Culture » May 21, 2004
What Rumsfeld Doesnt Know That He Knows About Abu Ghraib
Does anyone still remember the unfortunate Muhammed Saeed al-Sahaf? As Saddam’s information minister, he heroically would deny the most evident facts and stick to the Iraqi line. Even as U.S. tanks were hundreds of yards from his office, al-Sahaf continued to claim that the television shots of the tanks on Baghdad streets were Hollywood special effects. Once, however, he did strike a strange truth. When told that the U.S. military already controlled parts of Baghdad, he snapped back: “They are not in control of anything—they don’t even control themselves!” When the scandalous news broke about the weird things going on in Baghdad’s Abu Ghraib prison, we got a glimpse of this very dimension of themselves that Americans do not control.
In his reaction to the photos showing Iraqi prisoners tortured and humiliated by U.S. soldiers, President George W. Bush, as expected, emphasized how the deeds of the soldiers were isolated crimes that do not reflect what America stands and fights for—the values of democracy, freedom and personal dignity. And the fact that the case turned into a public scandal that put the U.S. administration on the defensive is a positive sign. In a really “totalitarian” regime, the case would simply be hushed up. (In the same way, the fact that U.S. forces did not find weapons of mass destruction is a positive sign: A truly “totalitarian” power would have done what cops usually do—plant drugs and then “discover” the evidence of crime.)
However, a number of disturbing features complicate this simple picture. In the past several months, the International Committee of the Red Cross regularly bombarded the Pentagon with reports about the abuses in Iraqi military prisons, and the reports were systematically ignored. So it was not that U.S. authorities were getting no signals about what was going on—they simply admitted the crimes only when (and because) they were faced with their disclosure in the media. The immediate reaction of the U.S. military officials was surprising, to say the least. They explained that the soldiers were not properly taught the Geneva Convention rules about how to treat war prisoners—as if one has to be taught not to humiliate and torture prisoners!
But the main complication is the contrast between the “standard” way prisoners were tortured in Saddam’s regime and how they were tortured under U.S. occupation. Under Saddam, the accent was on direct infliction of pain, while the American soldiers focused on psychological humiliation. Further, recording the humiliation with a camera, with the perpetrators included in the picture, their faces stupidly smiling beside the twisted naked bodies of the prisoners, was an integral part of the process, in stark contrast with the secrecy of the Saddam tortures. The very positions and costumes of the prisoners suggest a theatrical staging, a kind of tableau vivant, which brings to mind American performance art, “theatre of cruelty,” the photos of Mapplethorpe or the unnerving scenes in David Lynch’s films.
This theatricality leads us to the crux of the matter: To anyone acquainted with the reality of the American way of life, the photos brought to mind the obscene underside of U.S. popular culture—say, the initiatory rituals of torture and humiliation one has to undergo to be accepted into a closed community. Similar photos appear at regular intervals in the U.S. press after some scandal explodes at an Army base or high school campus, when such rituals went overboard. Far too often we are treated to images of soldiers and students forced to assume humiliating poses, perform debasing gestures and suffer sadistic punishments.
The torture at Abu Ghraib was thus not simply a case of American arrogance toward a Third World people. In being submitted to the humiliating tortures, the Iraqi prisoners were effectively initiated into American culture: They got a taste of the culture’s obscene underside that forms the necessary supplement to the public values of personal dignity, democracy and freedom. No wonder, then, the ritualistic humiliation of Iraqi prisoners was not an isolated case but part of a widespread practice. On May 6, Donald Rumsfeld had to admit that the photos rendered public are just the “tip of the iceberg,” and that there were much stronger things to come, including videos of rape and murder.
This is the reality of Rumsfeld’s dismissive statement, a couple of months ago, that the Geneva Convention rules are “out of date” in regard to today’s warfare.
In the debate about the Guantanamo prisoners, one often hears arguments that their treatment is ethically and legally acceptable because “they are those who were missed by the bombs.” Since they were the targets of U.S. bombings and accidentally survived them, and since these bombings were part of a legitimate military operation, one cannot condemn their fate when they were taken prisoners after the combat—whatever their situation, it is better, less severe, than being dead. This reasoning tells more than it intends to say. It puts prisoners into a literal position of the “living dead,” those who are in a way already dead (their right to live forfeited by being legitimate targets of murderous bombings). Thus the prisoners are now what philosopher Giorgio Agamben calls homo sacer, those who can be killed with impunity since, in the eyes of the law, their lives no longer count. If the Guantanamo prisoners are located in the space “between the two deaths”—legally dead (deprived of a determinate legal status) while biologically still alive—then the U.S. authorities that treat them this way are in an in-between legal status that forms the counterpart of homo sacer. They act as a legal power, but their acts are no longer covered and constrained by the law—they operate in an empty space that is nonetheless within the domain of the law. Hence, the recent disclosures about Abu Ghraib display the consequences of locating prisoners in this place “between the two deaths.”
In March 2003, Rumsfeld engaged in a little bit of amateur philosophizing about the relationship between the known and the unknown: “There are known knowns. These are things we know that we know. There are known unknowns. That is to say, there are things that we know we don’t know. But there are also unknown unknowns. There are things we don’t know we don’t know.” What he forgot to add was the crucial fourth term: the “unknown knowns,” the things we don’t know that we know—which is precisely, the Freudian unconscious, the “knowledge which doesn’t know itself,” as Lacan used to say.
