Pewter House and Emotions Damage

ROUGH DRAFT: DO NOT CIRCULATE, CITE, OR REPRODUCE
Aural Armor: Charting the Militarization of the iPod in Operation Iraqi Freedom
I: Introducing the Wartie iPod
The iPod entered the Ira! "ar !uiet#$%
&
When U' Ar$ tan() ro##ed o*er the
+er) at the ,u"ait +order "ith the initiation o- the ground ca.aign on /arch 01,
0112, o)t o- the cre") "ho "ere +#a)ting 3High"a$ to He##4 and the Ride o- the
5a#($rie) through their counication )$)te) "ere u)ing .orta+#e CD .#a$er) and not
the ore rugged, co.act, and ca.aciou) .2 de*ice) that "ou#d e*entua##$ re.#ace
the% O*er the -ir)t t"o $ear) o- the "ar, ho"e*er, the iPod gre" into a near6u+i!uitou)
o+i#e entertainent de*ice, one that a##o"ed i#itar$ .er)onne# to de.#o$ u)ic "ith
great .reci)ion in )er*ice o- u#ti.#e ai): )oothing and ha)tening the .a))age o- tie7
tethering the troo.) to their ci*i#ian #i*e) +ac( hoe7 eoria#i8ing the death) o- -a##en
corade)7 and attaining and anaging the i#d#$ a#tered )tate o- heightened aggre))ion
and a"arene)) that characteri8e) the engaged and e--ecti*e "arrior% Current#$, "ith the
con-#ict ha*ing entered it) )e*enth $ear, the iPod ha) de*e#o.ed into a -u##$ i#itari8ed
.ro)thetic techno#og$9one that -aci#itate) edia con)u.tion, one6"a$ tran)#ation,
interrogation, cro"d di).er)a#, inte##igence gathering, 3"inning heart) and ind),4 and
e*en .reci)ion )hooting in the -ie#d%
Gi*en the ).eed "ith "hich iPod) and their i#itar$ u)er) are co6e*o#*ing, it i)
di--icu#t at thi) :uncture to )a$ an$thing conc#u)i*e a+out the ro#e the iPod ha) .#a$ed in
the .ro)ecution o- O.eration Ira!i Freedo% The o+)er*ation) that -o##o", then, are +$
nece))it$ .re#iinar$% ;e-ore turning to the, ho"e*er, I "ant to +egin +$ attending to a
)a## nu+er o- "ide#$ circu#ated iage) that .o"er-u##$ .u## iPod) and the Ira! "ar
into a )ing#e *i)ua# and conce.tua# -ie#d% For an$ o- u) "ho ha*e not )er*ed in Ira!, the
3"artie iPod4 tro.e "a) introduced into .u+#ic di)cour)e not through #i*ed e<.erience
or direct te)tion$ +ut through ).ectra#, )ei6anon$ou), ute .hoto) )uch a) the)e% ;$
*ariou)#$ =trou+#ing#$, )urrea##$> )ituating the iPod "ithin the ongoing con-#ict in Ira!,
the)e iage) a(e -or a )trange +ut, I ho.e, .roducti*e )tarting .oint -ro "hich to
re-#ect on the di)!uieting a.oria that, c$)t6#i(e, encirc#e) and concea#) the *o#ati#e i< o-
u)ic, o+i#it$, techno#og$, and *io#ence that characteri8e) 0&)t6centur$ ur+an co+at%
Image #1:
The HU//5EE?) o.en "indo" in*ite) har)h "hite )un#ight and the i.re))ion o- heat
into the .hoto?) +ac(ground% In the -oreground, a )o#dier i) +uc(#ed into the .a))enger
)eat, an /&@ .ro..ed on hi) =or her> #a., u88#e .ointing out the "indo"% A )tandard6
i))ue +ro"n c#oth nec( gaiter (ee.) )and out o- the )o#dier?) -ace, :u)t a) the ore
co#or-u# Ira!i (e--i$eh doe) -or #oca#)% The c#oth o+)cure) e*er$ -acia# detai#, -ro +e#o"
the )o#dier?) chin a## the "a$ u. to the +a##i)tic )ung#a))e) that re-#ect the g#are -ro the
road% The )o#dier "ear) a tan de)ert caou-#aged ACH he#et,
0
"ith the )tandard6i))ue
e#a)tic +and encirc#ing it% 'tuc( into the +and i) a 2rd generation iPod, the one "ith a ro"
o- -our round +utton) +et"een the c#ic("hee# and the )creen on the unit?) iconic "hite
-ace% The e!ua##$ iconic "hite head.hone cord )na(e) do"n the )ide o- the he#et and
di)a..ear) +eneath the -o#d) o- +ro"n c#oth at the )o#dier?) nec(% With a## *i)ua# ar(er)
&
o- age, ethnicit$, and e*en gender era)ed, the t"o .iece) o- techno#og$9-irear and
iPod9)tand out in high re#ie- again)t the anon$ou) )o#dier% ;oth can +e read a)
e*idence o- the techno#ogica# )o.hi)tication o- the U' ared -orce), attri+ute) o- a
.o"er-u# and techno#ogica##$6integrated9one ight +e te.ted to )a$ 3c$+org4
2
9
-ighting -orce% At the )ae tie, the iPod?) .o)ition, )tra..ed to the )o#dier?) he#et,
ge)ture) +ac("ard in hi)tor$ +$ e*o(ing "e##6(no"n iage) -ro ear#ier con-#ict)% At
-ir)t g#ance, in -act, the )a## "hite rectang#e )tra..ed to the )o#dier?) he#et ight e*en
+e i)ta(en -or the .ac( o- cigarette) that )o#dier) ha*e, -or the .a)t @1 $ear), )tra..ed to
their he#et), )o a) to (ee. the +oth acce))i+#e and dr$ "hen -ording )trea)% 'hou#d
"e co.are the iPod to the /&@ it acco.anie) or the /ar#+oro) it re.#acedA I) the iPod
9a) an i.#eent that, +$ a## account), he#.) )o#dier) 3.u. the)e#*e) u.4 into a )tate
o- heightened acuit$ and aggre))ion9a eta.horica# e<ten)ion o- the "ea.onA Or, #i(e a
good )o(e, i) the iPod a techno#og$ -or ca#ing do"n, -or creating a odicu o-
)o#ace aid)t the chao) o- co+atA I) it) .re)ence huani8ing or 8o+i-$ingA Or i) it
)i.#$ decadentA Doe) the iPod .oint to the di).arit$ in coitent +et"een the
Aerican -orce) and their techno#ogica##$6in-erior antagoni)t), "ho "e iagine do not
re!uire )uch #u<urie) a) u)ic on the +att#e-ie#dA The iage, "hich ha) +een circu#ating
on techno.hi#e "e+)ite) )uch a) Ars Technica, i) c#ear#$ )taged% =A) one o- $ i#itar$
inter#ocutor) e<.#ain), 3tho)e he#et +and) aren?t .articu#ar#$ )trong, and HU//5EE)
+ounce #i(e a )hi. in a )tor un#e)) the$?re on -#at .a*eent%4> A) )uch, one ight
credi+#$ di)i)) it a) one ore e<a.#e o- the ce#e+rator$ iPod .hoto) that u)er) around
the "or#d )end to ilounge.com. It) )$+o#i), ho"e*er, )tri(e) e a) dee.#$ a+iguou)%
Let it retain it) a+iguit$ in the conte<t o- thi) e))a$ a) it introduce) the intert"ined
thee) o- u)ic, techno#og$, o+i#it$, and *io#ence%
Figure &: 'o#dier on ,u"aitBIra! +order "ith iPod, ca% 011C%
C

Image #2:
The )tri(ing .hoto) a..eared on F#ic(r in ear#$ A.ri# 011D% The )tor$ "a) then .ic(ed u.
on iPodhac()%co, and e*entua##$ ade it a## the "a$ to Wired aga8ine?) "e+)ite%
Whi#e it) .ro*enance i) un(no"n and )oe o- the detai#) )train credu#it$, the genera#
thru)t o- the )tor$ i) thi): ,e*in Garrad, a )ergeant "ith the 2rd In-antr$ Di*i)ion, "a) on
a -oot .atro# in Ti(rit "hen he rounded a corner and cae -ace to -ace "ith an in)urgent%
A +rie- e<change o- -ire en)ued, and the in)urgent "a) (i##ed% A-ter conc#uding hi) .atro#,
0
'gt% Garrad returned to +a)e, .ut hi) ear+ud) in, and ta..ed hi) iPod through hi) +rea)t
.oc(et to acti*ate it% When no u)ic a..eared he dug around in hi) .oc(et and .u##ed out
the unit, "hich had +een )hot through "ith an A,6CD round% It "a) on#$ then that Garrad
#earned he had +een )hot in hi) encounter "ith the in)urgent% In the -ir)t .hoto, a c#o)e6u.
o- the +ac( o- the iPod, one can )ee ho" the +u##et c#ean#$ .enetrated the to.6right corner
o- it) -ace, and then )e.arated the unit?) t"o ha#*e), +ending the +ac( )ide into a )ei6
conca*e )ha.e, +e-ore e<iting through an irregu#ar o.ening it tore through the eta#% A
)tra$ "ire :ut) ha.ha8ard#$ out o- the ga. that ha) o.ened u. +et"een -ront and +ac(7 the
iPod?) circuitr$ i) a#)o *i)i+#e% A )econd .hoto )ho") Garrad in hi) uni-or "ith an
Ar$ nur)e hanging on hi) ar% The nur)e i) #aughing, it a..ear), at the rear( o-
)oeone e#)e in the roo, "hi#e Garrad, )ti-#ing a #augh hi)e#-, #oo() into the caera%
The "hite -ace o- the iPod he ho#d) in -ront o- hi i) )e.arated -ro the +od$, a crac(
run) do"n the #ength o- the )creen, and the +u##et?) entr$ ho#e i) c#ear#$ *i)i+#e% The
initia# *er)ion o- the )tor$ a))erted that the iPod )to..ed the +u##et7 +#ogger) "ho c#ai to
ha*e -o##o"ed u. "ith Garrad hi)e#- contend that it "a) Garrad?) Interce.tor ;od$
Aror, and not the .2 .#a$er, that .#a$ed the .i*ota# ro#e% Nonethe#e)), "e+ account)
c#ai that the iage) circu#ated through the cu+ic#e) at A..#e head!uarter), and that
A..#e )ent Garrad a re.#aceent )oon therea-ter% A.ocr$.ha# or not, the )tor$ and the
iage) that acco.an$ it .oint -orce-u##$ to the +ruta# a)$etr$ that de-ine) the
ateria# re#ation +et"een u)ic and "ar% I- an$ trace) o- roantic notion) a+out u)icE)
tran)cendence continue to e<i)t, the +u##et .iercing the iPod9the utter )u.eriorit$ o-
techno#ogie) o- death o*er #i-e6a--iring techno#ogie), o- death#$ .ractice) o*er #i-e6
a--iring .ractice)9"ou#d )ee to o+#iterate the%
F
Garrad "a) #uc($: the iPod i) not
ightier than the A,, and u)ic, a#a), i) .o"er#e)) again)t a hai# o- +u##et)% At the )ae
tie, A..#e?) re.orted re.#aceent o- Garrad?) iPod, "hi#e a #o*e#$ ge)ture the )o#dier
no dou+t a..reciated, can a#)o )er*e to reind u) o- the )trange#$ te#e)co.ic !ua#it$ o-
the re#ation +et"een the .o"er o- +u##et) and the .o"er o- ca.ita#% To "it: it i) di--icu#t to
iagine an ared con-#ict that "ou#d ha*e the )#ighte)t negati*e e--ect on iPod or iTune)
)a#e)% 5io#ent act) a$ indeed o*er"he# u)ica# techno#og$ at the #e*e# o- the #i*ed
e*ent, +ut at the #e*e# o- g#o+a# econoic), the u)ic and techno#og$ indu)trie) reain
utter#$ un.ertur+ed +$ *io#ence%
2
Figure) 0a and 0+: ,e*in Garrad?) iPod%

Image #3:
The .o)ter) +egan to a..ear on the )treet) o- Ne" Gor( Cit$ and Lo) Ange#e) in 011C%
Their iconogra.h$ du.#icated that o- the a"ard6"inning ad ca.aign de)igned +$ the
-ir T;WAHChiatHDa$ in 0112: a +right#$ co#ored onochroatic +ac(ground -raing a
+#ac( )i#houette, "ith the te##ta#e "hite #ine) o- the ear+ud cord )$necdochica##$ e*o(ing
the ad*erti)ed .roduct% An underground art grou. that ca##ed it)e#- 3Co..er Greene49
ta(ing their nae -ro the notoriou) O.eration Co..er Green, the +#ac(6o.)
interrogation .rogra that 'e$our Her)h e<.o)ed in The New Yorker )oe onth)
ear#ier9too( re).on)i+i#it$ -or the gueri##a art ca.aign% The o)t )tri(ing .o)ter in the
Co..er Greene )erie) -eatured a )i#houette o- the o)t in-aou) iage o- the "ar, the
hooded detainee +eing )u+itted to oc( e#ectrocution in the U'6run detention -aci#it$ at
A+u Ghrai+% Again)t a +right $e##o" +ac(ground, thi) o)t a+:ect o- -igure) )tand) on a
+o<, ar) out)tretched, a "hite iPod cord hanging not -ro hi) ear) +ut, #i(e e#ectrode),
-ro hi) -inger)% In the u..er right corner, in a -ont +orro"ed -ro the A..#e ca.aign,
i) the "ord 3iRa!%4 Running a#ong the +otto, in a +ar+ed a##u)ion to the ca.aign?)
