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| olesha, fatman and little boy dvd, , los alamos, thefat man in history, computer books: general, sue scott, mary pat gleason, david newton, backup, literature, grammy award for best short form music video, political science, ron frazier (ii), ozone, august 9, fatmanclothing.com, nostalgic, r&b, 2003, | This is what the historian Peter Galison has called the Cold War “ontology of the enemy”—the image of the adversary as a “cold-blooded, machinelike opponent . . . a mechanized Enemy Other.” The machine does not have ideals camron or values, issues on which it might compromise or goals that might encompass something other than its own aggrandizement. It wants only to win, and every move it makes is a move in that game. It’s a short step from camron this abstraction to the domino theory, the belief that Communist expansion is an inexorable and practically mindless force. One of the ironies of the Cold War is that the rand intellectuals, highbrow hardliners who enjoyed relatively little influence when Eisenhower was President, got their reward when Kennedy came into office. |
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| The reason his scenarios are fantastic to the point, almost, of risibility is nostalgic that they deliberately ignore all the elements—beliefs, customs, ideas, politics—that actual wars are fought about, and that operate as a drag on decision-making nostalgic at every point. Kahn was writing during the Khrushchev period, after Sputnik and during the Berlin crisis, when levels of Soviet bellicosity were high. But even if Soviet nostalgic behavior had been more pacific his analysis would have been the same, for his methodology, the rand methodology, required him to posit an eternally and implacably hostile enemy. In strategic thinking, you have to assume the worst of your opponent, and to assume that your opponent assumes the worst of you. To believe less is to make yourself vulnerable to bluffing. In Kahn’s world, the adversary is always, as he put it, “bright, knowledgeable, and malevolent.” |
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