Death note 2006 152


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Abstract One of the most startling aspects of musical culture in the post-Cold War United States is the systematic use of music as a weapon of war. The very idea that music could be an instrument of torture confronts us with a novel—and disturbing—perspective on contemporary musicality in the United States.

What is it that we in the United States might know about ourselves by contemplating this perspective? This paper is a first attempt to understand the military and cultural logics on which the contemporary use of music as a weapon in torture and war is based. After briefly tracing the development of acoustic weapons in the late 20th century, and their deployment at the second battle of Falluja in November, , I summarize what can be known about the theory and practice of using music to torture detainees in Afghanistan, Iraq and Guantanamo.

Finally, I sketch some questions for further research and analysis. This paper reports on the earliest stages of a project that began not in my musicological work but in a moment of my real life.

I read. After the war ended, the Allies spent all day and all night flying over our heads, breaking the sound barrier. Just like Panama when they blasted Noriega, holed up in the Vatican Embassy with music. For fifteen days, Bush deafened the poor ambassador and Noriega with hard rock.

Our torture went on for months-- 20 or 30 times, day or night Perhaps it was a policy. Not bodies in pain. It is not my intention here to engage the moral, ethical and political debates around torture, interesting as they are.

It is a taxonomy peppered with questions and speculations about the ways that these uses of music interact with more familiar aspects of recent musical culture in the United States. As far as I know, none of these have been deployed in the current wars.

Davison and Lewer The sounds just keep reverberating off the walls. These guys have their own mini-disc players, with their own music, plus hundreds of downloaded sounds. Evidence from the current war is spotty, based on the debriefings of released detainees by international human rights organizations and reporters, on the accounts currently detained persons have given to their lawyers, or on urban legends that circulate on the internet, some of which are corroborated by the other two kinds of accounts.

Still, it is absolutely clear that music plays an important role in the interrogation of detainees in the war on terror. The reports of these experiments reveal a universalizing naivete and cultural bias that seems laughable now. The prisoner becomes psychologically powerless before the authority of interrogators, both dependent and unable to resist. The common premise is that sound can damage human beings, usually without killing us, in a wide variety of ways.

What differentiates the uses of sound or music on the battlefield and the uses of sound or music in the interrogation room is the claimed site of the damage. I find two especially intriguing. First, both blur the distinction between sound and music. How, I wonder, might one interpret the resulting state-imposed hierarchy of sound over music? The practices and ideologies of classical music listening suggest that such music-induced ecstasy is produced by intense attention to the relationships among the sounds themselves.

How might our own musical behaviors—as scholars and teachers especially—interact with these distinctions? Most blog responses consist of the posted news story, followed by a handful of desultory comments. Some, however, consist of conversations that last from an hour or two at lunchtime or in early evening to several days.

These longer conversations take one of two turns. Blogging communities who accept without question the idea that music is being used to torture detainees move quickly to political discussions of torture tout court , as it has been defined by recent US policy and law, and by recent international law.

Generally, these conversations never return to music. But perhaps we could make some lemonade of this. Turn Guantanmo into a year-round Pride Parade. Everything these people eat, sleep on, what have you will have been touched by homosexuals.

Every time they take a shower they are being watched by homosexuals. Reinstitute periodic strip searches. Strategichamlet mail replied. I agree Anyone who has talked with a professional dominatrix knows that there are a great deal of people in this country who are willing to pay to be rather brutally tortured.

Both these exchanges startle for the casualness with which they confirm an aspect of contemporary musical life that some of us worked hard to articulate in the s—the easy slippage, in the minds of our contemporaries, between music and sexuality. Blogs whose communities assume that music could be torture extrapolate at first from their own experience of being forced to listen to music in genres, and from cultural locations, that they find distasteful. Overwhelmingly, the conversations open with an exchange like this one, from Dec 19 I go nuts after three minutes!

But, then, Iron Butterfly did that to my parents, not to mention the Doors , pure torture they thought. Real torture! You can stay at the YMCA over and over again. Play Queen.

