mainstream media, he also expressed astonishment and outrage about a larger politics of reception. In one interview he argued that the media illiteracy of Reuters potentially enabled a whole series of category errors, in which harmless gamers could be demonised as terrorists. It wasn’t intended for the purpose what it was portrayed to be by the media. So no I don’t regret making a funny video . . . why should I? The only thing I regret is thinking that news from Reuters was objective and always right. The least they could do is some online research before publishing this. If they label me al-Qaeda just for making this silly video, that makes you think, what is this al-Qaeda? And is everything al-Qaeda? Although Sonic Jihad dismissed his own work as “silly” or “funny,” he expected considerably more from a credible news agency like Reuters: “objective” reporting, “online research,” and fact-checking before “publishing.” Within the week, almost all of the salient details in the Reuters story were revealed to be incorrect. SonicJihad’s film was not made by terrorists or for terrorists: it was not created by “Islamic militants” for “Muslim youths.” The videogame it depicted had not been modified by a “tech-savvy militant” with advanced programming skills. Of course, what is most extraordinary about this story isn’t just that Reuters merely got its facts wrong; it is that a self-identified “parody” video was shown to the august House Intelligence Committee by a team of well-paid “experts” from the Science Applications International Corporation (SAIC), a major contractor with the federal government, as key evidence of terrorist recruitment techniques and abuse of digital networks. Moreover, this story of media illiteracy unfolded in the context of a fundamental Constitutional debate about domestic surveillance via communications technology and the further regulation of digital content by lawmakers. Furthermore, the transcripts of the actual hearing showed that much more than simple gullibility or technological ignorance was in play. Based on their exchanges in the public record, elected representatives and government experts appear to be keenly aware that the digital discourses of an emerging information culture might be challenging their authority and that of the longstanding institutions of knowledge and power with which they are affiliated. These hearings can be seen as representative of a larger historical moment in which emphatic declarations about prohibiting specific practices in digital culture have come to occupy a prominent place at the podium, news desk, or official Web portal. This environment of cultural reaction can be used to explain why policy makers’ reaction to terrorists’ use of networked communication and digital media actually tells us more about our own American ideologies about technology and rhetoric in a contemporary information environment. When the experts come forward at the Sonic Jihad hearing to “walk us through the media and some of the products,” they present digital artefacts of an information economy that mirrors many of the features of our own consumption of objects of electronic discourse, which seem dangerously easy to copy and distribute and thus also create confusion about their intended meanings, audiences, and purposes. From this one hearing we can see how the reception of many new digital genres plays out in the public sphere of legislative discourse. Web pages, videogames, and Weblogs are mentioned specifically in the transcript. The main architecture of the witnesses’ presentation to the committee is organised according to the rhetorical conventions of a PowerPoint presentation. Moreover, the arguments made by expert witnesses about the relationship of orality to literacy or of public to private communications in new media are highly relevant to how we might understand other important digital genres, such as electronic mail or text messaging. The hearing also invites consideration of privacy, intellectual property, and digital “rights,” because moral values about freedom and ownership are alluded to by many of the elected representatives present, albeit often through the looking glass of user behaviours imagined as radically Other. For example, terrorists are described as “modders” and “hackers” who subvert those who properly create, own, legitimate, and regulate intellectual property. To explain embarrassing leaks of infinitely replicable digital files, witness Ron Roughead says, “We’re not even sure that they don’t even hack into the kinds of spaces that hold photographs in order to get pictures that our forces have taken.” Another witness, Undersecretary of Defense for Policy and International Affairs, Peter Rodman claims that “any video game that comes out, as soon as the code is released, they will modify it and change the game for their needs.” Thus, the implication of these witnesses’ testimony is that the release of code into the public domain can contribute to political subversion, much as covert intrusion into computer networks by stealthy hackers can. However, the witnesses from the Pentagon and from the government contractor SAIC often present a contradictory image of the supposed terrorists in the hearing transcripts. Sometimes the enemy is depicted as an organisation of technological masterminds, capable of manipulating the computer code of unwitting Americans and snatching their rightful intellectual property away; sometimes those from the opposing forces are depicted as pre-modern and even sub-literate political innocents. In contrast, the congressional representatives seem to focus on similarities when comparing the work of “terrorists” to the