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You are here: Home / Archives for 9/11

9/11

Book Review: ‘Blinking Red: Crisis and Compromise in American Intelligence after 9/11’

March 7, 2018 by Ioana Ilie

Reviewed by Ioana Ilie

 

Michael Allen, Blinking Red: Crisis and Compromise in American Intelligence after 9/11. USA, University of Nebraska Press, Potomac Books, Inc., 2013. ISBN: 978-1-61234-823-0. Pp. 280. Paperback. £13.99.

 

Michael Allen’s book Blinking Red attempts to be the authoritative legislative history of the U.S. Intelligence Reform and Terrorism Prevention Act (IRTPA) of 2004. Following the shock of the 9/11 attacks and the subsequent public demand to ‘do something’, a reorganisation of the intelligence community was overdue. Having been considered, debated, and researched for a long time beforehand, a reform was finally in the works. The reform resulted in the creation of two institutions – the National Intelligence Director (DNI) and the National Counterterrorism Center (NCTC). Blinking Red is an account of the legislative process surrounding IRTPA while also depicting the great sense of urgency to make the U.S. safer post-9/11, that was bestowed upon the U.S. government. More striking, perhaps, is Allen’s focus on the personalities and interpersonal relationships that shaped this bill. Individuals such as Scott Palmer (the House Speaker’s chief of staff), for example, who made significant efforts to revive the legislation even after the 2004 re-election because he truly believed in it and its importance. Or, then Director of Central Intelligence, George Tenet who made the position he held more powerful due to his charismatic personality. The book also gives the reader a real taste of the internal and external pressures under which policymakers had to work. Pressures from the President, especially before the re-election campaign, and from groups such as The 9/11 Families for a Secure America are just a couple of the many examples put forward in Blinking Red.

Allen’s position as the legislative affairs officer for the Homeland Security Council in the White House gave him access to many high-level officials and meetings. The book brims with information, that Allan either acquired himself as an eyewitness; or through interviews. In this context Blinking Red is an invaluable resource for students of government and intelligence studies, as the reader develops a good understanding of the working relationship between the legislative and executive branches of government. The book is also very readable despite its handling of complex legislative procedures and the many actors involved. Chapters like ‘Dirty Bombs’ are true page-turners due to their vivid description of political intrigue.

The 9/11 Commission Report was put together by the 9/11 Commission, formally known as the National Commission on Terrorist Attacks Upon the United States, which comprised of ten members, five Republicans and five Democrats. While Allen does not address this point specifically in his book, the even split between Democrats and Republicans is an important display of unity and compromise at a time of great partisan division. It can perhaps also be interpreted as an attempt at objective reporting on a divisive and controversial topic. Its main recommendations, put forward in the Executive Summary, fall into two categories – ‘what to do’ and ‘how to do it’. The ‘what’ can be summarised as a strategy, one that aims to match the means to the ends. The Commissioners proposed a three-pronged approach: ‘attack terrorists and their organizations, prevent the continued growth of Islamic terrorism, and protect against and prepare for terrorist attacks.’ In terms of ‘how’, the report calls for a better organised government and the need ‘to build unity of effort across the U.S. government.’ The Commissioners gave five suggestions towards achieving that. The first, to bridge the foreign-domestic divide by establishing a NCTC. The second, to work towards ‘unifying the intelligence community’ under a DNI. The third, to create a ‘network-based information sharing system’ in order to improve the inter-agency counterterrorism effort. The fourth, to spare no effort in ‘unifying and strengthening congressional oversight’. Finally, the fifth, to ensure the ‘strengthening the FBI and homeland defenders.’[1]

However, theory did not translate into practice, as Allen clearly argues towards the end of the book. What ended up being implemented was rather disappointing for many who expected a reform of the intelligence community. Instead of having a DNI who could easily and quickly move money and people across the intelligence community in order to meet the new threats of the post-Cold War world, the DNI was given a vague job description and limited powers. In fact, Allen gives an illuminating account of how differently officials – from the President, to the Senate, and the DNIs themselves – saw the job of the DNI.