)#ogan =3&1,111 )ong) in $our .oc(et% /ac or PC4> run) the tag #ine: 3&1,111 *o#t) in
$our .oc(et% Gui#t$ or innocent%4 Again, a+iguit$ reign), and !ue)tion) .ro#i-erate% I)
thi) .riari#$ a .rote)t, .riari#$ a :o(e, or e!ua##$ +othA I) the )u+:ect o- thi) .rote)t the
"ar in Ira! in genera#, or U' interrogation tactic) ).eci-ica##$A I) the A..#e ad ca.aign
)i.#$ the neutra# ra" ateria# -ro "hich thi) .rote)t "a) -a)hioned, or i) Co..er
Greene indicting the A..#e cor.oration and the iPod a) co.#icit in the .ro)ecution o-
the "arA A )u+)e!uent *er)ion o- the .o)ter, reading 3&1,111 Ira!i) (i##ed% DD2 U'
'o#dier) dead,4 "ou#d )ee to c#ari-$ the ca.aign a) one that "a) .rote)ting the "ar
genera##$% ;ut gi*en the e<tent to "hich e+er) o- the Ared Force) ha*e ado.ted the
iPod a) an e))entia# .iece o- e!ui.ent, and gi*en the ro#e that iPod) .#a$ed in the *er$
interrogation) re-erenced +$ the A+u Ghrai+ )i#houette, the )$+o#i) o- Co..er
Greene?) 3iRa!4 ca.aign reain) )tu++orn#$ o.en%
@

C
Figure 2: Co..er Greene iRa! .o)ter .a)ted aong A..#e iPod .o)ter)%
Together, the)e ute iage) -rae the hi)tor$ o- iPod) in Ira! a) one in "hich o+i#e
audio techno#og$ i) thorough#$ i+ricated into the dai#$ e<igencie) o- "ar and the
)$+o#ic and cor.orea# *io#ence that )urround the% In each iage the ).ecter o- u)ic,
#ong regarded the o)t gent#e o- the art), i) )et on a co##i)ion cour)e "ith a conte.orar$
ani-e)tation o- *io#ence: -irear, +u##et, detention -aci#it$% Ta(en together, the$ cou#d
ea)i#$ )er*e a) a di)cur)i*e ).ring+oard -or a di)cu))ion o- u)ic and *io#ence ore
genera##$%
D
The .ur.o)e o- thi) e))a$, ho"e*er, i) to +etter under)tand the on6the6ground
d$naic) o- iPod u)e "ithin the Ira! "ar, and to do )o "e "i## need uch ore than
anon$ou) .icture) -ro the "ar?) thorough#$ ediati8ed .eri.her$% In "hat -o##o"),
a-ter +rie-#$ )ituating i#itar$ iPod u)e "ithin the +roader hi)tor$ o- recorded u)ic and
"ar-are, I "i## dra" u.on ora# and "ritten te)tionie) o- indi*idua#) "ho )er*ed in Ira!
=inc#uding )oe e#icited during con*er)ation) I had "ith *eteran) in 011@, 011D, and
011I>, i#itar$ regu#ation) go*erning iPod u)e in theater, :ourna#i)tic and other .u+#i)hed
account) o- iPod u)e in the i#itar$, and .rootiona# ateria#) o- )o-t"are co.anie)
that .roduce i#itar$ a..#ication) -or the de*ice, a) I )(etch in +road )tro(e) the genera#
contour) o- iPod u)e during the -ir)t )i< $ear) o- O.eration Ira!i Freedo%
A Centur o! "ecorded #usic on the $attle!ield
The hi)tor$ o- recorded u)ic in "artie argua+#$ )tretche) +ac( to the '.ani)h6
Aerican War o- &JIJ, the -ir)t a:or con-#ict to occur a-ter the in*ention o- the
.honogra.h% In that $ear, )e*era# record co.anie) co.eted to +ring the "artie
)ound)ca.e +ac( to ci*i#ian #i)tener)% The Co#u+ia Phonogra.h Co.an$, -or e<a.#e,
re#ea)ed 3u)ic o- the "ar4 record #i)t) that inc#uded the Co#u+ia Orche)tra?) u)ica#
reenactent o- the charge o- Roo)e*e#t?) Rough Rider)%
J
Whi#e )oe recording) "ere
F
ade in the -ie#d, inc#uding a+ient record) o- the )ound) o- gun) in action, the .ractice
o- listening to recorded u)ic during i#itar$ de.#o$ent "ou#d on#$ -#ouri)h "ith the
ne<t generation o- )o#dier)% 'i<teen $ear) #ater, during Wor#d War I, U%'% i#itar$
.er)onne# +egan #i)tening to recorded u)ic in #arge nu+er) "hen rugged -ie#d
.honogra.h) =inc#uding one ode# in*ented +$ Thoa) Edi)on> "ere )hi..ed to i#itar$
3ca.), )hi.), entrenchent) and ho).ita#)4 in )er*ice o- the +e#ie- that 3)ong a(e) a
good )o#dier, a +etter )o#dier7 a tired )o#dier, a re)ted )o#dier7 a de.re))ed )o#dier, a cheer$
)o#dier%4
I
;$ Wor#d War II, recorded u)ic had +ecoe a centra# .re)ence, "ith
)hort"a*e and A/ radio )tation) +roadca)ting to troo.) and ci*i#ian) a#i(e throughout
the Euro.ean and Paci-ic theater), and the Ared Force) Radio 'er*ice +roadca)ting
-ro London +eginning in Ku#$ &IC2% The re#ati*e ea)e o- radio o.eration, "hen
co.ared to the ini)tration) re!uired to aintain a record .#a$er and record co##ection
in -ie#d condition), ade the the .redoinant u)ic de#i*er$ de*ice -or -ront#ine troo.)
in +oth WWII and the ,orean War% Radio continued to +e .o.u#ar aong )o#dier) in the
5ietna War, +ut the ad*ent o- )a## .orta+#e ta.e .#a$er) in the &I@1) ade it ea)ier
-or GI) to .er)ona#i8e their #i)tening ha+it) than had +een the ca)e in .re*iou) con-#ict)%
The u)ic6)aturated +roadca)t) o- Ared Force) Radio, co+ined "ith the increa)ing
.roinence o- ta.e .#a$er) in the -ie#d and the a-ter6e--ect) o- the )ea change that had
+een ta(ing .#ace in the "or#d o- Ang#o6Aerican .o.u#ar u)ic, #ed 5ietna *et =and
-ounder o- Te%as #onthl> Wi##ia ;ro$#e) Kr% to du+ 5ietna 3our -ir)t roc( and ro##
"ar4 =&II@: &&>%
i&ods in the Ira' War
With an interte<tua# "in( to 5ietna, at #ea)t one :ourna#i)t ha) re-erred to
O.eration Ira!i Freedo a) our -ir)t 3iPod "ar%4
&1
Whi#e it i) true that the "ar) in Ira!
and A-ghani)tan are the -ir)t a:or ared con-#ict) in "hich the techno.hi#ic .o)t6
indu)tria# "or#d =i%e%, the iPod con)uer +a)e> ha) +een in*o#*ed )ince the in*ention o-
the de*ice, the #a+e# -ai#) to ca.ture the gradua# e--#ore)cence o- the iPod o*er the cour)e
o- the -ir)t t"o $ear) o- the con-#ict% When Au)tra#ian "ar arti)t and -i#a(er George
Gittoe) )hot hi) ground+rea(ing docuentar$ (oundtrack to War in id60112, -or
e<a.#e, the )o#dier) he inter*ie"ed "ere :ac(ing .orta+#e CD .#a$er), not iPod), into
their *ehic#e)% =Thi) .ractice "a) a#)o "ide).read during the NATO6#ed i#itar$
inter*ention in ,o)o*o%> A## the )ae, +$ 011@, "hen I +egan )o#iciting the te)tionie)
o- Ira! "ar *eteran), the iPod had a#read$ o*er"he#ed a## other o+i#e audio
techno#ogie) to +ecoe the )ignature u)ic .#a$+ac( de*ice -or the troo.)7 a) ore than
one )o#dier e<.#ained to e, an$one "ho didn?t de.#o$ "ith an iPod .urcha)ed one )oon
a-ter arri*ing in Ira!% A## hi)torica# nuance) a)ide, then, it a(e) a certain )en)e to
a))ociate the con-#ict "ith the con)uer techno#og$ that e*entua##$ engu#-ed it%
;ut "hat are the co)t) and +ene-it) o- )crutini8ing the "ar through the .ri) o-
the iPodA What a--ecti*e terrain #ie) +ehind the -u)ion o- audio techno#og$ and *io#ence
that the #a+e# 3iPod "ar4 re.re)ent)A /ore ).eci-ica##$, ho" can "e )ituate the iPod
"ithin the "ar in a "a$ that a*oid) the t"in e<ce))e) o- techno#ogica# deterini) =in
"hich the iPod i) credited "ith the creation o- the con-#ict?) character> and )ocia#
deterini) =in "hich the iPod i) .re)ented a) a .a))i*e o+:ect that i) "ho##$ )u+i))i*e
to the "i)he) o- the )o#dier) "ho u)e it>A And ho" can "e "or( through the ).eci-ic
@
conundra that the cha##enge) o- "ar-are .roduce -or the )u+:ect) "ho, in ci*i#ian conte<t),
"ou#d +e gi*en the hoogeni8ing #a+e# o- 3iPod u)er)A4 'cho#ar) o- ci*i#ian iPod u)e
a$ not regard the reduction o- each indi*idua# 3u)er?)4 #i)tening en*ironent to a
#arge#$ neutra# and uni-or -ir)t6"or#d =)u+>ur+an +ac(dro. a) .ro+#eatic =;u## 011D,
Wurt8#er 011J>, +ut the e<tree en*ironent o- the Ira! "ar, and the e<i)tentia#
.reoccu.ation) o- it) .artici.ant), deand that the .articu#aritie) o- the "artie #i)tening
en*ironent +e con)idered% With thi) in ind, I "ou#d #i(e to .re)ent i#itar$ iPod u)e in
Ira! a) a centra# a).ect o- an in-ora#, #arge#$ intuiti*e, +ut nonethe#e)) .o"er-u#
3auditor$ regie,4 a )ound6centered ha+itu) that )tructure) and i) )tructured +$ the
#i)tening acti*itie) o- )o#dier) in Ira!%
&&
I iagine the i#itar$?) auditor$ regie
coa#e)cing around the -u##6).ectru )en)or$ training .ro*ided to e#ite )o#dier)7 ne"
techno#ogie) o- auditor$ )ur*ei##ance, noi)e cance##ation, and u)ic de#i*er$7 and +oth
-ora# and ca)ua# di)cu))ion) aong i#itar$ .er)onne# "ho -ind the)e#*e) thru)t into
e<tree )ituation) that +oth ena+#e and deand .articu#ar -or) o- aura# acuit$% The)e
"ide).read e<.erience) and techno#ogie), together "ith o--icia# and in-ora# in:unction)
to aintain acute a"arene)) o- a## )en)or$ )tiu#i "hen on i))ion), co+ine to create a
genera# )en)e o- the ethodo#og$ -or9and *a#ue o-9e--ecti*e #i)tening% At the )ae
tie, i#itar$ audio#ogi)t), regu#ation), ear .rotection training .rogra), )tati)tic)
re#ating to "ide).read hearing #o)) aong acti*e6dut$ i#itar$, and -ora# and in-ora#
in-oration )haring a+out the "a$) in "hich )ound) can trigger .o)t6trauatic )tre))
)er*e a) con)tant reinder) that the auditor$ regie o- acti*e co+at i) an inherent#$
ri)($ )$)te% Within thi) )$)te, in "hich )ound )er*e) a) +oth a .ro-ound )ource o-
tactica# in-oration and a cri..#ing )ource o- traua, the iPod can +e con)trued a) a
co.#e< .artici.ant in a range o- auditor$ act), a techno#og$ that ena+#e) and encourage)
)oe ode) o- #i)tening "hi#e -ru)trating other), that introduce) ne" )ound) into the
#i*ed en*ironent "hi#e o+)curing other), that -aci#itate) )oe i#itar$ acti*itie) "hi#e
rendering other) unthin(a+#e%
&0
The iPod i), in other "ord), a -undaenta##$ a+iguou)
