The phrase belongs to Theodor Adorno, who also wrote:
No universal history leads from savagery to humanitarianism, but there is one leading from the slingshot to the atomic bomb.
Carl von Clausewitz argued that war is a continuation of politics by other means. He also argued that war is a prime example of the universal tendency of plans to fail, and of the intentions of action to misfire and backfire. The “noise” of war was of prime concern to Clausewitz.
Politics is about the creation and contestation of meanings, and about the distinction between friends and enemies. War has a substrate of lived experience - and of the experience of death, often the death of innocents. The continuation of this war requires that meaning overwrite the bodies of the dead, Lebanese, Palestinian or Israeli. It requires that politics inscribe justifications and rationalisations on death. War is also about the violent inscription of narrative signification on the stuff of life and death.
Universal narratives are mobilised as well as divisions - “the global war on Terror”, “anti-semitism”, “a new Middle East”, “the clash of civilisations”. War makes it more vital that we employ a hermeneutics of suspicion, precisely in the service of truth and undeconstructible justice.
Another way of making sense and assigning meaning to fragmented events exists aside from their inscription in rhetorical totalities. Music.
Trumpeter Mazen Kerbaj improvised some music over a recording of his lived experience - the sound of bombs falling on Beirut. You can listen by clicking this link. In doing so, perhaps Kerbaj can provide you with a counterpoint to grand abstractions.
“It is freaking for the nerves but I quickly understood that if I play music while it is happening, it is much better than just hearing it happening. Somehow my brain shifts and I focus totally on the music.”
Asked if he thought his composition was in questionable taste, he said: “Throwing bombs on buses with kids escaping from their villages is in much more horrible taste.”
He said the recording was a way of making people listen to what Beirut was facing. “It’s not like on CNN. It is not a Hollywood movie, it is really happening.”
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