The law gave the DNI some authority over budget and personnel but not enough to be the unifying leader of the intelligence community. Indeed, one cannot help but wonder how effective an intelligence director can be without being involved on a strategic and operational level. Allan argues, that in the end, the DNI is only as strong as the President allows him or her to be, a situation which does not inspire continuity or stability. While President Bush believed in a strong DNI, President Obama was not sold on the idea and was against the strengthening of the DNI role. Ever-hostile towards the intelligence community, President Trump also doubts the need for a DNI.[2]

At the centre of the book lies the discussion about the DNI, what he or she should be able to do and how. The reader gets real insight into many different opinions and demands that needed to be considered and managed when formulating the bill. Chapters such as ‘The Devil in the Details’ and ‘Attackers’ describe the difficult task of reaching a compromise, and the clash of ideas between three main groups: the group that was interested in a strong DNI, which was mainly the White House; the group that was interested in strengthening the Director of Central Intelligence (DCI) instead, opinion voiced by the CIA and many of its former DCIs; and finally a third group, which was not interested in creating either a DNI position or a NCTC. This was the view of the Department of Defence, as well as Rumsfeld’s, arguing that such a drastic reform would only hurt the military in the field in the middle of two raging wars. Such big differences settled in a short amount of time (about four months from the time The 9/11 Commission Report was published until IRTPA was passed) resulted in a weak law. In order to get enough votes and to please all conflicting sides, the language of the bill was left intentionally vague.

‘Americans should not settle for incremental, ad hoc adjustments to a system created a generation ago for a world that no longer exists’[3], warned the Commissioners. However, four months later the U.S. settled exactly for that.

 


Ioana Ilie is a recent War Studies and History graduate from King’s College London. She is passionate about Anglo-American foreign policy and grand strategy as well as geopolitics and intellectual history.You can follow her on Twitter @ioana_a_ilie


Notes:

[1] National Commission on Terrorist Attacks upon the United States. The 9/11 Commission Report. Executive Summary. [Washington, DC] :[National Commission on Terrorist Attacks upon the United States], 2004.

[2] NPR, http://www.npr.org/sections/parallels/2017/02/16/515590646/wheres-the-director-of-national-intelligence. Accessed 30th of October 2017.

[3] National Commission on Terrorist Attacks upon the United States. The 9/11 Commission Report. Executive Summary. [Washington, DC] :[National Commission on Terrorist Attacks upon the United States], 2004.


Image Source

Banner: https://commons.wikimedia.org/wiki/File:Aerial_view_of_the_Pentagon_during_rescue_operations_post-September_11_attack.JPEG

 


Bibliography:

National Commission on Terrorist Attacks upon the United States. The 9/11 Commission Report. Executive Summary. [Washington, DC] :[National Commission on Terrorist Attacks upon the United States], 2004.

NPR, http://www.npr.org/sections/parallels/2017/02/16/515590646/wheres-the-director-of-national-intelligence. Accessed 30th of October 2017.

 

 

Filed Under: Book Review Tagged With: 9/11, Book Review, feature, intelligence, USA

Virtual conflict as cultural catharsis: re-fighting Vietnam 2.0

June 12, 2014 by Strife Staff

By Ben Collins:

Call of Duty: Private C Miller (by deviantArt user spyash2)
Private C Miller (by deviantArt user spyash2)

Storytelling is a core part of how we communicate with each other, understand complex issues and come to terms with the world around us. The prevalence of so-called ‘talking therapies’ show that such processes are important in helping to overcome and move past negative events and experiences. The experience of 9/11 left long-lasting and deep collective and cultural damage on the US/Western collective psyches. The ‘War on Terror’ has been compared to what Vietnam was for Lyndon Johnson: ‘a vast, tragic distraction in which he must be seen to be winning, lest the domestic agenda he really cares about be derailed.’[i] Popular culture, in this case Western-developed video/computer games, have become a medium in which the cathartic and curative process of storytelling is taking place on a cultural level, to move past and overcome both of these ‘unfinished’ conflicts.

War and conflict have been staple thematic topics in games for decades, as far back as Space Invaders and Missile Command in the late 1970s. However, the games released after 9/11 show an interesting pattern indicating a marked swing in direction and focus. Between 2002 and 2005 there were two games released that were set during the first Gulf War (Conflict: Desert Storm I & II), at least nine games released set during the Vietnam War (Vietcong, Vietcong 2, Battlefield: Vietnam, Conflict: Vietnam, Shellshock: ‘Nam 67, Wings over Vietnam, Platoon, Men of Valor, Line of Sight: Vietnam) as well as many more set in the modern day in real or analogous Middle-Eastern theatres. One of the most stand-out titles from this period was America’s 10 Most Wanted, whose finale consists of the player fighting Osama Bin Laden in hand-to-hand combat, and subsequently bundling him into a helicopter that flies off into the sunset while the credits roll. From this period mainstream game development began to shift to reflect changing current events. From 2008 games in this thematic field have often adopted Private Military Contractors in both pro and antagonistic roles. after the details of Blackwater’s/Xe’s involvement in Iraq became wider public knowledge and a hot topic of the time.

