Author Archives: Haig Hovaness

Coffee Break: Armed Madhouse – The Trouble with ALIS

The F-35 fighter jet is the most expensive weapons program in U.S. history, but one of its biggest failures isn’t in the air — it’s on the ground. The Pentagon’s Autonomic Logistics Information System (ALIS), conceived as an ambitious plan to revolutionize fighter jet maintenance and logistics, collapsed under the weight of bad design, poor […]

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Coffee Break: Armed Madhouse – Iran Has the Bomb

Theodore Postol is a retired MIT physics professor who was a consultant to the Pentagon on nuclear weapons and missile defense. He recently published a presentation on Iran’s nuclear weapons capability, which he summarized in a YouTube interview. Professor Postol explains, in considerable detail, how the construction of a deliverable fission bomb is well within […]

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Coffee Break: Armed Madhouse – AI Goes to War

A compact comprehensive discussion of the present state and future prospects of AI technologies applied to armed conflict is an impossible mission, but I will undertake it here. What gives me encouragement is the great difficulty of prognostication regarding AI. I believe AI will be the most profound transformation of human affairs in the history […]

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Coffee Break: Armed Madhouse – The Stab in the Back

As the war in Ukraine moves toward an ugly conclusion unfavorable to the U.S., I anticipate the appearance of a common propaganda phenomenon following lost wars: the stab in the back. This is a propaganda tactic in which military defeat is attributed to domestic treachery undermining the heroic efforts of the military. The bellicose elements […]

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Coffee Break: Armed Madhouse – Are You Not Entertained?

We have entered an era in which warfare has departed from the conventional (Clausewitzian) concept of attaining clear objectives. Instead, modern armed conflict is characterized by limited and generally inconclusive military clashes motivated by factors disconnected from the practical concerns of the affected citizens. War has turned away from decisive conflict and embraced performative spectacle. […]

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