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It is now important to consider the reasons why, more than two decades later, new generations are still playing in the same field discovered by the Dadaists. Since the 1980s, early artists working with the internet claimed a connection between online art and Dada. Although we have shifted from the broadcast model of the 20th Century to a mode of prosumption, we are still dealing with the same questions: what effective power does language have? When does a message become propaganda? To what degree can individuals be defined as passive (or active) agents when they share officially approved information? Given these questions, it is no surprise that a number of contemporary artists working with the internet and digital cultures are responding to a perceived crisis of “truthiness” with strategies deriving from the 1910s activity of the Dadaists, a cultural elite who worked in Europe and the U.S.
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Whilst it may be true that propaganda has been strategically important in shaping opinions since King Darius, the nature of media – from cinematic newsreels created by 1910s national bureaus to today’s social media landscape – plays a crucial role in shaping how strategic messages are created and disseminated. The feeling of being trapped at the end of a road leading nowhere is crucial to understanding why we have needed to apply definitions such as “post-truth” and “alternative facts” to centuries-old rhetorical strategies – creating new terms for the last age of humankind as we know it. However, people in every single age have believed they were heading towards the end of the world. In recent times we have often heard that we’re facing the end of the world as we know it because of factors such as potential nuclear wars, self-sufficient machines, international political crises, and global environmental disaster.