techno#og$, one that interact) "ith )o#dier), ci*i#ian) =inc#uding the u)ician) "ho)e
recording) are )tored on it> and other techno#ogie) to .roduce a high#$ un.redicta+#e,
di)tri+uted agenc$, a )et o- )trange ne" .o))i+i#itie) -or action, an$ o- "hich "ere
)ure#$ ne*er en*i)ioned +$ it) in*entor) at A..#e or the i#itar$ .#anner) at the Pentagon%
In the ne<t )ection, I trace a nu+er o- the di--erent interaction) +et"een iPod) and their
u)er) throughout the Ira! "ar, and re-#ect u.on the "a$) in "hich the)e interaction) ha*e
)tructured )o#dier)? e<.erience) during their tour) o- dut$ in Ira!%
II: A.ing U., 'ta$ing Focu)ed, Coo#ing Do"n: iPod) a) Techno#ogie) o- 'e#-6
Regu#ation in Co+at
i&od )se *utside o! Com+at
War i) a .henoenon that i) -oreign to an$9inc#uding, I readi#$ adit, to e%
&2
A) )uch, the te.tation to e<otici8e it, to .re)ent it a) -undaenta##$ di--erent -ro #i-e in
.eacetie, can +e great% Particu#ar#$ )ince 5ietna, the .ractice o- de.icting "ar a)
-anta)tica##$ *io#ent and e))entia##$ )urrea# ha) .er)i)ted in re.ortage, -i#, and
occa)iona##$ )cho#ar)hi.% Thi) $tho#ogica# .re)entation o- "ar create) the aura o- a )tate
D
o- e<ce.tion )o .o"er-u# that it can o*er"he# indi*idua# agenc$, cu#.a+i#it$, and e*en
)u+:ecti*it$%
&C
One tactic -or #e))ening thi) e<otic di)tantiation and the *o$euri)tic
orientation that acco.anie) it i) to ac(no"#edge the .ro)aic oent) that -#an( o)t o-
the 3action,4 e*en i- that a..roach .roduce) a #e))6than6thri##ing .icture o- "ar-are and
"arrior)% ;e-ore coencing "ith thi) in*e)tigation o- the =o-ten e<tree> u)e) to "hich
iPod) in the Ira! "ar are +eing .ut, then, I -ee# co.e##ed to +egin +$ )ituating the
"ithin the +ana#itie) o- e*er$da$ #i-e in the i#itar$% To .ara.hra)e =the a.ocr$.ha#>
Freud9and g#o)) the o.inion) o- an$ o- $ i#itar$ inter#ocutor)9)oetie) an .2
.#a$er i) :u)t an .2 .#a$er%
/uch o- ared )er*ice, e*en in Ira!, con)i)t) o- )u)tained .eriod) o- do"ntie
and aching +oredo% In the )tretche) o- tie +et"een i))ion), e+er) o- the Ared
Force) )tationed in Ira! ).end a #ot o- tie #i)tening to u)ic, and the$ coon#$
.re)ent their #i)tening .ractice) a) +eing con)onant "ith tho)e o- ci*i#ian #i-e% 'o#dier) u)e
iPod) "hi#e "or(ing out, "hi#e re#a<ing, "hi#e tra*e#ing -ro one .#ace to another, "hi#e
da$dreaing% Li(e the ci*i#ian u)er) e<ained +$ /ichae# ;u## =011D>, an$ Aerican
)er*iceen and "oen u)e their iPod) to e--ect a turn 3in"ard -ro the "or#d, #i*ing in
an interiori8ed and .#ea)ura+#e "or#d o- their o"n a(ing, a"a$ -ro the hi)torica#
contingenc$ o- the "or#d into the certaint$ o- their o"n .a)t, rea# or iagined, enc#o)ed
)a-e#$ "ithin their *er$ o"n auditor$ )ound)ca.e4 =&2C6F>% /oreo*er, -or an$ o- the
troo.) and i#itar$ contractor) "ho are engaged in )u..ort acti*itie)9echanic), -ood6
)er*ice "or(er), adini)trator)9the )ii#aritie) +et"een their ci*i#ian and "artie #i*e)
can out"eigh, or at #ea)t co.ete "ith, the di--erence) .roduced +$ their #ocation in Ira!%
When I inter*ie"ed troo.) and ci*i#ian) "ho "ere not in*o#*ed in dai#$ co+at
)ituation), I -re!uent#$ heard that their iPod u)e "a) 3+a)ica##$ #i(e it i) +ac( hoe%4 Thi)
.ro*ocati*e a))ertion o- continuit$ +et"een ci*i#ianB.eacetie and i#itar$B"artie iPod
u)e trou+#e) the con*entiona# .ortra$a# o- "ar a) e))entia##$ -oreign% At the )ae tie, it
.oint) to the *a#ue that iPod) =and other con)uer techno#ogie)> a$ ha*e -or .eo.#e in
*io#ent circu)tance) a) the$ )tri*e to create a )tate, ho"e*er -ragi#e, o- nora#c$%
Indeed, the iPod a..ear) to +e a techno#og$ that i) *a#ued, in .art at #ea)t, -or the degree
to "hich it can re.#icate the audioto.ia) o- ci*i#ian #i-e =,un 011F>% 'o#dier) o-ten )tri*e
to con)truct a )e+#ance o- nora#c$ +$ #i)tening to u)ic that a(e) the -ee# a) i-
the$ "ere 3+ac( hoe%4
Thi) -act not"ith)tanding, an$ o- the troo.) "ho are .art o- O.eration Ira!i
Freedo contend "ith )ituation) that are )o *io#ent#$ di)tant -ro ci*i#ian #i-e that the$
cannot +e tran)-ored into a -ac)ii#e o- 3+ac( hoe4 +$ an$ ean)% For tho)e "ho
engage in regu#ar dangerou) acti*itie) 3out)ide the "ire,4 the iPod?) uti#it$ a) a
techno#og$ -or connecting "ith ci*i#ian #i-e i) at tie) ec#i.)ed +$ it) *a#ue a) a
techno#og$ -or tuning one?) .)$cho#ogica# )tate to the e<igencie) o- co+at% A) Li)a
Gi#an =011J>, Konathan Pie)#a( =011I>, and other) ha*e docuented, -or the entire
#ength o- the U%'% i#itar$ engageent in Ira!, troo.) ha*e re#ied u.on u)ic9in iPod),
on +oo+o<e), on P%A% )$)te), and, in *io#ation o- i#itar$ regu#ation) that are )e#do
en-orced, :ac(ed into *ehic#e) or head)et) during i))ion)9to attain the i#d#$ a#tered
)tate o- heightened a"arene)) and aggre))ion that i) nece))ar$ in order to +e an e--ecti*e
"arrior%
&F
It i) e<tree#$ coon -or )o#dier) "ho regu#ar#$ engage in co+at and .atro#
i))ion) to con)truct, in con*er)ation "ith their corade), one or ore .2 3+att#e
.#a$#i)t),4 "hich he#. the 3.u. u.4 =or 3a. u.,4 or 3get .)$ched u.,4 or 3get into
J
the right ind)et4 or 3get in the 8one4> +e-ore #ea*ing +a)e% In the "ord) o- an Air Force
engineer ta)(ed "ith re.airing IED +#a)t crater) on the road) o- Ti(rit:
E*er$+od$ in the i#itar$ i) t$.e6a .er)ona#it$, and .articu#ar#$ in a co+at
)ituation $ou "ant the arrogant and con-ident and -ee#ing that the$?re
+u##et.roo-, and )o $eah % % % "e de-inite#$ u)ed u)ic to -urther )o#idi-$ the idea
that "e?re gonna go out there and (ic( +utt and ta(e nae), and the +ad gu$?) not
gonna get u), "e?re +u##et.roo-, $ou de-inite#$ needed e*er$+od$ in the correct
ind)et and in the gae% /uch i) true "ith ).ort) a) "e## % % % $ou get the
adrena#in -ired u. and e*er$+od$?) high#$ oti*ated and high#$ -ocu)ed%

Whi#e #i)tening to an iPod through ear.hone) i) a coon ritua# -or )o#dier) atte.ting
to get 3in the correct ind)et,4 iPod) are o-ten :ac(ed into +a)e PA )$)te) or
+oo+o<e) )o that a grou. can #i)ten to a coon +att#e .#a$#i)t "hi#e the$ are chec(ing
their "ea.on) and #oading u. their *ehic#e)% The)e grou. #i)tening e<.erience) rati-$ and
)onica##$ rei-$ the grou.?) )en)e o- co##ecti*e identit$ =Gi#an, -orthcoing>, "hi#e
)$nchroni8ing their ood) and o*eent) in a "a$ not di))ii#ar to the Fordi)t idea# o-
u)ica##$6coordinated -actor$ "or(er)% At tie), ho"e*er, the +oundarie) +et"een
.ri*ate and .u+#ic #i)tening +ecoe +#urred in an auditor$ -og o- ear+ud) and ).ea(er)%
3Te-#on Don,4 an Ar$ engineer a))igned the dangerou) ta)( o- c#earing Ira!i road) o-
#i*e IED) re#ate) one )uch e<.erience in a .o)t on hi) a"ard6"inning i#+#og, 3Acute
Po#itic)4:
ItE) genera##$ a+out 0 hour) +e-ore a i))ion "hen the u)ic )tart)% ThereE) a #ot
o- "a$) that gu$) here .u. the)e#*e) u. to get read$ -or a i))ion% 'oe get
ad6 ad at the Ira!i), ad at the Ar$ -or L)cre"ingL the, ad at "hate*er
a(e) the read$ -or "hate*er ight +e out there% 'oe gu$) +ecoe *er$ !uiet
and -ocu) on a(ing )ure that a## o- their gear i) in e<act#$ the right .#ace)% 'oe
.er-or .re6i))ion ritua#) that the$ ha*e e)ta+#i)hed o*er the #a)t -e" onth) in
theater% /o)t o- the gu$), though, .#a$ u)ic%
ThereE) a #itt#e +it o- e*er$thing -#oating through the air% 'oe +and) are -a*orite)
-or their hardcore, o-ten angr$ #$ric): Do.e, /eta##ica, Dro"ning Poo#, Rage
Again)t the /achine =ironica##$ enough>, and )o -orth% ThereE) countr$ u)ic
going )oe"here in the +ac(% The LT i) o-- #i)tening to )oe c#a))ic roc(6
ACDC, or a$+e Gun)MRo)e)% Light roc( -or) a e#odic counter.oint to the
+a)) o- the hea*ier u)ic: Nic(e# Cree(, Kac( Kohn)on and IronMWine% In $
o"n ear) itE) Pro:ect J@:
,igh noon cometh- not a moment too soon
There.s gonna +e a !ire!ight tonight
A reckoning to con!ront the residents o! this tom+
A gun/owder /art and it !eels 0ust right
'oe )o#dier) de)cri+e the e<.erience o- #i)tening to u)ic during i))ion .re. a) +eing
a(in to inge)ting a.hetaine)% ;ut in addition to !uic(ening the .u#)e, u)ic i) u)ed to
I
e<ert a ea)ure o- contro# in a terri-$ing )ituation% When the$ cran( the *o#ue, the$
e<ert contro# o*er noi)e in an en*ironent "here an$ noi)e) are un.redicta+#e and
connected to death% When the$ choo)e the right +eat -or the oent, the$ e<ert contro#
o*er rh$th in an en*ironent "here coordination, de<terit$, and tiing are e))entia# -or
)ur*i*a#% When the$ outh the #$ric), the$ e<ert contro# o*er narrati*e to regu#ari8e their
-ee#ing) a+out the iediate .ro).ect o- (i##ing, and o- +eing (i##ed: in the "ord) o-
Co#+$ ;u88e##, an author "ho )er*ed a) an in-antr$an in a 'tr$(er ;rigade Co+at
Tea in Ira!, 3'oetie) % % % $ou?re #i(e, NI don?t "ant to .#a$ )o#dier toda$?% ;ut then
$ou hear NThe Good, the ;ad and the Ug#$? thee )ong and $ou?re #i(e NFuc( $eah, he##
$eah, I?## go out on a i))ion toda$%4
The )o#dier .ic() the )ong, the )ong nora#i8e) an a+nora# -uture, and the
techno#og$ di)a..ear) aid)t the i##u)ion o- .ure, unediated ie)i)9or +etter,
di*ination: There1s gonna +e a !ire!ight tonight.
