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Spook Work
by
Tom Sito
in
Anthropology
/ Applied anthropology
/ Applied sciences
/ Armed conflict
/ Arts
/ Behavioral sciences
/ Cold wars
/ Computer applications
/ Computer engineering
/ Computer graphics
/ Computer science
/ Computer systems
/ Computer technology
/ Cultural anthropology
/ Cultural studies
/ Economic disciplines
/ Economics
/ Film studies
/ Finance
/ Financial economics
/ Funding
/ International disputes
/ International politics
/ International relations
/ Mainframe computers
/ Military defense
/ Military science
/ Movies
/ Personal computers
/ Political science
/ Politics
/ Visual arts
/ War
/ War theaters
/ World wars
2013
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Spook Work
by
Tom Sito
in
Anthropology
/ Applied anthropology
/ Applied sciences
/ Armed conflict
/ Arts
/ Behavioral sciences
/ Cold wars
/ Computer applications
/ Computer engineering
/ Computer graphics
/ Computer science
/ Computer systems
/ Computer technology
/ Cultural anthropology
/ Cultural studies
/ Economic disciplines
/ Economics
/ Film studies
/ Finance
/ Financial economics
/ Funding
/ International disputes
/ International politics
/ International relations
/ Mainframe computers
/ Military defense
/ Military science
/ Movies
/ Personal computers
/ Political science
/ Politics
/ Visual arts
/ War
/ War theaters
/ World wars
2013
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Do you wish to request the book?
Spook Work
by
Tom Sito
in
Anthropology
/ Applied anthropology
/ Applied sciences
/ Armed conflict
/ Arts
/ Behavioral sciences
/ Cold wars
/ Computer applications
/ Computer engineering
/ Computer graphics
/ Computer science
/ Computer systems
/ Computer technology
/ Cultural anthropology
/ Cultural studies
/ Economic disciplines
/ Economics
/ Film studies
/ Finance
/ Financial economics
/ Funding
/ International disputes
/ International politics
/ International relations
/ Mainframe computers
/ Military defense
/ Military science
/ Movies
/ Personal computers
/ Political science
/ Politics
/ Visual arts
/ War
/ War theaters
/ World wars
2013
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Book Chapter
Spook Work
2013
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Overview
At times the patronage of a government is as vital to the creation of new technology as the vision of a solitary genius. It seems strangely incongruous that the story of how cartoons or widescreen movie fantasies are made can have anything in common with the technology of war. Yet despite a hagiography of counterculture and social freedom, CG is as much a result of government funding as scratch-resistant lenses or Mylar.
The conflicts of the twentieth century—the world wars of 1914–1918 and 1939–1945 and the Cold War of 1945–1991—were wars of technological attrition fought
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