If Rumsfeld thinks that the main dangers in the confrontation with Iraq were the “unknown unknowns,” that is, the threats from Saddam whose nature we cannot even suspect, then the Abu Ghraib scandal shows that the main dangers lie in the “unknown knowns”—the disavowed beliefs, suppositions and obscene practices we pretend not to know about, even though they form the background of our public values.
Thus, Bush was wrong. What we get when we see the photos of humiliated Iraqi prisoners is precisely a direct insight into “American values,” into the core of an obscene enjoyment that sustains the American way of life.
ABOUT THIS AUTHOR
Slavoj Žižek, a Slovenian philosopher and psychoanalyst, is a senior researcher at the Institute for Advanced Study in the Humanities, in Essen, Germany. He has also been a visiting professor at more than 10 universities around the world. Žižek is the author of many other books, including Living in the End Times, First As Tragedy, Then As Farce, The Fragile Absolute and Did Somebody Say Totalitarianism? He lives in London.

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Reader Comments
The one thing Zizek misses in his analysis is that the prisoners, although being initiated into the supplement of U.S. culture, are not allowed in, and they had no choice in the matter. When someone joins a team or a unit of soldiers or a frat house, they go in knowing and expecting the hazing and torture. And they’ll pass it on later. This is something different; there’s no inclusion and passing of tradition, there’s just exclusion and a tradition’s imposition. What we’d do well to remember is that when we identify someone as an enemy, we are externalizing those aspects we don’t want to identify with ourselves, yet since we are the ones who determine those aspects, they’re already within us. Torture like this doesn’t come out of a desire to initiate someone into some grand cultural tradition, no matter how vulgar. It comes out of a desire to externalize that which we find most abhorrent in ourselves. If there’s a critique of American culture to be made, it’s that we’ve not learned how to come to terms with our own differences in a mature manner. We were in a better place when we prided ourselves on treating our enemies with the respect we would want for ourselves. This scandal just shows we’ve lost self-respect.
Posted by wyth on May 21, 2004 at 6:17 PM
Is it not the case that the reason given for taking the theatrically staged photographs at Abu Ghraib was the interests of efficiency?
Hersh’s May 24 New Yorker piece on the torturing of prisoners reports: “It was thought that some prisoners would do anything —including spying on their associates—to avoid dissemination of the shameful photos to family and friends.”
By this technique of ‘shaming’, mercenary investigation units could speed up their process of interrogation, by blackmailing prisoners into revealing whatever information they possessed without the time-consuming and humdrum routine of stripping, tieing, buggering with night sticks, etc.? Thus a strange twist of logic might argue that the dramatisation of the cruel scenarios at Abu Ghraib was actually a compassionate act that limited the amount of actual torture. It was certainly driven by pecuniary considerations. (It also may have had the grotesque side-effect of rewarding soldiers with a bit of ‘recreational’ special duty, to compensate for the long hours and apalling conditions…) And it is likely that the scenarios were only discovered because they were recorded. Is it not almost a ‘cinematic’ irony that perpetrators of torture now record their own evidence - in the manner of proud serial killers collecting press clippings of their deeds - thus further saving state investigative resources?
The obscene underbelly that Slavoj Zizek so delights in tickling would seem to be the abstraction of money, every bit as much as American culture’s fetish with spectacles of ritual humiliation. And is not attraction to the abstraction of money, truly the absent centre of American culture?
‘The disavowed beliefs, suppositions and obscene practices we pretend not to know about, even though they form the background of our public values’, are financial, just as the cinematic culture of spectacle is predicated on finance. Gilles Deleuze (… and Jonathon Beller in his essay ‘Capital/cinema’) build a cogent argument around Fellini’s statement, that ‘the film is over when the money runs out’.
Slavoj Zizek himself has a personal investment in cinema; it is one of the main tools of his trade of cultural analysis. And, I believe, a personal joy. He is right to say that ‘the photos of humiliated Iraqi prisoners is precisely a direct insight into “American values,” into the core of an obscene enjoyment that sustains the American way of life’. But isn’t ‘insight into American values’ what sustains his life also? Aren’t almost all published analyses already co-opted – by that need/desire that is the root of all fascination: money? It was money that inspired the recordings at Abu Ghraib, just as it is money that made America interested in ‘freeing’ Iraq, in the first place, just as it is the symbolic value of the Twin Towers that made them so ugly, and so vulnerable.
Nietzsche’s analysis of the dangers of knowledge might be appropriate to consider here, alongside Chief Seattle’s recommendation that the U.S. government learn to eat money. The engineered inflictions of the modern era, whether Abu Ghraib-style humiliations, Guantanamo’s orange incarcerations, or the violent stripping of DNA defenses in order to insert a foreign gene with a gene gun…. or the dissection of communities by highways, and the environmental rape of mining, factory farms, and economic forestry, etc… are all legitimised by the needs of capital, right down to the ‘need’ to make weapons in order to protect the economy.
The catastrophe of the Twin Towers is that it is so resonant a symbol of our times, while babies dying of diarrhoea (…which originates in diarrhein: to flow freely) as a result of bad water, are forgotten in the stream of things. Ironically, Abu Ghraib was rescued from being another invisible catastrophe by the gaze of cameras. Jonathon Beller’s essay referenced above, points out how cinema makes attention the new commodity of exchange-value; the root of ‘attention’ suggests a military state of alertness, an expectancy that demands an event. Abu Ghraib is an example of media-darwinism: the survival of the noticed.
Money (honey…) is the real sticky stuff: the cult of abstraction that dehumanises, and disembodies… so that the prisoners are not even homo sacer instead they are pure material for the camera’s enlightened purpose, which is efficient capture.
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