$uilding the $attle &lalist
The range o- u)ic -ound on )o#dier)? +att#e .#a$#i)t) i) )ur.ri)ing#$ +road
=Gi#an 011I>, +ut the genre) o- eta#, hard roc(, and ra. are, a) one ight .redict gi*en
the deogra.hic) and )tereot$.ica# character .ro-i#e o- the U' i#itar$, *er$ "e##
re.re)ented%
&@
Whi#e I a not .riari#$ concerned "ith u)ica# ta)te) here +ut rather
"ith the techno#ogica# ean) o- u)ic de#i*er$, e<aining one )uch .#a$#i)t "i## +e
u)e-u# -or under)tanding ho" the iPod ha) dee.ened and +roadened the di)cogra.hie) that
)o#dier) dra" u.on% In Kune 011C ;u88e##, an ear#$ iPod u)er =he de.#o$ed in No*e+er
0112 "ith an iPod, and u.#oaded the CD) o- an$ o- hi) -e##o" )o#dier) onto it "hen he
arri*ed in Ira!> .u+#i)hed hi) .er)ona# iPod 3'oundtrac( to 5io#ance4 O)icP on hi) +#og,
3/$ War: ,i##ing Tie in Ira!4
&D
:
6,i## The Poor B Dead ,enned$)
6GouEre No+od$ Ti## 'oe+od$ Lo*e) Gou B Dean /artin
6An$thing and e*er$thing +$ 'LAGER
6'tuc( In The /idd#e With Gou B 'tea#er) Whee#
6What A Wonder-u# Wor#d B Loui) Ar)trong
6'.ea( Eng#i)h Or Die B '%O%D%
6;o+) O*er ;aghdad B Outca)t
6Thee 'ong -ro The Good The ;ad And The Ug#$
6I.eria# /arch -ro 'tar War)
6,i## E A## B /eta##ica
6Let) 'tart A War, Ar$ Li-e, and ;#o"n To ;it) B The E<.#oited
6'tar) and 'tri.e) Fore*er
6We#coe To The Kung#e B Gun) And Ro)e)
6Ride o- the 5a#($rie) B Wagner
6Paint It ;#ac( B Ro##ing 'tone)
6Die Die Die /$ Dar#ing B /i)-it)
6Gi*e Peace A Chance B Kohn Lennon
6'hin$ Ha..$ Peo.#e B RE/
6'ho" No /erc$ B Cro6/ag)
6We Care A Lot B Faith No /ore
&1
6Danger Qone B ,enn$ Loggin) =To. Gun )ong>
6Countdo"n To E<tinction B /egadeth
6ItE) C#o++erinE Tie B 'ic( o- it a##
6Iron /an B ;#ac( 'a++ath
6I Don?t Care A+out Gou B FEAR
6;#ood$ 'unda$ B U0
6Orange Cru)h B RE/
6Ne*er Gonna 'to. B Ro+ Qo+ie
6Won?t ;ac( Do"n B Kohnn$ Ca)h 5er)ion
6'ee( and De)tro$ B /eta##ica
What )torie) ight a .#a$#i)t #i(e thi) te## u)A Fir)t, that ironic di)tanciation "a) #i(e#$
one o- ;u88e##?) tactic) -or )ta$ing )ane during hi) tour o- dut$% =Ho" e#)e to e<.#ain the
inc#u)ion o- 3Gou?re No+od$ Ti## 'oe+od$ Lo*e) Gou,4 3Gi*e Peace a Chance,4 or
3'hin$ Ha..$ Peo.#e,4 on a +att#e .#a$#i)tA> Li)tening ore c#o)e#$, "e can di)cern a
-air#$ co.#e< dia#ectica# ten)ion +et"een #ogo) =in the -or o- )ong te<t)> and
.er-orati*e e#eent) )uch a) .ro)od$, ti+re, in)truentation, and accent in an$ o-
the )ong) on thi) #i)t% On the one hand, de).ite the argua+#$ .o"er-u# anti6"ar thee o-
3Iron /an?)4 #$ric), it) cru)hing .o"er chord) can +e under)tood a) e*ocati*e o- the
*io#ent )ound) o- "ar, and there-ore a..ro.riate9one thin() here o- the #ine re.eated +$
)e*era# o- the )o#dier) inter*ie"ed in George Gittoe)?) (oundtrack to War- nae#$: 3War
is hea*$ eta#R4
&J
At the )ae tie, ;u88e##?) .#a$#i)t i) rear(a+#e -or the degree to
"hich )ong #$ric), inde.endent#$ o- their u)ica# de#i*er$, re-erence e<.erience),
eotion), and ideo#ogie) that are ea)i#$ a..ed onto the )tereot$.ed and high#$
*a#ori8ed ind)et o- the co+at )o#dier )er*ing in Ira!% =One a))ue), -or e<a.#e, that
it?) the +ruta# re)onance o- the #ine 3I "on?t S +ac( S do"n,4 ore than the #anguid
)truing o- Kohnn$ Ca)h?) rendition, that .ro.e##ed it onto thi) #i)t%> /ore o-ten, o-
cour)e, u)ica# and #$rica# aggre))ion are -u)ed together, a) in /egadeth?) 3Countdo"n
to E<tinction,4 /eta##ica?) 3,i## Ne A##,4 or Out(a)t?) 3;o+) O*er ;aghdad%4
/o)t i.ortant -or the current di)cu))ion, ho"e*er, i) thi): ;u88e##?) 3'oundtrac(
to 5io#ance4 i) the (ind o- "i#d, genre6de-$ing -e*er6drea o- a .#a$#i)t that "ou#d ha*e
+een e<ceeding#$ di--icu#t to .ut together in a "ar 8one "ithout the he#. o- an iPod%
;u88e## did not co.i#e hi) #i)t +$ co+ing through the u)ic he had a*ai#a+#e in hi)
o"n CD co##ection .rior to de.#o$ent, +ut rather +$ co+ing through hi) eor$ -or
)ong) that re)onated "ith hi) un-o#ding e<.erience% 'oe o- the)e )ong) cou#d +e -ound
aong the IC0 hour) o- u)ic that he had u.#oaded onto hi) iPod -ro -riend) and
ac!uaintance)% Other), at #ea)t theoretica##$, cou#d +e ac!uired on#ine% =It )hou#d +e noted,
ho"e*er, that an$ For"ard O.erating ;a)e) #ac( re#ia+#e +road+and acce)), and
i#itar$ -ire"a##) a(e do"n#oading di--icu#t%> The atoi8ation o- u)ic con)u.tion
that iTune) and )ii#ar on#ine u)ic .#at-or) ena+#e ha) +een accu)ed o- (i##ing the
a#+u, +ut it ha) .roduced an a+)o#ute renai))ance o- the i< ta.e% The .#a$#i)t) o-
)o#dier) in the -ie#d re-#ect the increa)ed autono$ that )o#dier) in thi) con-#ict ha*e to
de)ign their o"n )onic en*ironent), and thi) autono$ i) in .art the .roduct o- the
)$nerg$ o- techno#og$ and coerce that A..#e and )ii#ar cor.oration) ha*e
engendered%
&&
i&od )se 2uring Com+at
iPod u)e -or i#itar$ .er)onne# in Ira! i) )u+:ect to a +e"i#dering nu+er o-
occa)iona##$ contradictor$ regu#ation)7 )oe are created +$ +a)e coander) and
aount to in6hou)e ru#e) -or a +a)e, "hi#e other) are ore )"ee.ing% Ar$ Regu#ation
@D16&, 3Wear and A..earance o- Uni-or) and In)ignia4 ha) +een cited +$ )oe
coander) a) .rohi+iting the u)e o- o+i#e u)ic de*ice) +$ oi))ion: a) there i) no
ention o- the "ithin the .re)cri.tion) -or dre)), co+at, or .h$)ica# -itne)) uni-or),
it "ou#d )ee there i) no .#ace -or a )o#dier to carr$ an iPod, un#e)) =a) "e )ha## )ee #ater
in thi) e))a$> 3the coander i))ue) and re!uire) the u)e o- % % % e#ectronic de*ice) in the
.er-orance o- dutie)%4
&I
Ho"e*er, a eorandu "ritten -or the /u#ti6Nationa# Force)
in Ira! in 'e.te+er 011J ention) iPod) ).eci-ica##$:
An$ entertainent de*ice that re!uire) ear.iece) or head.hone) "i## not +e "orn
"hi#e conducting outdoor .h$)ica# training or "hen "a#(ing, riding, +ic$c#ing or
o.erating a otori8ed *ehic#e% Additiona##$, entertainent de*ice) o- an$ t$.e
"i## not +e u)ed at an$ tie "hi#e )er*ing a) a cre" e+er in an$ *ehic#e or
aircra-t% Ear.iece)Bhead.hone)BiPod)B/P2 .#a$er) "i## not +e "orn enroute to or
-ro the g$%
The)e in:unction) not"ith)tanding, iPod) ha*e +een u)ed during i))ion) )ince their -ir)t
a..earance in Ira!, a#though not a) -re!uent#$, it "ou#d a..ear, a) the$ ha*e +een in the
hour) .receding and -o##o"ing i))ion)% I ha*e ).o(en "ith )e*era# )o#dier) "ho )aid
that, "hi#e the$ "ere a"are o- the .ractice o- #i)tening to u)ic during i))ion), the$ had
ne*er "itne))ed it .er)ona##$% An Ira!i ci*i#ian o+)er*er to#d e that in the -ir)t t"o6and6
a6ha#- $ear) o- the "ar9that i), +e-ore the in)urgent) +egan targeting )o#dier) on .atro#9
the )ight o- a HU//5EE in her ;aghdad neigh+orhood "a) regu#ar#$ acco.anied +$
the )ound o- #oud roc( u)ic eanating -ro it) ).ea(er)% One co.an$ coander
entioned that he tried to .rohi+it iPod) in hi) 'tr$(er arored .er)onne# carrier, +ut
aditted that hi) gunner "ou#d occa)iona##$ )nea( a )ing#e ear+ud underneath hi) noi)e6
cance#ing head.hone) a) he )canned the cit$)ca.e -or ho)ti#e action) on their route% ;$
contra)t, Richard Enge#, an N;C corre).ondent "ho ).ent )e*era# $ear) in Ira!, re.orted
that the .#atoon in "hich he "a) e+edded 3had % % % rigged an iPod into the 'tr$(er?)
