Issue 100: Fall 2009

War

By Allen Feldman on October 30, 2009
Abstract: As viewed through the lens of work published in SOCIAL TEXT on the governmentality of terror] this essay proposes that the trope of the terrorist signals the departure of a reliable and calculable enemy and the "unleashing of the incommensurable-- that we now know as asymmetric war, as the unending war of and against terror, and other emblematica of the immeasurable such as shock and awe. However, this is also a war of political effects and consequences deemed not worthy of measurement, such as collateral damage, the discounted Iraqi dead, and the unlimited detention of perpetual "terrorists" at various hidden black sites.

In his essay "Preliminary Thoughts on the Congo Crisis" (ST 17, 1999), Mahmood Mamdani proposed a postcolonial structure of flexible enfranchisement bifurcated between civic and ethnic membership as a disparate allocation of political subjecthood between the individuated citizen and diverse ethnic multitudes. Under the pressures of globalization and the subsequent hegemonic expansion of the war on terror, this model mutates into a distinction between the citizen as a fully present, frequently biopoliticized subject and the dangerous encrypted and collectivized body of the infiltrating minoritized sleeper or mole who infests the host body of the nation-state citizen, rendering it both mutable and a hostage. Mamdani posed a structuring enemy as an in situ yet disavowed parasitical core of state reproduction that legitimated the state's own turn to terror. Almost a decade prior to this, Mick Taussig, in "Terror as Usual: Walter Benjamin's Theory of History as a State of Siege" (ST 23, 1989), pointed out that the securocratic state, in contrast to the disciplinary state, conscripted terror for reconstituting power as "an opportunistic positionless position which recognizes that the terror in such disruption is no less than that of the order it is bent on eliminating." Both Mamdani and Taussig approached political "terror" not as a political crime but as a formation guarding against the loss of the political in the violent countermeasures it enabled. Taussig describes this emerging political aesthesis as a "nervous system (facing) one way toward hysteria, the other way toward numbing and apparent acceptance, both ways flip-sides of terror, the political Art 

of the Arbitrary, as usual."


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