everyday digital practices of their constituents and even of themselves. According to the transcripts of this open hearing, legislators on both sides of the aisle express anxiety about domestic patterns of Internet reception. Even the legislators’ own Web pages are potentially disruptive electronic artefacts, particularly when the demands of digital labour interfere with their duties as lawmakers. Although the subject of the hearing is ostensibly terrorist Websites, Representative Anna Eshoo (D-California) bemoans the difficulty of maintaining her own official congressional site. As she observes, “So we are – as members, I think we’re very sensitive about what’s on our Website, and if I retained what I had on my Website three years ago, I’d be out of business. So we know that they have to be renewed. They go up, they go down, they’re rebuilt, they’re – you know, the message is targeted to the future.” In their questions, lawmakers identify Weblogs (blogs) as a particular area of concern as a destabilising alternative to authoritative print sources of information from established institutions. Representative Alcee Hastings (D-Florida) compares the polluting power of insurgent bloggers to that of influential online muckrakers from the American political Right. Hastings complains of “garbage on our regular mainstream news that comes from blog sites.” Representative Heather Wilson (R-New Mexico) attempts to project a media-savvy persona by bringing up the “phenomenon of blogging” in conjunction with her questions about jihadist Websites in which she notes how Internet traffic can be magnified by cooperative ventures among groups of ideologically like-minded content-providers: “These Websites, and particularly the most active ones, are they cross-linked? And do they have kind of hot links to your other favorite sites on them?” At one point Representative Wilson asks witness Rodman if he knows “of your 100 hottest sites where the Webmasters are educated? What nationality they are? Where they’re getting their money from?” In her questions, Wilson implicitly acknowledges that Web work reflects influences from pedagogical communities, economic networks of the exchange of capital, and even potentially the specific ideologies of nation-states. It is perhaps indicative of the government contractors’ anachronistic worldview that the witness is unable to answer Wilson’s question. He explains that his agency focuses on the physical location of the server or ISP rather than the social backgrounds of the individuals who might be manufacturing objectionable digital texts. The premise behind the contractors’ working method – surveilling the technical apparatus not the social network – may be related to other beliefs expressed by government witnesses, such as the supposition that jihadist Websites are collectively produced and spontaneously emerge from the indigenous, traditional, tribal culture, instead of assuming that Iraqi insurgents have analogous beliefs, practices, and technological awareness to those in first-world countries. The residual subtexts in the witnesses’ conjectures about competing cultures of orality and literacy may tell us something about a reactionary rhetoric around videogames and digital culture more generally. According to the experts before Congress, the Middle Eastern audience for these videogames and Websites is limited by its membership in a pre-literate society that is only capable of abortive cultural production without access to knowledge that is archived in printed codices. Sometimes the witnesses before Congress seem to be unintentionally channelling the ideas of the late literacy theorist Walter Ong about the “secondary orality” associated with talky electronic media such as television, radio, audio recording, or telephone communication. Later followers of Ong extend this concept of secondary orality to hypertext, hypermedia, e-mail, and blogs, because they similarly share features of both speech and written discourse. Although Ong’s disciples celebrate this vibrant reconnection to a mythic, communal past of what Kathleen Welch calls “electric rhetoric,” the defence industry consultants express their profound state of alarm at the potentially dangerous and subversive character of this hybrid form of communication. The concept of an “oral tradition” is first introduced by the expert witnesses in the context of modern marketing and product distribution: “The Internet is used for a variety of things – command and control,” one witness states. “One of the things that’s missed frequently is how and – how effective the adversary is at using the Internet to distribute product. They’re using that distribution network as a modern form of oral tradition, if you will.” Thus, although the Internet can be deployed for hierarchical “command and control” activities, it also functions as a highly efficient peer-to-peer distributed network for disseminating the commodity of information. Throughout the hearings, the witnesses imply that unregulated lateral communication among social actors who are not authorised to speak for nation-states or to produce legitimated expert discourses is potentially destabilising to political order. Witness Eric Michael describes the “oral tradition” and the conventions of communal life in the Middle East to emphasise the primacy of speech in the collective discursive practices of this alien population: “I’d like to point your attention to the media types and the fact that the oral tradition is listed as most important. The other media listed support that. And the significance of the oral tradition is more than just – it’s the medium by which, once it comes off the