Bureau of Public Secrets
The War and the Spectacle
The orchestration of the Gulf war was a glaring expression of what the situationists call the spectacle—the development of modern society to the point where images dominate life.
The public relations campaign was as important as the military one. How this or that tactic would play in the media became a major strategical consideration. It didn’t matter much whether the bombing was actually “surgical” as long as the coverage was; if the victims didn’t appear it was as if they didn’t exist. The “Nintendo effect” worked so well that the euphoric generals had to caution against too much public euphoria for fear that it might backfire.
Interviews with soldiers in the desert revealed that they, like everyone else, depended almost totally on the media to tell them what was supposedly happening. The domination of image over reality was sensed by everyone. A large portion of the coverage consisted of coverage of the coverage. The spectacle itself presented superficial debates on the new level of instant global spectacularization and its effects on the spectator.
Nineteenth-century capitalism alienated people from themselves and from each other by alienating them from the products of their own activity. This alienation has been intensified as those products have increasingly become “productions” that we passively contemplate. The power of the mass media is only the most obvious manifestation of this development; in the larger sense the spectacle is everything from arts to politicians that have become autonomous representations of life. “The spectacle is not a collection of images, but a social relation among people, mediated by images” (Debord, The Society of the Spectacle).
The Diffuse vs. the Concentrated Spectacle
Along with arms profits, oil control, international power struggles and other factors which have been so widely discussed as to need no comment here, the war involved contradictions between the two basic forms of spectacle society. In the diffuse spectacle people are lost amid the variety of competing spectacles, commodities, styles and ideologies that are presented for their consumption. The diffuse spectacle arises within societies of pseudo-abundance (America is the prototype and still the unchallenged world leader of spectacle production, despite its decline in other regards); but it is also broadcast to less developed regions—being one of the main means by which the latter are dominated.
Saddam’s regime is an example of the rival concentrated spectacle, in which people are conditioned to identify with the omnipresent image of the totalitarian leader as compensation for being deprived of virtually everything else. This image concentration is normally associated with a corresponding concentration of economic power, state capitalism, in which the state itself has become the sole, all-owning capitalist enterprise (classic examples are Stalin’s Russia and Mao’s China); but it may also be imported into Third World mixed economies (such as Saddam’s Iraq) or even, in times of crisis, into highly developed economies (such as Hitler’s Germany). But for the most part the concentrated spectacle is a crude stopgap for regions as yet incapable of sustaining the variety of illusions of the diffuse spectacle, and in the long run it tends to succumb to the latter, more flexible form (as recently in eastern Europe and the USSR). At the same time, the diffuse form is tending to incorporate certain features of the concentrated one.
The Gulf War—Another Spectator Sport
The Gulf war reflected this convergence. The closed world of Saddam’s concentrated spectacle dissipated under the global floodlights of the diffuse spectacle; while the latter used the war as a pretext and a testing ground for implementing typically “concentrated” methods of control—censorship, orchestration of patriotism, suppression of dissent. But the mass media are so monopolized, so pervasive and (despite token grumbling) so subservient to establishment policies that overtly repressive methods were hardly needed. The spectators, under the impression that they were expressing their own considered views, parroted the catch phrases and debated the pseudo-issues that the media had instilled in them day after day, and as in any other spectator sport loyally “supported” the home team in the desert by rooting for it.
This media control was reinforced by the spectators’ own internalized conditioning. Socially and psychologically repressed, people are drawn to spectacles of violent conflict that allow their accumulated frustrations to explode in socially condoned orgasms of collective pride and hate. Deprived of significant accomplishments in their own work and leisure, they participate vicariously in military enterprises that have real and undeniable effects. Lacking genuine community, they thrill to the sense of sharing in a common purpose, if only that of fighting some common enemy, and react angrily against anyone who contradicts the image of patriotic unanimity. The individual’s life may be a farce, the society may be falling apart, but all complexities and uncertainties are temporarily forgotten in the self-assurance that comes from identifying with the state.
War Enhances All States
War is the truest expression of the state, and its most powerful reinforcement. Just as capitalism must create artificial needs for its increasingly superfluous commodities, the state must continually create artificial conflicts of interest requiring its violent intervention.
The fact that the state incidentally provides a few “social services” merely camouflages its fundamental nature as a protection racket.
When two states go to war the net result is as if each state had made war on its own people—who are then taxed to pay for it. The Gulf war was a particularly gross example: Several states eagerly sold billions of dollars’ worth of arms to another state, then massacred hundreds of thousands of conscripts and civilians in the name of neutralizing its dangerously large arsenal. The multinational corporations that own those states now stand to make still more billions of dollars restocking armaments and rebuilding the countries they have ravaged.
Whatever happens in the Middle East in the complex aftermath of the war, one thing is certain: The first aim of all the states and would-be states, overriding all their conflicting interests, will be to crush or coopt any truly radical popular movement. On this issue Bush and Saddam, Mubarak and Rafsanjani, Shamir and Arafat are all partners. The American government, which piously insisted that its war was “not against the Iraqi people but only against their brutal dictator,” has now given Saddam another “green light”: to slaughter and torture the Iraqis who have courageously risen against him. American officials openly admit that they prefer continued police-military rule in Iraq (with or without Saddam) to any form of democratic self-rule that might “destabilize” the region—i.e., that might give neighboring peoples the inspiration for similar revolts against their own rulers.
