Abstract The following article unpacks the portrayal of digital or screen-based trauma and the gamification of war within contemporary video art. A riff on Harun Farocki's eponymous multi-channel video installation Serious Games (2010), the article questions if the screen has the power to transmit violence and thus affect trauma, or if this focus heightens what Judith Butler termed precarious life. Conversely, for those who experience PTSD, as noted by Freud, the gamification or dreaming following traumatic events brings one to an entirely different game. This repetition, re-play, as I note, is for premonition, mastery or sight, while war in the age of simulation is characterised by a lack of human optics. As information bombs and pop monuments to atrocity flood the public imagination, what other experiences are also covered over? What lies behind the schism between the virtual and the lived?

中文翻译：

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认真的做梦

摘要 以下文章揭示了当代视频艺术中对数字或基于屏幕的创伤和战争的游戏化的描绘。对 Harun Farocki 的同名多频道视频装置 Serious Games (2010) 的即兴演奏，该文章质疑屏幕是否有能力传播暴力从而影响创伤，或者这种关注是否加剧了 Judith Butler 所说的不稳定生活。相反，对于那些经历过 PTSD 的人来说，正如弗洛伊德所指出的那样，创伤性事件之后的游戏化或做梦会给他们带来一个完全不同的游戏。正如我所指出的，这种重复、重播是为了预感、掌握或视觉，而模拟时代的战争的特点是缺乏人类视觉。随着信息炸弹和暴行的流行纪念碑充斥着公众的想象力，还涵盖了哪些其他体验？虚拟与现实之间的分裂背后是什么？