co) )$)te% The$ #i)tened to the )ae ten )ong) e*er$ tie the$ ro##ed out on a
i))ion% The tenth )ong "a) N/$ Hu.)? +$ the ;#ac( E$ed Pea)% When it cae on,
the$ danced% NIt?) (ind o- #i(e a )!uad dance )ong,? one o- the )o#dier) )aid% NE*en the
dri*er dance) in hi) hatch% No" e*er$+od$ ha) got to dance +ecau)e e*er$one i) co.$ing
$ )!uad, +ut it?) a## right?%4
01
Te-#on Don c#aied that iPod u)e during i))ion) "a) coon in hi) co.an$:
We did o)t o- our o*eent in ine6re)i)tant truc(), "ith cre" )i8e ranging
-or & to @ .eo.#e, de.ending on the *ehic#e% E*er$ *ehic#e "e had .#a$ed u)ic
"hi#e on i))ion% In $ truc(, "e u)ed a )a## )et o- .orta+#e ).ea(er) .o"ered
+$ C AAA +atterie)% % % % One truc( in $ .#atoon u)ed intra*ehic#e
counication head)et) to ta#( to each other "hi#e on i))ion7 that )!uad "ired
an audio :ac( direct#$ into the *ehic#e?) counication )$)te )o that the$ cou#d
.#a$ their iPod o*er the head)et)% In a## ca)e), u)ic "a) .#a$ing on#$ "hen it
&0
didn?t inter-ere "ith i))ion% We under)tood u)ic to +e a .ri*i#ege9one that
cou#d +e #o)t i- "e a+u)ed it% /ore than that9"e hunted +o+), and "e u)ed
u)ic to )ta$ a"a(e and a#ert% When "e "ere cree.ing u. on a )u).ected +o+,
"e didn?t need an$ he#. )ta$ing a"a(e%
;$ a## account), di)ci.#inar$ action) -or u)ing iPod) in contra*ention o- i#itar$
regu#ation) ha*e +een rare% /o)t o- $ inter#ocutor) cou#d not reca## an$ .uni)hent)
+eing #e*ied -or iPod u)e during their de.#o$ent)% Te-#on Don (ne" o- one -e##o"
)o#dier "ho regu#ar#$ "ore hi) iPod ear+ud) underneath hi) radio head)et, and "ho
#i)tened to u)ic )o #oud#$ that he "a) una+#e to hear the radio% 3He ne*er -aced )eriou)
di)ci.#ine,4 Don )tated, 3+ut he did do a #ot o- .u)hu.) on a -e" )e.arate occa)ion)%4
I- the ru#e) re)tricting the u)e o- ear.hone) -or i#itar$ .er)onne# "ere not a#"a$)
rigorou)#$ en-orced, the ru#e) go*erning the +eha*ior o- ci*i#ian) in the con-#ict 8one
"ere e*en ore #a<% Nonethe#e)), it "ou#d a..ear that )oe o- the di.#oat), ci*i#
)er*ant), and contract e.#o$ee) "ho #i*ed and "or(ed in the )o6ca##ed Green Qone9the
&16)!uare6(i#oeter di)trict in centra# ;aghdad "here the Ira!i Interi Go*ernent and
o)t -oreign organi8ation) "ere +a)ed9!uic(#$ interna#i8ed the #ogic +ehind i#itar$
in:unction) re)tricting head.hone u)e% When the in)urgenc$ "a) at it) .ea(, in 011@ and
011D, and ortar attac() occurred ).oradica##$ throughout the da$ and night, the
re)ident) o- the Green Qone -e#t a) i- the$ "ere a#"a$) 3on i))ion%4 Thi) )ituation +red
caution aong )oe, and re)ignation aong other)%
Chri), a ci*i# )er*ant "ho "or(ed in the Green Qone +et"een 011@ and 011J,
#i)tened to hi) iPod e<c#u)i*e#$ through a ;o)e 'oundDoc( that he +rought "ith hi
-ro the 'tate)% When a)(ed i- he e*er u)ed ear.hone), he an)"ered: 3no, +ecau)e it
)eeed odd%4
I ean e*en though I "ou#d cran( the 'oundDoc(, I )ti## "anted to +e a+#e to
hear i- an$thing "a) going on out)ide% There?) )oething a+out .utting on the
head.hone), I didn?t "ant to +e that di)tant, i- that a(e) an$ )en)e% I )ti## "anted
that connection )o I cou#d hear i- an eergenc$ "a) ha..ening or i- )oeone "a)
ca##ing e or i- $ .hone "ou#d go o--% Putting the head.hone) on "a) :u)t a
#itt#e +it too c#o)ed -or e%
Here, the )en)ation o- +eing c#o)ed o-- -ro the a+ient "or#d i) .re)ented a) inherent#$
dangerou), a) )oething to +e a*oided% Gi*en the nu+er o- ortar attac() *i)ited u.on
the Green Qone in the .eriod he "a) there, the need -or aura# acuit$ "a) *er$ rea#%
0&
Other
indi*idua#) )ought out that *er$ )en)ation o- reo*a# -ro the "or#d, in ).ite o- the -act
that to do )o increa)ed the ri)( that the$ ight -ai# to hear the "arning a#ar that o-ten
.recede) a ortar or roc(et attac( +$ a -e" )econd)%
00
,e##$, another ci*i# )er*ant "ho
"or(ed in the Green Qone in 011@, tried to e<.#ain "h$ #i)tening to her iPod through
head.hone) "a) *a#ua+#e to her:
When I "ou#d go "or( out in the g$ I "ou#d a#"a$) "ear head.hone) +ecau)e I
cou#dn?t )tand % % % the u)ic that the$ "ou#d .#a$ in the g$% % % % That "a) the
one .oint "hen .eo.#e "ou#d ca## e )tu.id, that I "ou#d dro"n e*er$thing e#)e
out% And it "a) #i(e, i- I get hit right no", at #ea)t I? running% I don?t (no" ho"
&2
to de)cri+e it, it "a) .ro+a+#$ one o- tho)e9I needed that e)ca.e -or )oe )hort
.eriod o- tie and i- I didn?t hear the e<.#o)ion, )o +e it%
The )tateent) o- Te-#on Don, Chri), and ,e##$ e+od$ three di)tinct attitude) to"ard
the co)t) and +ene-it) o- iPod u)e in con-#ict 8one)% ,e##$?) arguent9that her iPod
ear+ud) 3dro"n e*er$thing e#)e out,4 -u##$ c#o)ing out the a+ient "or#d in order to
.ro*ide a needed )en)e o- 3e)ca.e49re)onate) "ith /ichae# ;u##?) .re)entation o- the
iPod a) a 3.ri*ati8ed auditor$ +u++#e4 =011F:2CC, )ee a#)o 011D>% ;u## contend) that .2
.#a$er) a##o" their u)er) to create an indi*idua#i8ed 3auditor$ "or#d4 that +oth
e<e.#i-ie) and -eed) the de)ire) o- #i)tening )u+:ect) to reo*e the)e#*e) -ro the
caco.hon$ o- ur+an ).ace) and enter ediati8ed 3non6).ace)4 =011D:F, c-% Auge &IIF>,
c#o)ed auditor$ "or#d) that circu)cri+e "hat Da*id ;eer ha) ca##ed 3a uto.ian 8one o-
e<c#u)ion4 =011D:JFD>% ,e##$, a#ong "ith a great nu+er o- i#itar$ iPod u)er), u)e) her
iPod to create a )a## i)#and o- =)onic> )anit$ aid)t a )ea o- =)onic> *io#ence% Chri)?)
te)tion$ )ii#ar#$ -oreground) the i)o#ating nature o- the iPod, +ut he -rae) it a) a
di)tinct#$ d$)to.ian, rather than #i+erating, .henoenon% For hi, a#ong "ith a great
nu+er o- i#itar$ and ci*i#ian .er)onne# in Ira!, the .otentia# co)t) o- "earing
ear.hone) in an acti*e con-#ict 8one c#ear#$ out"eigh the +ene-it)% The)e t"o con-#icting
.o)ition) chart out the .)$cho#ogica# terrain u.on "hich indi*idua#) in "ar 8one) gra..#e
"ith one o- the o)t -undaenta# u)ico#ogica# !ue)tion): "hat, in the end, i) the *a#ue
o- u)ic, not in the a+)tract, +ut here and no", )ituated aid)t the rea# threat o- deathA I)
the )o#ace u)ic .ro*ide) "orth the reduction o- one?) odd) o- )ur*i*a#A The dangerou)
en*ironent o- O.eration Ira!i Freedo .re)ent) it) .artici.ant) "ith $riad
o..ortunitie) to ca#i+rate and re6ca#i+rate their an)"er) to the)e !ue)tion)%
In contra)t, Te-#on Don?) ear#ier a))ertion9that the iPod can +e u)ed in certain
)ituation) to (ee. one -ocu)ed on one?) )urrounding)9re-u)e) to .#ace u)ic and
)ur*i*a# in an o..o)itiona# re#ation7 rather than en*e#o.ing hi in a e)eri8ing )onic
+u++#e, or he#.ing hi 3tune out4 the a+ient "or#d =;eer 011D>, the iPod?) u)ic ="ith
or "ithout an ear+ud> he#.ed Don and hi) -e##o" )o#dier) )ta$ 3tuned in4 to the i))ion at
hand%
02
In )ituation) "here *i)ua# acuit$ i) crucia#9and 3cree.ing u. on )u).ected
+o+)4 i) one )uch )ituation9u)ic can +e u)ed to (ee. the e$e, and the ind, )har.%
For )o#dier) #i(e Te-#on Don, the ca#cu#u) o- iPod u)e u)t ta(e the -u## )en)oriu into
account, a) the *a#ue o- )u)taining a heightened )tate o- )en)or$ a"arene)) and enta#
a#ertne)) i) "eighed again)t the co)t o- u--#ing the )ound) o- the a+ient "or#d%
In addition to the e--ect that iPod u)e ha) on auditor$ .erce.tion, there a$ +e
other, hidden co)t) to #i)tening to u)ic "hi#e on i))ion% According to ore than one
)ource -ai#iar "ith "artie #i-e in ;aghdad, hoeade *ideo) o- Aerican )o#dier)
and, ore o-ten, ;#ac("ater contractor) engaging in gun +att#e) "ith u)ic +#aring -ro
their *ehic#e ).ea(er), or "ith the uni)ta(a+#e "hite cord) eerging -ro under their
he#et), are "ide#$ a*ai#a+#e, +oth on the internet and in the -or o- D5D) )o#d at #oca#
ar(et)% Whi#e it i) i.o))i+#e to !uanti-$ their i.act, it i) c#ear that the)e *ideo) are
ar(eted to -ue# the in)urgenc$ +$ .ortra$ing the U' i#itar$ a) a grou. o- ca##ou),
aora# (i##er) "ho ha*e ae)thetici8ed *io#ence to the .oint "here the$ need a )oundtrac(
in order to (i##% A co.#ete ta##$ o- the co)t) and +ene-it) o- iPod u)e in co+at "ou#d
need to ta(e the iPod?) *a#ue "ithin anti6U' .ro.aganda ca.aign) into account%
&C
i&od )se A!ter Com+at
Whi#e the to.ic o- iPod u)e during co+at )ituation) i), under)tanda+#$, a )ource
o- a+i*a#ence -or an$ )o#dier), there i) uch #e)) e!ui*ocation a+out the iPod?) *a#ue
once the i))ion i) co.#eted or the attac( ha) +een "eathered% Co.#eenting the
+att#e .#a$#i)t) di)cu))ed a+o*e, i#itar$ iPod u)er) create another )et o- .#a$#i)t)
de)igned to he#. the 3coo# do"n4 a-ter a )tre))-u# da$ ).ent out)ide the "ire% U.on
returning to their +a)e -ro a i))ion, it i) e<tree#$ coon -or )o#dier) to #i)ten to
u)ic on iPod), either indi*idua##$ "ith head.hone) or co##ecti*e#$ o*er PA )$)te)% On
the)e #i)t) one encounter) a "ide *ariet$ o- u)ic, -ro To. C1 to the )ong) o- En$a,
-ro ;ach?) Go#d+erg 5ariation) to )ooth :a88 co.o)ition), -ro ;i##ie Ho#ida$ to
Chri)tian Conte.orar$ u)ic% Gi#an =-orthcoing> and Pie)#a( =011I> ha*e
docuented the +readth o- u)ica# ta)te) re.re)ented +$ the)e and other i#itar$
.#a$#i)t)%
An Air Force a:or "ho coanded a con)truction cre" that re.aired road)
daaged +$ IED e<.#o)ion) de)cri+ed the "a$ that he and hi) en "ou#d #i)ten to u)ic
a-ter i))ion):
I "anna )a$ that a #ot o- tie) "e?d coe +ac( and again it "a) the
deo+i#i8ation .ha)e % % % and a #ot o- tie) the gu$) "ou#d turn on ore o- the
to. -ort$ radio .#a$#i)t, "hate*er "a) .o.u#ar and coon% % % it "a)n?t
)oething to .u. $ou u. cau)e, +$ thi) .oint, e*er$one?) coing do"n o-- the
t"o6hour adrena#in ru)h, and "e ade it +ac( )a-e#$, and no+od$ )hot at u), or
no+od$ hit u), or no+od$ got hurt, that "a) the +ig i.ortant .art to it, "hen
no+od$ got hurt, "e?d .#a$ thi) u)ic, and "e .redoinant#$ cho)e the to.6C1,
+ecau)e, I don?t "ant to )a$ it "a) +enign, +ut i- $ou .)$choana#$8e it it "a)
+ecau)e it "a) Aerican u)ic and it "a) "hat "e "ere co-orta+#e "ith and it
:u)t -it, it "a)n?t )ad, it "a)n?t o*er#$ ha..$, it "a) normal% And, $ou (no",
N)ituation nora#,? "e?re a## +ac( )a-e#$%
Not a## i))ion) ended thi) "a$, ho"e*er% During hi) tour o- dut$, a nu+er o- the en
)er*ing under the a:or "ere (i##ed% I- a i))ion re)u#ted in a ca)ua#t$, the airen turned
the u)ic o--: 3on tho)e .articu#ar i))ion) it "a) .rett$ uch dead )i#ence a## the "a$
hoe, and "e "ou#d u)ua##$ do"n#oad the truc() in )i#ence, and it "a) *er$ !uiet%4
Death and in:ur$ "ere ar(ed +$ a #ac( o- u)ic% 'ii#ar#$, #i)tening to u)ic )igni-ied
death?) a+)ence, or at #ea)t it) .a))age% Within a da$ or )o a-ter a death, "hi#e the
co.#icated .roce)) o- ourning continued, the u)ic6in-u)ed routine o- 3)ituation
nora#4 returned to the a:or?) co.an$%
Initia##$ )i#enced to coeorate a death, the iPod o-ten .#a$) a ro#e at i#itar$
-unera#)% A ca.tain "ho a#)o )er*ed a) a +ug#er at -unera#) de)cri+ed ho" a -a##en
)o#dier?) iPod cou#d +e ined -or hi) -a*orite tune) that "ou#d .#a$ a-ter the o--icia#
)er*ice conc#uded:
There?) (ind o- the 3each .er)on can coe u. and gi*e their re).ect)4 .ortion,
and that, the$ "ou#d, the$?d range -ro an hour to -i*e, )oetie) the gu$) :u)t
had to get it a## out right there% And the$?d .#a$ +ac(ground u)ic, "hich "a)
(ind o- )trange% 'oetie) it "ou#d +e Eine, +ecau)e that "a) that gu$?)