In America the “success” of the war has diverted attention from the acute social problems that the system is incapable of solving, reinforcing the power of the militarist establishment and the complacency of the patriotic spectators. While the latter are busy watching war reruns and exulting at victory parades, the most interesting question is what will happen with the people who saw through the show.
Some Saw Through the Show
The most significant thing about the movement against the Gulf war was its unexpected spontaneity and diversity. In the space of a few days hundreds of thousands of people all over the country, the majority of whom had never even been at a demonstration before, initiated or took part in vigils, blockades, teach-ins and a wide variety of other actions.
By February the coalitions that had called the huge January marches—some factions of which would normally have tended to work for “mass unity” under their own bureaucratic guidance—recognized that the movement was far beyond any possibility of centralization or control, and agreed to leave the main impetus to local grassroots initiative. Most of the participants had already been treating the big marches simply as gathering points while remaining more or less indifferent to the coalitions officially in charge (often not even bothering to stay around to listen to the usual ranting speeches). The real interaction was not between stage and audience, but among the individuals carrying their own homemade signs, handing out their own leaflets, playing their music, doing their street theater, discussing their ideas with friends and strangers, discovering a sense of community in the face of the insanity.
It will be a sad waste of spirit if these persons become ciphers, if they allow themselves to be channeled into quantitative, lowest-common-denominator political projects—tediously drumming up votes to elect “radical” politicians who will invariably sell them out, collecting signatures in support of “progressive” laws that will usually have little effect even if passed, recruiting “bodies” for demonstrations whose numbers will in any case be underreported or ignored by the media. If they want to contest the hierarchical system they must reject hierarchy in their own methods and relations. If they want to break through the spectacle-induced stupor, they must use their own imaginations. If they want to incite others, they themselves must experiment.
Those who saw through the war became aware, if they weren’t already, of how much the media falsify reality. Personal participation made this awareness more vivid. To take part in a peace march of a hundred thousand people and then see it given equal-time coverage with a pro-war demonstration of a few dozen is an illuminating experience—it brings home the bizarre unreality of the spectacle, as well as calling into question the relevance of tactics based on communicating radical viewpoints by way of the mass media.
Even while the war was still going on the protesters saw that they had to confront these questions, and in countless discussions and symposiums on “the war and the media” they examined not only the ‘blatant lies and overt blackouts, but the more subtle methods of media distortion—use of emotionally loaded images; isolation of events from their historical context; limitation of debate to “responsible” options; framing of dissident viewpoints in ways that trivialize them; personification of complex realities (Saddam = Iraq); objectification of persons (“collateral damage”); etc. These examinations are continuing and are giving rise to a veritable industry of articles, lectures and books analyzing every aspect of media falsification.
Interpretations of Media Falsification
The most naive see the falsifications as mere mistakes or biases that might be corrected if enough members of the audience call in and complain, or otherwise pressure the mass media into presenting a somewhat wider range of viewpoints. At its most radical this perspective is expressed in the limited but suggestive tactic of picketing particular media.
Others, aware that the mass media are owned by the same interests that own the state and the economy and will thus inevitably represent those interests, concentrate on disseminating suppressed information through various alternative media. But the glut of sensational information constantly broadcast in the spectacle is so deadening that the revelation of one more lie or scandal or atrocity seldom leads to anything but increased depression and cynicism.
Others try to break through this apathy by adopting the manipulative methods of propaganda and advertising. An anti-war film, for example, is generally assumed to have a “powerful” effect if it presents a barrage of the horrors of war. The actual subliminal effect of such a barrage is, if anything, pro-war—getting caught up in an irresistible onslaught of chaos and violence (as long as it remains comfortably vicarious) is precisely what is exciting about war to jaded spectators.
Overwhelming people with a rapid succession of emotion-rousing images only confirms them in their habitual sense of helplessness in the face of a world beyond their control. Spectators with thirty-second attention spans may be shocked into a momentary anti-war revulsion by pictures of napalmed babies, but they may just as easily be whipped into a fascistic fury the next day by different images—of flag burners, say.
Regardless of their ostensibly radical messages, alternative media have generally reproduced the dominant spectacle-spectator relation. The point is to undermine it—to challenge the conditioning that makes people susceptible to media manipulation in the first place. Which ultimately means challenging the social organization that produces that conditioning, that turns people into spectators of prefabricated adventures because they are prevented from creating their own.
Bureau of Public Secrets
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Situationist literature available from FE BOOKS
Situationist International Anthology, edited and translated by Ken Knabb, $15
The Revolution of Everyday Life by Raoul Vaneigem, $10
Society of the Spectacle by Guy Debord, $3
On the Poverty of Student Life by S.I., $1
Web archive note
Bureau of Public Secrets texts are online at http://bopsecrets.org/ .