"Weaponizing information is really about who gets to write the truth, who gets to write the narrative and who benefits from that narrative — and that is incredibly powerful," said Laura Galante, director of intelligence analysis at cybersecurity firm FireEye.
M.N.: But most importantly, what this "Truth" really is, the one and only, above and beyond all its weaponized and unweaponized versions, which will fade into oblivion, and sooner rather than later, and The Truth will shine alone. How to detect and to prove it, and to present your evidence? All the rest, including "the narratives", are the secondary considerations. "The Truth is the best propaganda", and the best propaganda is the Truth.
Why? How can you explain this "bias" if indeed, it is a "bias"? A bad case of the "all American" political love affair with the "all American" bad boy? Similar to a very bad case of the Russian's love affair with the "bad boy" Putin? The Worldwide "The Bad Boy" new(?) political cult? The contemporary cults of the "tragic" (or "flawed") hero, in all their various and national versions? The historical - social - political ("obsessive-compulsive") replay of the old, culture perpetuated as "the classics", tragedies and dramas? Because the new ones are not sufficiently "classical" or sufficiently powerful for us, to tickle our tired nostrils? The interesting set of questions, ain't it? In the range from the "Information War" to the literary criticism, or the "critical theory".
I find it most remarkable that one of the most cogent, clear and concise pieces of analysis and criticism of the situation in the field of the National Security and Intelligence, practically one of the most notable writings (if any, recently, after Mike Morell's article) in the sphere of the Strategic Intelligence comes from no one else but the professional literary critic. These two, and the other related fields are not that much afar from themselves and their central subject, which has the practical implications: the theoretical need to facilitate their integration, in some type of M&A (Merger and Aquisition) action, as some businessmen-politicians would put it in our days, or in the process of the creation of the "new paradigm", as Kuhn would describe it.
These life stories come to mind: of James J. Angleton, the head of the US counterintelligence for many years, although "controversial", who was, in addition to his duties, the accomplished and published poet, and, for the comparison's balance, his Soviet - Russian - Georgian counterpart and contemporary, Vsevolod Merculov, who, in addition to his duties, as essentially, one of the most powerful Stalin's Secret Police bosses, was also a popular dramatist, among the whole cohort of literary-security mongrels of his times. It was something the unforgivingly, and, apparently, the irresistibly, as it was felt then, "romantic", about those cruel and the most bloody times.
What is born out first as the artistic fantasy, becomes a plan and the reality, sometimes harsh, or dramatic, or tragic. Or in invisible and mysterious fashion, and in quite an untestable way, "progressively" in the broadest sense possible, "Otherwise".
Michael Novakhov
12.4.16
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