&F
-a*orite u)ic% Ku)t .#a$ing in the +ac(ground, +ut $ou (no" that?) not *er$
eoria# t$.e u)ic% A## the "a$ to :u)t RM;, /ar$ K ;#ige :u)t .#a$in? in the
+ac(ground% ;ut a## hi) +uddie), the$?re a## (nee#in? or :u)t )tanding there in
)i#ence and that he#.) the I gue)) dea# "ith it%
A) a techno#og$ o- )e#-6regu#ation in co+at )ituation), the iPod he#.) )o#dier) con*ince
the)e#*e) that the$ "i## +e e--ecti*e "arrior)% A) a techno#og$ o- ourning in -unera#
)ituation), it he#.) )ur*i*or) ree+er the -a##en and #aent their .a))ing% The iPod?)
*er)ati#it$, it) re#e*ance to +oth the .er-orance o- )tate6)anctioned *io#ent act) and the
e<.erience o- grie- in the "a(e o- *io#ent act), ha) +een one o- the de-ining
characteri)tic) o- it) u)e in the Ira! "ar%
III: /o*ing ;odie), Loo)ening Tongue), Ad:u)ting Cro))hair): iPod) a) Techno#ogie) o-
/ani.u#ation in Co+at
To reca. the ground co*ered thu) -ar, o*er the cour)e o- the "ar the iPod ha)
eerged a) a near#$ u+i!uitou) o+i#e entertainent de*ice -or i#itar$ and ci*i#ian
.er)onne# )er*ing in O.eration Ira!i Freedo% What )hou#d a#)o +e c#ear i) that, in the
e<tree en*ironent o- co+at, the iPod i) +eing de.#o$ed -or .ur.o)e) that e<tend
+e$ond con*entiona# de-inition) o- 3entertainent%4 The de*ice i) u)ed +$ troo.) to
attain the heightened eotiona# )tate o- co+at6readine))7 it i) u)ed to aintain -ocu)
during i))ion)7 it i) u)ed to reco*er -ro the .uni)hing ordea# o- co+at7 it i) u)ed to
eoria#i8e -a##en corade)7 it i) u)ed to aintain a connection "ith ci*i#ian #i-e% In the
ne<t )ection o- thi) e))a$, I "ant to o*e e*en -urther into the uncon*entiona# +$ +rie-#$
enuerating )e*era# o- the other u)e) to "hich the iPod i) +eing .ut in Ira!%
P)$cho#ogica# O.eration), or 3P'GOP',4 ha*e +een de-ined a) 3the .#anned u)e
o- counication) to in-#uence huan attitude) and +eha*ior % % % OThe$ con)i)t o-P
.o#itica#, i#itar$, and ideo#ogica# action) conducted to induce in target grou.) +eha*ior,
eotion), and attitude) that )u..ort the attainent o- nationa# o+:ecti*e)%4
0C
In Ira!,
P'GOP unit) ha*e engaged in acti*itie) that run the gaut -ro .ro*iding incenti*e)
de)igned to 3"in the heart) and ind)4 o- the .o.u#ace, to de.#o$ing di)incenti*e) that
+#ur the +oundar$ +et"een .)$cho#ogica# o.eration) and .uniti*e action)% The iPod ha)
+een uti#i8ed +oth a) a carrot and a )tic( on the)e i))ion)%
In Dece+er 011J, :ourna#i)t Nathan Hodge re.orted on a huanitarian aid
i))ion that too( .#ace in the trou+#ed ;aghdad neigh+orhood o- 'adr Cit$% A) hi) -e##o"
troo.) handed out ha#a# -ood to the re)ident), 'ta-- 'gt% ,ent Cranda## .#ugged an iPod
that he had #oaded "ith Ira!i .o. u)ic into an Ar$ P'GOP #oud).ea(er%
0F
The United
'tate) Agenc$ -or Internationa# De*e#o.ent =U'AID> ha) di)tri+uted thou)and) o- iPod
c#one) =ade +$ Q*o<> that .#a$ 3.re.ac(aged ci*ic e))age)4 in Ara+ic%
0@
In a +oo(
docuenting the -u## e<tent to "hich the A..#e cor.oration i) in*o#*ed "ith the
De.artent o- De-en)e, Nic( Tur)e ha) re.orted that the i#itar$ had +egun 3u)ing iPod)
in it) recruiting e--ort)9a) a #ure to get (id) to hand o*er .er)ona# in-oration% And the
Nationa# Guard +egan o--ering -ree iTune) u)ic do"n#oad), in e<change -or the )ae
t$.e o- in-oration, on it) We+ )ite%4 =@F CHEC,>
&@
Figure C: iPod connected to P'GOP ).ea(er)
0D
/ore di)tre))ing, argua+#$, are re.ort) -ro Ira! that detai# the u)e o- recorded
u)ic a) a too# -or cro"d di).er)a# and interrogation% In the ear#$ $ear) o- the "ar, -or
e<a.#e, iPod) "ere u)ed in con:unction "ith an acou)tic "ea.on, the Long Range
Acou)tic De*ice =LRAD>, to di).er)e #arge grou.) o- ho)ti#e ci*i#ian)%
0J
The de*ice,
de*e#o.ed +$ Aerican Techno#og$ Cor.oration, i) ca.a+#e o- .ro:ecting a 3high#$
directiona# +ea4 o- )ound at high *o#ue o*er great di)tance)% U)ed a) a +att#e-ie#d
counication de*ice, the #ate)t *er)ion o- the LRAD can +roadca)t an inte##igi+#e *oice
o*er t"o i#e) o- o.en terrain% ;ut the LRAD a#)o )er*e) a) a too# -or 3+eha*ior
odi-ication,4 in "hich an 3attention6getting and high#$ irritating deterrent tone4 can +e
aied at a huan target%
0I
A 'tr$(er coander -ai#iar "ith the LRAD de)cri+ed thi)
)ound a) ca.a+#e o- di)orienting it) target), .roducing headache) and acute
ga)trointe)tina# di)tre))9)o acute, that the$ du++ed it 3the .oo )ound%4 He e<.#ained
that, in addition to u)ing thi) .re6.rograed )ound, )o#dier) "ou#d :ac( their iPod) into
the LRAD, and +#a)t ACBDC and other #oud u)ic at grou.) o- Ira!i) "ho the$ "anted
to di).er)e% Thi), the coander e<.#ained, .ro*ided the dou+#e +ene-it o- in*igorating
the Aerican troo.) "hi#e )iu#taneou)#$ -ru)trating the Ira!i cro"d)%
21
LRAD) "ere
o)t -aou)#$ de.#o$ed in No*e+er 011C, "hen the 2@&
)t
P'GOP Co.an$ +#a)ted
u)ic inc#uding /eta##ica?) 3He##?) ;e##)4 and 3'hoot to Thri##4 in order to 3.re.are the
+att#e-ie#d4 during the )iege o- Fa##u:ah%
2&

O*er the .a)t three $ear), 'u8anne Cu)ic( ha) "ritten a co##ection o- .o"er-u#
and di)tur+ing artic#e) a+out the u)e o- u)ic a) a "ea.on on Ira!i +att#e-ie#d) and a) a
de*ice -or 3)o-tening u.4 detainee) .receding their interrogation%
20
The #atter .ractice ha)
&D
generated a great aount o- attention, +oth in the .o.u#ar .re)) and "ithin
=ethno>u)ico#ogica# circ#e)%
22
A "ide#$6u)ed techni!ue "ithin interrogation) conducted
+$ the i#itar$ and U' inte##igence )er*ice), 3the u)ic .rogra4 or 3#oud u)ic4
techni!ue ha) +een a##eged in )oe in)tance) to .re)cri+e that detainee) +e 3chained to
"a##), de.ri*ed o- -ood and drin(ing "ater, and (e.t in tota# dar(ne)) "ith #oud ra. or
hea*$ eta# +#aring -or "ee() at a tie%4
2C
Whi#e Cu)ic(?) "or( genera##$ doe) not -ocu)
on the techno#ogica# ean) +$ "hich u)ic "a) de#i*ered in the)e conte<t), )he doe)
)ing#e out the iPod a) +eing i.#icated in the i#itar$?) a..ro.riation o- 3.ri*ate4
u)ica# e<.erience in )er*ice o- *io#ent 3.u+#ic4 u)ica# .ro:ect)%
/.2 .#a$er) -ocu) the radica# .ri*ati)ation o- Nu)ic? that "e ha*e coe )o to
cheri)h right do"n to the ear), into the ear), in)ide the ear)% % % % It i) the)e *er$
techno#ogie) o- u)ica# .ri*ati)ation that ha*e ena+#ed our e<tree#$ -#e<i+#e
ca.acit$ to u)e the a.#i-ied )ound o- an$ )o#dier?) .2 .#a$er, "ired through
.o"er-u# ).ea(er), again)t indi*idua# .ri)oner)? "ho#e +odie) T not :u)t their ear)%
'uch a.#i-ied )ound) .ro:ect an in*i)i+#e .re)ence that irre)i)ti+#$ occu.ie) a
).ace T a threatening )hi. at )ea, a cit$ #i(e Fa##u:ah +e-ore the No*e+er 011C
a))au#t, a .ri)on?) ho#ding ce##) T +e-ore the in*ading troo.) ro## in% The
)u.er)tate u)e) a.#i-ied )ound -ro an$ )o#dier?) .ri*ate iPod to occu.$
eneie)? thought), or era)e tho)e thought), and thu) to den$ eneie) the right to
.ri*ac$% To )i#ence the ca.acit$ -or inte##igi+#e ).eech7 to -orec#o)e the .o))i+i#it$
o- either )i#ent or ).o(en .ra$er, or o- )o#idarit$ "ith other)7 and $et to a(e
.ri)oner) #ong -or acce)) to ).eech T -or the a+i#it$ to contri+ute to the acou)tica#
en*ironent o*er "hich the$ ha*e had, -or )o #ong, no contro#, "ith the
.re)ua+#$ truth-u# re*e#ation) o- co.u#)i*e ta#(%
2F

The iPod i) thu) i.#icated in "artie net"or() that ha*e )tri..ed the ae)thetic
dien)ion -ro u)ic a#together, re.#acing it "ith o)t +ruta# -or o- .o#itic)% Thi)
ena+#ing ro#e that iPod) ha*e .#a$ed in interrogation and +att#e-ie#d o.eration) ha) #arge#$
e)ca.ed the attention o- )cho#ar) o- u)ic techno#og$% =/ichae# ;u##?) 011D onogra.h,
(ound #o3es: i&od Culture and )r+an 4%/erience- and Da*id ;eer?) 011D in*e)tigation
o- .2 .#a$er) in the 3ur+an i)e6en6)cene4 a(e no ention o- the *io#ent u)e) to
"hich iPod) ha*e +een .ut in "ar-are, -or e<a.#e%> ;ut i- the "artie iPod ha) .ro*en
to +e a )#i..er$ target -or )cho#ar) "ho )tud$ the iPod a) a u)ic6de#i*er$ de*ice, it ha)
recent#$ e<.anded +e$ond the +ound) o- 3the u)ica#4 a#together, into )trange territor$
that render) the con*entiona# #a+e#) o- 3o+i#e u)ic .#a$er4 or e*en 3o+i#e
entertainent de*ice4 "ho##$ inade!uate%
A) the "ar .rogre))ed, the iPod e*o#*ed, +ecoing )a##er and ore *er)ati#e
"ith each generationa# re#ea)e% And a) the iPod e*o#*ed, the i#itar$?) re#ation)hi. "ith
thi) techno#og$ dee.ened% In an era o- 3net"or( centric "ar-are,4 the iPod i) eerging a)
the .re-erred u#ti.ur.o)e digita# de*ice -or the U' i#itar$% Re#ati*e#$ rugged,
ine<.en)i*e, di--icu#t to hac(, and "ith an intuiti*e inter-ace that the troo.) ha*e a#read$
a)tered, an increa)ing nu+er o- iPod) are +eing i))ued to )o#dier)% The -ora#
i#itari8ation o- the iPod can +e traced +ac( to 011D, "hen F#orida6+a)ed )o-t"are
co.an$ 5Co2D un*ei#ed an iPod6+a)ed one6"a$ tran)#ation .#at-or ).eci-ica##$
de)igned -or O.eration Ira!i Freedo% The .rogra, ca##ed 5Counicator /o+i#e,
&J
u)ed the iPod?) 3.#a$#i)t4 architecture to organi8e a #arge nu+er o- utterance) that