The ability of popular culture to serve as a space for cultural catharsis and as a coping mechanism isn’t a new one; after the collective cultural trauma of Vietnam a similar process of mourning and understanding took place. The trajectory of tone and content in the ‘war is hell’ films from the 1970s such as Apocalypse Now and The Deer Hunter shifted dramatically to the restorative and cathartic films from the 1980s like Top Gun and Rambo. These films either painted the US military in a far more positive and victorious light or, in the case of Rambo, literally re-fighting Vietnam on-screen.

What is interesting is that in games after 9/11 this process moved in the opposite direction. The games that emerged in the first few years after 9/11 can broadly be interpreted as revenge power-fantasies. The largely tactical focus of these titles place the player in the position of a soldier with a ‘grunt’s-eye view’. This creates a space in which the player can rewrite history, restore agency and re-establish the ‘correct’ order of the world on an individual level; winning the battles AND winning the war. It is only in recent years that some developers have taken steps to question and critique what can be seen as a largely jingoistic and cynically simplified streamlining of complex geopolitical issues.

The 2012 game Spec Ops: The Line was a deeply critical response to the way in which war and conflict had been portrayed in games. Taking Joseph Conrad’s Heart of Darkness as inspiration, the game took a cynical approach to the increasingly detailed yet sanitised depiction of war. Starting out as a formulaic tale of Western intervention to help a sandstorm-buried Dubai, the game depicts ambiguous moral choices as well as civilian collateral damage in a highly critical and subversive way. The game makes the player stop to reflect on their actions, something that is normally outside the usually simplistic and circular justifications other games use for the violent acts that the player witnesses and facilitates. Similarly, the 2008 game Far Cry 2 borrows lightly from Heart of Darkness, taking place in a fictional African country in the grips of a civil war between two greedy and ruthless militias.

As western military involvement in the Middle East has, at least in the eyes of the western audiences, wound down to be out of sight and out of mind, western popular culture has adapted to react to new threats. Wikileaks, Anonymous and Edward Snowden are being explored as the new sources of cultural anxiety and trauma; Call of Duty: Black Ops II features a hacker antagonist, who in the near future takes control of the United States’ expanded drone forces. The recently released Watch_Dogs puts the player in the shoes of a skilled hacker in a near-future Chicago, and can be interpreted as a warning against the danger hackers pose to increasingly centralised and interconnected systems. At the same time it offers up a new revenge fantasy to anyone who has been the victim of the seemingly unending frauds, data thefts and security breaches of many internet-based services.

Why does this matter? The medium of games is a uniquely textured and tactile environment to continue the human necessity of storytelling; whether it be in moment-to-moment gameplay experiences or the underlying story or theme a particular game is exploring. A generation has grown up being bombarded with messages about the necessity for increased security, updates on the latest protracted conflict in a place they have never seen or heard of in any other context, and the constant threat of terrorism hanging over them like the sword of Damocles; all of this is delivered through a ubiquitous, 24-hour news media. It is entirely possible that games are the first instance of many people engaging with any of these topics on a participatory and interactive level. It is worth considering the way that game portray war and conflict, and how these messages are received by audiences due to the potential for their affecting of popular thought relating to real world events and issues. The condensing and streamlining of conflicts like Vietnam and the ‘War on Terror’ into simple and easily digestible narratives applies the same maximal and binary filtering logic of George W. Bush’s “Either you are with us or you are with the terrorists” speech. As a medium that lets us tell ourselves the stories through interactivity, games should be telling us what we need to know rather than what we want to hear. The difficult truths about these traumatic moments in our cultural memory are important. Without them the conflicts they depict will remain ‘unfinished’ and the cultural catharsis sought through them will remain out of reach.

 

_______________

Ben Collins is a 2nd year PhD student looking at hacker activists in comparison to 19th century Anarchism. Other focus includes how war and conflict are portrayed in videogames, as well as how players interact and question both the events in them and the relevant analogous real-world wars, conflicts and insurgencies we see in comparison.

 

NOTES

[i] M.S., The war on terror is Obama’s Vietnam, The Economist, 10/06/13, http://www.economist.com/blogs/democracyinamerica/2013/06/why-we-spy, accessed 04/06/14

Filed Under: Blog Article Tagged With: 9/11, Game, internet, simulation, terrorism, Vietnam

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