Mar 7, 2014
Youth in Revolt: The Plague of State-Sponsored Violence
Posted on Mar 14, 2012
By Henry Giroux, Truthout
The war on terror has become a war on democracy as baton-wielding cops are now being supplied with the latest military equipment imported straight from the battlefields of Iraq and Afghanistan. Military technologies once used exclusively on the battlefield are now being supplied to police departments across the nation. Drones; machine-gun-equipped armored trucks; SWAT vehicles; “digital communications equipment and Kevlar helmets, like those used by soldiers used in foreign wars.”(16) The domestic war against “terrorists” (code for young protesters) provides new opportunities for major defense contractors and corporations who “are becoming more a part of our domestic lives.”(17) As Glenn Greenwald points out, the United States since 9/11 “has aggressively para-militarized the nation’s domestic police forces by lavishing them with countless military-style weapons and other war-like technologies, training them in war-zone military tactics and generally imposing a war mentality on them. Arming domestic police forces with para-military weaponry will ensure their systematic use even in the absence of a Terrorist attack on U.S. soil; they will simply find other, increasingly permissive uses for those weapons.”(18) Of course, the new domestic para-military forces will also undermine free speech and dissent with the threat of force while simultaneously threatening core civil liberties, rights and civic responsibilities. Given that “by age 23, almost a third of Americans are arrested for a crime,” it becomes clear that in the new militarized state the view of young people as predators, a threat to corporate governance and disposable will increase as will the growth of a punishment state that acts with impunity.(19)
No longer restricted to a particular military ideology, the celebration of war-like values has become normalized through the militarization of the entire society. As Michael Geyer points out, militarization in this sense is defined as “the contradictory and tense social process in which civil society organizes itself for the production of violence.”(20) The conceptual merging of war and violence is evident in the way in which the language of war saturates the ways in which policy makers talk about waging war on drugs, poverty and the underclass. There is more at work here than the prevalence of armed knowledge and a militarized discourse; there is also the emergence of a militarized society in which “the range of acceptable opinion inevitably shrinks.”(21) But the prevailing move in American society to a permanent war status does more than promote a set of unifying symbols that embrace a survival-of-the-fittest ethic, promoting conformity over dissent, the strong over the weak and fear over responsibility; it also gives rise to a “failed sociality” in which violence becomes the most important element of power and mediating force in shaping social relationships.
As a mode of public pedagogy, a state of permanent war needs willing subjects to abide by its values, ideology and narratives of fear and violence. Such legitimation is largely provided through a market-driven culture addicted to the production consumerism, militarism and organized violence, largely circulated through various registers of popular culture that extend from high fashion and Hollywood movies to the creation of violent video games and music concerts sponsored by the Pentagon. The market-driven spectacle of war demands a culture of conformity, quiet intellectuals and a largely passive republic of consumers. But it also needs subjects who find intense pleasure in the spectacle of violence.
As the pleasure principle is unconstrained by a moral compass based on a respect for others, it is increasingly shaped by the need for intense excitement and a never-ending flood of heightened sensations. What has led to this immunity and insensitivity to cruelty and prurient images of violence? Part of this process is due to the fact that the American public is bombarded by an unprecedented “huge volume of exposure to ... images of human suffering.”(22) As Zygmunt Bauman argues, there are social costs that come with this immersion of a culture of staged violence. One consequence is that “the sheer numbers and monotony of images may have a ‘wearing off’ impact [and] to stave off the ‘viewing fatigue,’ they must be increasingly gory, shocking and otherwise ‘inventive’ to arouse any sentiments at all or indeed draw attention. The level of ‘familiar’ violence, below which the cruelty of cruel acts escapes attention, is constantly rising.”(23)
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