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Everywhere War,” Geographic Imaginations 177, no. 3 (2011): 238–250. 11. Michael Dillon and Julian Reid, The Liberal Way of War: Killing to Make Life Live (New York: Routledge, 2009). 12. Cited in Samuel Weber, “Target of Opportunity: Networks, Netwar, and Narratives,” Grey Room 15 (Spring 2014): 7. 13. Cited in Ulises Ali Mejias, Off the Network: Disrupting the Digital World (Minneapolis: University of Minnesota Press, 2013), 92. 14. Alex Williams, “Escape Velocities,” E-Flux, no. 46 (June 2003), www.e -flux.com/journal/escape-velocities/. 15. Steven Shaviro

by Terrence W. Gordon, 45–52. Corte Madero, CA: Gingko Press, 1994. McNeal, Gregory S. “Are Targeted Killings Unlawful? A Case Study in Empirical Claims Without Empirical Evidence.” In Targeted Killings: Law and Morality in an Asymmetrical World, edited by Claire Finkelstein, Jens David Ohlin, and Andrew Altman, 326–346. Oxford: Oxford University Press, 2012. Mejias, Ulises Ali. Off the Network: Disrupting the Digital World. Minneapo- lis: University of Minnesota, 2013. Miller, Greg. “Proposal to Give Federal Judges a Role in Drone Strikes Faces Hurdles

artifacts and to provide access to them. If libraries are to continue to foster education and scholarship in this era of digital technology, it’s essential for them to extend those functions into the digital world.” 47 The need for cultural memory drives the IWM and libraries more generally. Noting the loss of early film archives due to the recycling of early film stock, the archivists state that they are building an “Internet library” because without cultural artifacts, civilization has no memory and no mechanism to learn from its successes and failures. And

s, 1970s, and 1980s; and more important, how to tell a new story responsive to the Garden of the twenty-fi rst century? How is it possible to re-create a new spiritual ark of art for this brave new digital world of global terror, dysto- pian malaise, and the zombie apocalypse? This new Paradise Garden story and environment would in the best sense, I believe, incorporate aspects of Finster’s surprisingly expanded and inclusive Christian vision. It would draw upon stories of the biblical Eden, but it would also creatively incor- porate all other paradisiacal

kill chain. The inner workings of this relationship are made apparent when read in conjunction with contem- porary discourses of postmediality. Articulating three primary narra- tives (technical, aesthetic and political), this discourse argues that: as the digital world has eroded medium specificity, it has created a univer- sal medium through which all media flow as nondifferentiated artifacts (Weibel); contemporary intermediality is a symptom of a larger break with modernism’s “aesthetic purity,” which insisted upon an adherence to the essential properties of