)o#dier) indicated the$ "ou#d #i(e to +e a+#e to de#i*er to Ira!i) in the -ie#d%
3Con*er)ation)4 are grou.ed +$ .ur.o)e: 3"inning heart) and ind)47 3cordon and
)earch47 3inte# gathering47 3detainee .roce))ing47 3a))e))ing need) o- ho).ita#)47 3raid%4
;$ c#ic(ing on the .#a$#i)t 3*ehic#e chec(.oint,4 -or e<a.#e, a )o#dier anning a
chec(.oint can )cro## through a #i)t o- )tateent) and !ue)tion) de)igned to e#icit one6
"ord 3$e) or no4 an)"er):
=1&> Peace +e u.on $ou% =Greeting>
=10> We need to )earch $our *ehic#e%
=12> 'to. $our *ehic#e%
=1C> Turn o-- the car%
=1F> O.en the door%
=1@> 'tand o*er there%
=1D> P#ea)e turn o-- the #ight)%
=1J> P#ea)e get out o- the car%
=1I> Do $ou ).ea( Eng#i)hA
=&1> /a$ I )ee $our I%D%A
=&&> Are $ou a .o#ice anA
=&0> What i) $our naeA
=&2> Are $ou carr$ing "ea.on)A
=&C> Rai)e $our hand)%
=&F> P#ea)e o.en the trun(%
=&@> O.en the hood%
=&D> We are going to )earch $our *ehic#e%
=&J> Gou a$ get +ac( in $our car no"%
=&I> Entr$ i) .rohi+ited% Go +ac(%
C#ic(ing on a )entence trigger) an audio recording o- it) tran)#ation into Ira!i Ara+ic or
,urdi)h, "ith a .honetic tran)#iteration on the )creen% Another c#ic( di).#a$) an iage o-
the )entence "ritten in Ara+ic7 a third c#ic( .roduce) a uni-ored aniated a*atar, "ho
).ea() the )entence "hi#e deon)trating 3cu#tura##$ a..ro.riate hand ge)ture)%4 The iPod
can +e connected to a ega.hone, )o that the Ara+ic *oice can +e +roadca)t at a di)tance%
The )econd generation o- the .rogra run) on an iPod nano, "hich can +e )tra..ed to the
)o#dier?) "ri)t, )o that he can (ee. +oth hand) -ree "hi#e con)u#ting the tran)#iteration o-
the )entence he "i)he) to utter%
&I
Figure F: 5Counicator /o+i#e .rootiona# .hoto%
;$ 011I, UUU iPod) "ith 5Counicator /o+i#e )o-t"are had +een di)tri+uted to
)o#dier) in Ira!% A) o- thi) "riting, )o#dier) "ith the &1
th
/ountain Di*i)ion and the C
th

In-antr$ Di*i)ion "ere u)ing the de*ice% When .urcha)ed "ith authoring )o-t"are, ne"
)entence) can +e added in the -ie#d, increa)ing the -#e<i+i#it$ o- the one6"a$ tran)#ation
.rogra% In order to cater to troo.) )er*ing in A-ghani)tan, the .rogra i) a#)o de)igned
to tran)#ate into Pa)hto and Dari, and 5Co de)igner) are read$ing ne" *er)ion) that
.ro*ide tran)#ation) into other #anguage) o- )trategic )igni-icance%
The uti#it$ o- the iPod -or the U' i#itar$ increa)ed e*en ore "ith the re#ea)e o-
the "i-i6ena+#ed iPod Touch in the -a## o- 011D% In a .iece "ritten -or Newsweek-
;en:ain 'uther#and c#ai) that the Touch 3-u#-i##) the i#itar$?) need to e!ui. )o#dier)
"ith a )ing#e de*ice that can .er-or an$ di--erent ta)()%4 He continue):
A) the e#egant#$ )i.#e iPod)9o-ten contro##ed "ith a )ing#e thu+9ac!uire
ore -unctiona#it$, )o#dier) can )hed other gadget)% An iPod 3a$ +e a## that the$
need,4 )a$) Lt% Co#% Ki Ro)), director o- the Ar$?) inte##igence, e#ectronic
"ar-are and )en)or) o.eration) in Fort /onouth, Ne" Ker)e$% The iPod i)n?t the
on#$ u#ti-unction handhe#d on the ar(et, +ut aong )o#dier) it?) the o)t
.o.u#ar% 'ince o)t recruit) ha*e u)ed one9and an$ a#read$ o"n one9it?) that
uch ea)ier to train the to .re.are and u.#oad ne" content% U)er) can add
.hra)e) to #anguage )o-t"are, annotate a.) and #in( te<t or *oice recording) to
.hoto) =3Ha*e $ou )een thi) anA4>% A..#e de*ice) a(e it ea)$ to )hoot, )tore
01
and .#a$ *ideo% Con)ider the i.act o- )ho"ing *i##ager) a *ideo e))age o- a
re#a<ed and re).ected #oca# #eader encouraging the to he#. root out in)urgent)%
The a.otheo)i) o- the i#itari8ed iPod "a) reached in 011U, "ith the de*e#o.ent
o- ;u##etF#ight6/, a i#itar$6grade +a##i)tic) ca#cu#ator a..#ication -or the iPod Touch%
A-ter do"n#oading the ;u##etF#ight a.. =the i#itar$ *er)ion can +e .urcha)ed at the iPod
A.. 'tore -or V0I%II7 the +a)ic *er)ion co)t) V2%II>, )hooter) in.ut *aria+#e) )uch a) the
"ea.on +eing u)ed, the ang#e to the target =3a) ea)ured +$ the +ui#t6in acce#eroeter4>,
and ato).heric condition) )uch a) te.erature, +aroetric .re))ure, huidit$, "ind
).eed, and "ind direction% The a.. then in)tantaneou)#$ .roduce) a read6out that te##) the
)hooter ho" an$ c#ic() )Bhe need) to change the )co.e -or a true )hot under tho)e
condition)% ;u##etF#ight autoatica##$ -igure) in ore )u+t#e and e)oteric *aria+#e) )uch
a) 3+u##et ).in dri-t4 and the Corio#i) e--ect =.roduced +$ the Earth?) rotation>% C#a.ed
to a )ni.er ri-#e or he#d +$ a ).otter, the iPod i) current#$ ena+#ing .reci)ion )hot) u. to
2111 eter) -or an un(no"n nu+er o- i#itar$ .er)onne# de.#o$ed to Ira! and
A-ghani)tan%
Figure @: ;u##etF#ight .rootiona# .hoto%
The #ogic o- di)tri+uted co.etence) that )tructure) the iTune) a.. )tore9in "hich
an$one can create an a.. and ar(et it on the iTune) "e+)ite OCHEC,P9ena+#e) the
iPod to +e re6iagined a) a ro+u)t in)truent -or i#itar$ u)e "ithout the acti*e
co##a+oration o- A..#e and the i#itar$% It i) "orth noting, though, that co##a+oration
e<i)t) on other -ront): iPod) are )o#d in i#itar$ PW) around the "or#d, A..#e co.uter)
are +eing u)ed to direct unanned +o+ing run), and a) o- 011U, A..#e had
)ecuredUUUUU contract) "ith the De.artent o- De-en)e%
2@

I5: Conc#uding thought)
What can +e )aid, in conc#u)ion, a+out the ro#e that the iPod ha) .#a$ed in
0&
O.eration Ira!i FreedoA Ho" can one +egin to a))e)) it) i.act "ithin the U'
i#itar$?) e*o#*ing auditor$ regieA It i) c#ear that the ad*ent o- the iPod ha) ena+#ed
indi*idua#) to de.#o$ u)ic, in a## it) ercuria# inten)it$, to"ard an a)toni)hing#$ "ide
range o- ai)% /o)t -undaenta##$, -or an$ o- the i#itar$ .er)onne# "ho ha*e ).o(en
to e =and to Li)a Gi#an, and to Konathan Pie)#a(, and to a gro"ing nu+er o-
:ourna#i)t)>, the iPod "a) a cheri)hed in)truent that he#.ed the get through a tough
de.#o$ent% A) "e ta(e )toc( o- the iPod, it i) i.ortant to ta(e )eriou)#$ the *a#ue that
indi*idua# )o#dier) .#ace u.on thi) techno#og$, and the )o#ace the$ deri*e -ro the u)ic
it de#i*er)% It i) a#)o i.ortant to ac(no"#edge that the iPod i) no #onger ere#$, or e*en
.riari#$, an audio =or e*en audio6*i)ua#> de*ice, +ut rather a -u##6).ectru inter-ace -or
an increa)ing nu+er o- the ta)() a))ociated "ith the con-#ict% A) )uch, and a) I ho.e to
ha*e deon)trated, the iPod ha) rendered a ne" -ie#d o- .o))i+i#itie) thin(a+#e, )en)i+#e,
de)ira+#e, and ar(eta+#e% At the )ae tie, the introduction o- the iPod ha) curtai#ed
other .o))i+i#itie), and o.ened u. ne" danger), three o- "hich I "i## reca.itu#ate here%
Fir)t, )o#dier) "ith iPod) in their ear) ha*e cho)en to c#o)e out, at #ea)t .artia##$,
the a+ient "or#d% In a .eacetie, ci*i#ian conte<t, /ichae# ;u## ha) .re)ented o+i#e
audio techno#og$?) a+i#it$ to -aci#itate thi) (ind o- auditor$ 3di)engageent4 a) one o- it)
.o)iti*e attri+ute)%
2D
;ruce Kohn)on and /artin C#oonan ha*e re).onded that the$ -ai# to
)ee 3ho" di)engageent -ro the )ocia# rea#it$ that )ha.e) u) i) a -or o-
e.o"erent%4
2J
In a 3)ocia# rea#it$4 "here a+ient )ound) are direct#$ connected to,
and o-ten coterinou) "ith, dead#$ .ro:ecti#e), the .re)ence o- a rugged, .orta+#e de*ice
that ea)i#$ .ro:ect) u)ic direct#$ into the ear can re.re)ent, not a i))ed o..ortunit$ -or
e.o"erent, +ut an e<i)tentia# #ia+i#it$% ='oe )o#dier) in the -ie#d, a"are o- the danger
o- c#o)ing out the a+ient "or#d a#together, choo)e to "a#( around "ith a )ing#e ear+ud
in)erted in one ear%> No .u+#ic#$ a*ai#a+#e )tati)tic) e<i)t -or co+at in:urie) or -ata#itie)
that ha*e +een #in(ed to iPod u)e, +ut the .re)ence o- i#itar$ regu#ation) .rohi+iting
iPod) in i#itar$ *ehic#e), a#ong "ith anecdota# e*idence .ro*ided +$ )o#dier), "ou#d
)ee to indicate that, at a iniu, the i#itar$ )ee) the .ro#i-eration o- iPod) a) a cau)e
-or concern%
'econd, +$ rendering an enorou) cata#og o- u)ic einent#$ .orta+#e and
a##ea+#e, the iPod in Ira! ha) increa)ed the a+i#it$ o- )o#dier) to #i)ten to u)ic during
co+at o.eration)% It "ou#d a..ear that thi) -u)ion o- u)ic and co+at, )o *i*id#$
docuented in the .ro.aganda D5D) )o#d in Ira!i ar(et), ha) ena+#ed )o#dier) to -rae
co+at a) an ae)thetic .henoenon to greater degree than in .re*iou) con-#ict)% A)
Co#+$ ;u88e## )tated in hi) inter*ie" "ith Konathan Pie)#a(,
It?) (inda #i(e % % % ha*ing $our o"n )oundtrac( to $our o"n o*ie, to $our o"n
"ar% I- $ou "atch a o*ie and the$ ha*e a "ar )cene % % % it?) not the )ae "ithout
% % % )oe coo# u)ic dea#t on to. o- it% When $ou?re out there in rea# #i-e, $ou
(no", he$, thi) i) $our o*ie% 'o Oi-P thi) i) $ o*ie then thi) i) $ )oundtrac(
and thi) i) "hat I? #i)tening to and it :u)t get) $ou % % % .u.ed u. -or it%
2I
The trou+#ing i.#ication) o- thi) .ractice9"hich, a) I entioned ear#ier, "a) ore
coon in the -ir)t $ear) o- the "ar, +e-ore the in)urgenc$ +egan targeting U' troo.)
and i#itar$ contractor)9+egin "ith the ethica# and end "ith the )trategic% I- u)ic?)
