Why do recent depictions of government secrecy and surveillance so
often use images suggesting massive size and scale: gigantic
warehouses, remote black sites, numberless security cameras?
Drawing on post-War American art, film, television, and fiction,
Matthew Potolsky argues that the aesthetic of the sublime provides
a privileged window into the nature of modern intelligence, a way
of describing the curiously open secret of covert operations. The
book tracks the development of the national security sublime from
the Cold War to the War on Terror, and places it in a long history
of efforts by artists and writers to represent political secrecy.
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