Internet, it is transferred.” The experts go on to claim that this “oral tradition” can contaminate other media because it functions as “rumor,” the traditional bane of the stately discourse of military leaders since the classical era. The oral tradition now also has an aspect of rumor. A[n] event takes place. There is an explosion in a city. Rumor is that the United States Air Force dropped a bomb and is doing indiscriminate killing. This ends up being discussed on the street. It ends up showing up in a Friday sermon in a mosque or in another religious institution. It then gets recycled into written materials. Media picks up the story and broadcasts it, at which point it’s now a fact. In this particular case that we were telling you about, it showed up on a network television, and their propaganda continues to go back to this false initial report on network television and continue to reiterate that it’s a fact, even though the United States government has proven that it was not a fact, even though the network has since recanted the broadcast. In this example, many-to-many discussion on the “street” is formalised into a one-to many “sermon” and then further stylised using technology in a one-to-many broadcast on “network television” in which “propaganda” that is “false” can no longer be disputed. This “oral tradition” is like digital media, because elements of discourse can be infinitely copied or “recycled,” and it is designed to “reiterate” content. In this hearing, the word “rhetoric” is associated with destructive counter-cultural forces by the witnesses who reiterate cultural truisms dating back to Plato and the Gorgias. For example, witness Eric Michael initially presents “rhetoric” as the use of culturally specific and hence untranslatable figures of speech, but he quickly moves to an outright castigation of the entire communicative mode. “Rhetoric,” he tells us, is designed to “distort the truth,” because it is a “selective” assembly or a “distortion.” Rhetoric is also at odds with reason, because it appeals to “emotion” and a romanticised Weltanschauung oriented around discourses of “struggle.” The film by SonicJihad is chosen as the final clip by the witnesses before Congress, because it allegedly combines many different types of emotional appeal, and thus it conveniently ties together all of the themes that the witnesses present to the legislators about unreliable oral or rhetorical sources in the Middle East: And there you see how all these products are linked together. And you can see where the games are set to psychologically condition you to go kill coalition forces. You can see how they use humor. You can see how the entire campaign is carefully crafted to first evoke an emotion and then to evoke a response and to direct that response in the direction that they want. Jihadist digital products, especially videogames, are effective means of manipulation, the witnesses argue, because they employ multiple channels of persuasion and carefully sequenced and integrated subliminal messages. To understand the larger cultural conversation of the hearing, it is important to keep in mind that the related argument that “games” can “psychologically condition” players to be predisposed to violence is one that was important in other congressional hearings of the period, as well one that played a role in bills and resolutions that were passed by the full body of the legislative branch. In the witness’s testimony an appeal to anti-game sympathies at home is combined with a critique of a closed anti-democratic system abroad in which the circuits of rhetorical production and their composite metonymic chains are described as those that command specific, unvarying, robotic responses. This sharp criticism of the artful use of a presentation style that is “crafted” is ironic, given that the witnesses’ “compilation” of jihadist digital material is staged in the form of a carefully structured PowerPoint presentation, one that is paced to a well-rehearsed rhythm of “slide, please” or “next slide” in the transcript. The transcript also reveals that the members of the House Intelligence Committee were not the original audience for the witnesses’ PowerPoint presentation. Rather, when it was first created by SAIC, this “expert” presentation was designed for training purposes for the troops on the ground, who would be facing the challenges of deployment in hostile terrain. According to the witnesses, having the slide show showcased before Congress was something of an afterthought. Nonetheless, Congressman Tiahrt (R-KN) is so impressed with the rhetorical mastery of the consultants that he tries to appropriate it. As Tiarht puts it, “I’d like to get a copy of that slide sometime.” From the hearing we also learn that the terrorists’ Websites are threatening precisely because they manifest a polymorphously perverse geometry of expansion. For example, one SAIC witness before the House Committee compares the replication and elaboration of digital material online to a “spiderweb.” Like Representative Eshoo’s site, he also notes that the terrorists’ sites go “up” and “down,” but the consultant is left to speculate about whether or not there is any “central coordination” to serve as an organising principle and to explain the persistence and consistency of messages despite the apparent lack of a single authorial ethos to offer a stable, humanised, point of reference. In the hearing, the oft-cited solution to the problem created by the hybridity and iterability of digital rhetoric appears to be “public diplomacy.” Both consultants and lawmakers seem to agree that the damaging messages of the insurgents must be countered with