Bloggers who accept the premise that music could be torture participate eagerly—indeed, almost gleefully—in virtual conversations aimed at producing the ideal playlist for either battlefield or interrogation-room use. Ono soon became the subject of her own racist, misogynist mini-thread. Straight Vermonter posted a parody of Article 13 from the Geneva Conventions to prohibit the use of her music. And Ramius wrote. No dude I mean I see the usefulness there.

But I gotta draw the line at Yoko. Additionally, the idea that music could torture seems linked both to homophobia and to heterosexual fantasy; in fact, the most lively repertoire discussions propose as torturous popular musics easily associated with either homosexuality or the effeminacy perceived to come from being too emotionally engaged with women.

My hunch that masculinity is at issue is supported by one more blog posting, one of the last at Free Republic in June, , from SauronOfMordor who, like the PsyOps spokeman, imagined sound to be more important than music.

Recordings by Britney Spears and Christina Aguilera are said to have been used against specific detainees: the recipient of the Aguilera treatment was a fluent Anglophone, so one might assume that sexually provocative lyrics were part of the point.

But wait. The point, the disintegration of identity, depends not on music but on sound. In the absence, so far, of detailed accounts from former prisoners of their experiences, I have tried to think about this practice through my own experience of high-volume rock, and, more recently, high volume dance music. For me, both kinds of experience produced the feeling of being touched, without being touched by anyone; all of us who sang or danced were physically touched by the same force, which sometimes moved, sometimes enveloped, sometimes caressed us.

From that shared experience of being touched-without-being-touched by the vibrating air in which we all moved, I drew a deeply sensual, erotic though not explicitly sexual feeling of communion with the friends and strangers around me, even as the music blessedly silenced, temporarily, my individual thoughts.

A detainee, too, must experience himself as touched without being touched, as he squats, hands shackled between his shackled ankles to an I-bolt in the floor, in a pitch-black room, unable to find any position for his body that does not cause self-inflicted pain.

Surely, among many other things, the experience creates a nexus of pain, immoblility, unwanted touching without-touch ; and of being forced into self-hurting by a disembodied, invisible Power. A dark ecstasy, the experience must be neither isolation nor communion, but a relationship that mimics the effects of the chains—the relationship of being utterly at the mercy of a merciless, ubiquitous Power.

Thus, the performative scene in which music is the medium of ubiquitous, irresistable power that touches without touching has been imposed on representatives of the entire Muslim world. At the same time, however, the US has given the detainees thus treated over to its own soldiers as scapegoats, toward whom their choice of music linked to working-class masculinities can channel their rage at the economic and political forces that make them—like their captives—human beings that the state allows to be killed with impunity.

Believing they cannot be killed with impunity, the homefront bloggers at littegreen footballs and freerepublic do more than express their rage at the feminized position they occupy as non-warriors in an increasingly warrior-worshipping public culture. They create and occupy as homophobic, racist and misogynist the subject position of virtuous, justified torture—a subject position identified with, and occupied by, the global national security state that has, in its most recently passed law on the treatment of detainees, declared itself exempt from international law.

But I freely confess here that I have barely begun this work. I do not yet know who makes the choices in detainment facilities, and on what basis. Nor do I know whether guards and interrogation teams hear, or listen to, the music played. What do US personnel think about this practice, and what do they feel? What do detainees think and feel? What do either group think and feel about the specific repertoire chosen?

How, if at all, has the experience changed the musical behaviors of either group? What equipment delivers the sound?

At what decibel level? Is it engineered so as to afflict without causing permanent hearing loss? Este sitio web utiliza galletas o cookies. Si continuas navegando entendemos que aceptas su uso. TRANS 10 No utilice los contenidos de esta revista para fines comerciales y no haga con ellos obra derivada. It is not allowed to use the contents of this journal for comercial purposes and you may not alter, transform, or build upon this work.


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death note 2006 152

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