I'm picking up on this post on junk for code about post modern spaces in Ridley Scott's Black Hawk Down film and, more particularly, the Representations of post-modern spaces in Ridley Scott’s Black Hawk Down. It is stated that :

Scotts’ film proposes that the opposite actually has become the case in postmodern warfare. The enormous technological advantage of the State turns into its crucial weakness in a double sense. The State, even as it relies on technology to provide an advantage of force, cannot control the dispersal of that technology among those it intends to overcome. This is not even an issue of the so-called weapons of mass destruction that has become an obsession with the current Anglo-American axis. It’s a matter of cell phones and rocket propelled grenades. Because technology itself is out of control, the resistance to the homogenizing push of the State gains access to critical means of communication and force that tend to equalize its relation to the State.

The other problem for the State is that the more complex and powerful the technological force it mobilizes (and at the same time becomes enslaved to as Heidegger pointed out some time ago), the more vulnerable it is to the uncontrollable distribution and circulation of that technology. All it takes is one child with a cell phone to alert the warriors in Mogadishu to the impending U.S. attack, neutralizing the elements of speed and surprise the U.S. forces counted on. All it takes is one guy in a cheap nylon shirt with an RPG to bring down the first Black Hawk, bringing the entire American operation to a screeching halt.