U.S. sanctioned information, and thus the phrase “public diplomacy” appears in the hearing seven times. However, witness Roughhead complains that the protean “oral tradition” and what Henry Jenkins has called the “transmedia” character of digital culture, which often crosses several platforms of traditional print, projection, or broadcast media, stymies their best rhetorical efforts: “I think the point that we’ve tried to make in the briefing is that wherever there’s Internet availability at all, they can then download these – these programs and put them onto compact discs, DVDs, or post them into posters, and provide them to a greater range of people in the oral tradition that they’ve grown up in. And so they only need a few Internet sites in order to distribute and disseminate the message.” Of course, to maintain their share of the government market, the Science Applications International Corporation also employs practices of publicity and promotion through the Internet and digital media. They use HTML Web pages for these purposes, as well as PowerPoint presentations and online video. The rhetoric of the Website of SAIC emphasises their motto “From Science to Solutions.” After a short Flash film about how SAIC scientists and engineers solve “complex technical problems,” the visitor is taken to the home page of the firm that re-emphasises their central message about expertise. The maps, uniforms, and specialised tools and equipment that are depicted in these opening Web pages reinforce an ethos of professional specialisation that is able to respond to multiple threats posed by the “global war on terror.” By 26 June 2006, the incident finally was being described as a “Pentagon Snafu” by ABC News. From the opening of reporter Jake Tapper’s investigative Webcast, established government institutions were put on the spot: “So, how much does the Pentagon know about videogames? Well, when it came to a recent appearance before Congress, apparently not enough.” Indeed, the very language about “experts” that was highlighted in the earlier coverage is repeated by Tapper in mockery, with the significant exception of “independent expert” Ian Bogost of the Georgia Institute of Technology. If the Pentagon and SAIC deride the legitimacy of rhetoric as a cultural practice, Bogost occupies himself with its defence. In his recent book Persuasive Games: The Expressive Power of Videogames, Bogost draws upon the authority of the “2,500 year history of rhetoric” to argue that videogames represent a significant development in that cultural narrative. Given that Bogost and his Watercooler Games Weblog co-editor Gonzalo Frasca were actively involved in the detective work that exposed the depth of professional incompetence involved in the government’s line-up of witnesses, it is appropriate that Bogost is given the final words in the ABC exposé. As Bogost says, “We should be deeply bothered by this. We should really be questioning the kind of advice that Congress is getting.” Bogost may be right that Congress received terrible counsel on that day, but a close reading of the transcript reveals that elected officials were much more than passive listeners: in fact they were lively participants in a cultural conversation about regulating digital media. After looking at the actual language of these exchanges, it seems that the persuasiveness of the misinformation from the Pentagon and SAIC had as much to do with lawmakers’ preconceived anxieties about practices of computer-mediated communication close to home as it did with the contradictory stereotypes that were presented to them about Internet practices abroad. In other words, lawmakers found themselves looking into a fun house mirror that distorted what should have been familiar artefacts of American popular culture because it was precisely what they wanted to see. 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Morgan, David. “Islamists Using U.S. Video Games in Youth Appeal.” Reuters online news service. 4 May 2006 http://today.reuters.com/news/ArticleNews.aspx?type=topNews &storyID=2006-05-04T215543Z_01_N04305973_RTRUKOC_0_US-SECURITY- VIDEOGAMES.xml&pageNumber=0&imageid=&cap=&sz=13&WTModLoc= NewsArt-C1-ArticlePage2>. Ong, Walter J. Orality and Literacy: The Technologizing of the Word. London/New York: Methuen, 1982. Parker, Trey. Online posting. 7 May 2006. 9 May 2006 http://www.treyparker.com>. Plato. “Gorgias.” Plato: Collected Dialogues. Princeton: Princeton UP, 1961. Shrader, Katherine. “Pentagon Surfing Thousands of Jihad Sites.” Associated Press 4 May 2006. SonicJihad. “SonicJihad: A Day in the Life of a Resistance Fighter.” Online posting. 26 Dec. 2005. Planet Battlefield Forums. 9 May 2006 http://www.forumplanet.com/planetbattlefield/topic.asp?fid=13670&tid=1806909&p=1>. Tapper, Jake, and Audery Taylor. “Terrorist Video Game or Pentagon Snafu?” ABC News Nightline 21 June 2006. 30 June 2006 http://abcnews.go.com/Nightline/Technology/story?id=2105128&page=1>. U.S. Congressional Record. Panel I of the Hearing of the House Select Intelligence Committee, Subject: “Terrorist Use of the Internet for Communications.” Federal News Service. 4 May 2006. Welch, Kathleen E. Electric Rhetoric: Classical Rhetoric, Oralism, and the New Literacy. Cambridge, MA: MIT Press, 1999. Citation reference for this article MLA Style Losh, Elizabeth. "Artificial Intelligence: Media Illiteracy and the SonicJihad Debacle in Congress." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0710/08-losh.php>. APA Style Losh, E. (Oct. 2007) "Artificial Intelligence: Media Illiteracy and the SonicJihad Debacle in Congress," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0710/08-losh.php>.