.orta+i#it$ i) a##o"ing "ar-are to +e a..roached a) a !ua)i6cineatic e<.erience, the
00
danger o- ae)thetici8ing *io#ence "ou#d a..ear to +e con)idera+#e% What are the co)t)
"hen *io#ence i) ae)thetici8ed, "hen *io#ence i) u)ica#i8edA A) -or the )trategic e--ect
o- thi) .ractice, i- .u+#ic#$ traded iage) o- )o#dier) #i)tening to u)ic during -ire-ight)
are -ue#ing anti6Aerican )entient in Ira!, then the .re)ence o- iPod) and other u)ic
de#i*er$ de*ice) in the -ie#d i) e<acting a to## that can +e ea)ured in huan #i*e)%
La)t#$, i- the 5Counicator /o+i#e6e!ui..ed iPod) that ha*e recent#$ )hi..ed
to Ira! end u. re.#acing #i*e inter.reter), it "ou#d a..ear that the danger o- +#eeding the
nuance and reci.rocit$ out o- *er+a# interaction) cou#d +e great% /achine inter.retation
ha) generated an<ietie) in .eacetie conte<t) -or decade) no"% ;ut "hen 3inter.retation4
i) unidirectiona# and the )ta(e) in*o#*e huan #i*e), the cau)e -or an<iet$ i) a.#$
:u)ti-ied% A) /ar$ Loui)e Pratt "rote in reaction to an ear#ier one6"a$ i#itar$
tran)#ation a..#ication, the Phra)e#ator ="hich the 5Counicator ha) #arge#$ re.#aced>,
the unidirectiona#it$ o- the)e counication techno#ogie) render) the 3in)truentO)P o-
.ure inter.e##ation%4
C1
Litera##$ hai#ed, "ith e<tree#$ #iited agenc$ to reca)t their
re#ation) "ith their hea*i#$ ared i#itar$ 3inter#ocutor),4 Ira!i ci*i#ian) "ho e<.erience
5Counicator are con)tituted a) )u+:ect) "ho ha*e hearing, +ut "ho are e--ecti*e#$
ute%
O.eration Ira!i Freedo i) un-o#ding in an en*ironent in "hich +odie) ha*e
.artia##$ erged "ith edia techno#ogie), edia techno#ogie) ha*e .artia##$ erged "ith
"ea.on), and "ea.on) at "or( ar( the +oundarie) o- a to.ogra.h$ o- *io#ence% Within
thi) -raught tie).ace, the iPod ha) +ecoe the .ro)thetic techno#og$ /ar e%cellence -or
introducing u)ic and interacti*it$ into the theater o- "ar, and "ith the, ne" tactic),
and ne" .otentia# )ta+i#itie) and in)ta+i#itie)% Thi) inherent#$ a+iguou) techno#ogica#
agenc$9-or the agenc$ o- a## techno#ogie) i) inherent#$ a+iguou)9ha) a#tered, in "a$)
+oth )u+t#e and .ro-ound, the "a$ that "ar i) e<.erienced%
C&
The auditor$ regie o- the
i#itar$ in Ira! i) co.o)ed o- the ne" and curtai#ed .o))i+i#itie) -or #i)tening that the
iPod9a#ong "ith other techno#ogie), regu#ation), .ractice) and di)cour)e)9introduce)
-or the )o#dier) "ho )er*e there% ;$ i)o#ating the iPod, and ta##$ing the co)t) and +ene-it)
o- iPod u)e in Ira!, "e o*e a"a$ -ro the ce#e+rator$ orientation that ha) thu) -ar
-raed o)t di)cu))ion) o- A..#e?) .2 .#a$er, and to"ard a )o+er a..roach that i)
-itting, gi*en the .ro-ound huan to## o- "ar%
C0
At the )ae tie, the continuitie) and
di):uncture) that ar( the o*er#a..ing -ie#d) o- i#itar$ and ci*i#ian iPod u)e )hou#d he#.
u) ca#i+rate ne" !ue)tion) to dee.en our under)tanding o- the ro#e) o+i#e audio
techno#og$ #i(e the iPod .#a$ in our +u##et6-ree #i*e)%
Wor() Cited:
02
A#+recht, Le)#ie% 011D% 3'o#dier Lo)e) Good Friend, Find) hi) Father in Ira! War,4
#erced (un5(tar- &D No*e+er%
Ander)on, Nate% 011@% 3iPod) at War%4 Ars Technica-
htt.:BBar)technica%coBa..#eBne")B011@B1JBi.od)6"ar%ar)%
;eer, D% 011D% NTune out: /u)ic, 'ound)ca.e) and the Ur+an /i)e6en6)cXne?,
In!ormation- Communication 6 (ociet &1=@>: JC@6J@@%
;our(e, Koanna% &III% An Intimate ,istor o! 7illing: 8ace5to58ace 7illing in Twentieth5
Centur War!are Ne" Gor(: ;a)ic ;oo()7 London: Granta%
;ro$#e) Kr, Wi##ia% &II@% $rothers in Arms: A 9ourne !rom War to &eace. Au)tin:
Uni*er)it$ o- Te<a) Pre))%
;u##, /ichae#% 0111% (ounding *ut the Cit: &ersonal (tereos and the #anagement o!
43erda :i!e. O<-ord and Ne" Gor(: O<-ord Uni*er)it$ Pre))%
;u##, /ichae#% 011D% (ound #o3es: i&od Culture and )r+an 4%/erience. London and
Ne" Gor(: Rout#edge%
;u88e##, Co#+$% 011@% # War: 7illing Time in Ira'. Ne" Gor(: ;er(#e$ Trade%
Cu)ic(, 'u8anne% 011@% 3/u)ic a) Torture B /u)ic a) Wea.on%4 "e3ista Transcultural de
#;sica =&1>: htt.:BB"""%)i+etran)%coBtran)Btran)&1Bcu)ic(Ueng%ht%
Cu)ic(, 'u8anne% 011Ja% 3/u)ico#og$, Torture, Re.air%4 "adical #usicolog 2:
htt.:BB"""%radica#6u)ico#og$%org%u(B011JBCu)ic(%ht%
Cu)ic(, 'u8anne% 011J+% 3NGou Are In a P#ace that i) Out o- the Wor#d % % %?: /u)ic in the
Detention Ca.) o- the NG#o+a# War on Terror?%4 9ournal o! the (ociet !or
American #usic 0=&>: &60@%
DeGregor$, Lane% 011C% 3Ira!?n?ro##4, (t &eters+urg Times online. 8loridian% No*e+er
0&, 011C, Yhtt.:BB"""%).tie)%coB011CB&&B0&BF#oridianBIra!UUnUUro##%)ht#Z
Don, Te-#on% 3We Pu. Gou U.R4 Acute &olitics. 0& Dec 011@% $logs/ot. Y
htt.:BBacute.o#itic)%+#og).ot%coB011@B&0B"e6.u.6$ou6u.%ht#Z
Enge#, Richard% 011J% War 9ournal: # 8i3e Years in Ira'. Ne" Gor(: 'ion and
'chu)ter%
Ga##, Car#otta% 011F% 3The Reach o- War: Detainee)? Right) Grou. Re.ort) A-ghani)tan
Torture%4 The New York Times, &I Dece+er 011F%
Gi#an, Li)a% Forthcoing% 3An Aerican 'o#dier?) I.od: La$er) o- Identit$ and
'ituated Li)tening in Ira!%4 #usic and &olitics.
Gittoe), George% 0112% (oundtrack to War. Di)tri+uted +$ 5i)ua# Entertainent%
Hara"a$, Donna% &II&% (imians- C+orgs- and Women: The "ein3ention o! Nature% Ne"
Gor(: Rout#edge%
He##er, 'te*en and /ir(o I#ic% 011D% The Anatom o! 2esign: )nco3ering the In!luences
and Ins/irations in #odern <ra/hic 2esign. G#ouce)ter, /A: Roc(.ort
Pu+#i)her)%
Hodge, Nathan% 011J% 3Ar$ Wage) iPod War-are in ;aghdad%4 Wired-
htt.:BB"""%"ired%coBdangerrooB011JB&0Bar$)6u#tiate60B%
Ho--ann, Fran( W% and Ho"ard Fer)t#er% 011F% 4ncclo/edia o! "ecorded (ound-
=olume 1- 0
nd
edition% Ne" Gor(: Rout#edge%
Kohn)on, ;ruce and /artin C#oonan% 011J% The 2ark (ide o! the Tune: &o/ular #usic
and =iolence London: A)hgate%
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Kone), D$#an% 011F% i&od- there!ore I Am: Thinking Inside the White $o%. Ne" Gor(:
;#oo)+ur$ Pu+#i)hing%
,ahne$, Leander% 011F% Cult o! i&od. 'an Franci)co: No 'tarch Pre))%
,enne$, Wi##ia H% &III% "ecorded #usic in American :i!e: The &honogra/h and
&o/ular #emor- 1>?@51?AB. Ne" Gor(: O<-ord Uni*er)it$ Pre))%
,un, Ko)h% 011F% Audioto/ia: #usic- "ace- and America. ;er(e#e$: Uni*er)it$ o-
Ca#i-ornia Pre))%
Lace$, ,ate% 0111% 3To"ard) a Periodi8ation o- Li)tening: Radio and /odern Li-e%4
International 9ournal o! Cultural (tudies 2: 0DI60JJ%
Latour, ;runo% &II2% We ,a3e Ne3er $een #odern. Ca+ridge, /A: Har*ard Uni*er)it$
Pre))%
Latour, ;runo% 011F% "eassem+ling the (ocial: An Introduction to Actor5Network
Theor. Ne" Gor(: O<-ord Uni*er)it$ Pre))%
Le..ert, Richard% 011C% 3The 'ocia# Di)ci.#ine o- Li)tening%4 In Aural Cultures- Ki
Dro+nic(, ed% Toronto: GGQ ;oo()%
Le*$, 'te*en% 011D% The &er!ect Thing: ,ow the i&od (hu!!les Commerce- Culture- and
Coolness. Ne" Gor(: 'ion M 'chu)ter
/ac(e$, Ro+ert% 011I% 3The Pentagon Add) iPod) to it) Ar)ena#,4 The :ede: The New
York Times News $log- @ /a$, htt.:BBthe#ede%+#og)%n$tie)%coB011IB1FB1@Bthe6
.entagon6add)6iPod)6to6the6ar)ena#B%
/acLeod, Ar#ene E#o"e% &II0% 3Hegeonic Re#ation) and Gender Re)i)tance: The Ne"
5ei#ing a) Accoodating Prote)t in Cairo%4 (igns &D, no% 2: F226FFD%
/anue#, Peter% &II2% Cassette Culture: &o/ular #usic and Technolog in Northern
India. Chicago: Uni*er)it$ o- Chicago Pre))%
/et8, Chri)tian% &IJ@% The Imaginar (igni!ier: &schoanalsis and the Cinema.
Tran)#ated +$ Ce#ia ;ritton et a#% ;#ooington and Indiana.o#i): Indiana
Uni*er)it$ Pre))%
/o"itt, Kohn% &IDD% 3The 'ound o- /u)ic in the Era o- It) E#ectronic Re.roduci+i#it$%4
In #usic and (ociet: The &olitics o! Com/osition- &er!ormance and "ece/tion-
Richard Le..ert, 'u)an /cC#ar$, ed)% Caridge: Ca+ridge Uni*er)it$ Pre))%
O?;rien, Ti% &IIJ% The Things The Carried. Ne" Gor(: ;road"a$%
Paddoc( Kr%, A#-red% &IJI% 3/i#itar$ P)$cho#ogica# O.eration)%4 In &olitical War!are and
&schological */erations- edited +$ Carne) Lord and Fran( R% ;arnett%
Wa)hington, D%C%: Nationa# De-en)e Uni*er)it$ Pre)), &IJI%
Pie)#a(, Konathan% 011I% (ound Targets: American (oldiers and #usic in the Ira' War.
;#ooington: Indiana Uni*er)it$ Pre))%
Po)t, Kerro#d /% 011F% 3P)$cho#ogica# O.eration) and Counterterrori)%4 9oint 8orce
Cuarterl 2D: &1F6&11% htt.:BB"""%dtic%i#BdoctrineB:e#B:-!U.u+)B&J2D%.d-
Pratt, /ar$ Loui)e% 011I% 3Har?) Wa$: Language and the Conte.orar$ Art) o- War%4
&#:A &0C, No% F: &F&F6&F2&%
Puar, Ka)+ir ,% 011D% Terrorist Assem+lages: ,omonationalism in Cueer Times. Durha,
NC: Du(e Uni*er)it$ Pre))%
'e#8, Peter Ho"ard% 011@% Art o! 4ngagement: =isual &olitics in Cali!ornia and $eond-
;er(e#e$: Uni*er)it$ o- Ca#i-ornia Pre))%
'i#*eran, ,a:a% &IJJ% The Acoustic #irror: The 8emale =oice in &schoanalsis and
Cinema% ;#ooington: Indiana Uni*er)it$ Pre))%
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'terne, Konathan% 0112% The Audi+le &ast: Cultural *rigins o! (ound "e/roduction.
Durha: Du(e Uni*er)it$ Pre))%
'uther#and, ;en:ain% 011I% 3A..#e?) Ne" Wea.on%4 Newsweek- 0D A.ri#%
Tur)e, Nic(% 011J% The Com/le%: ,ow the #ilitar In3ades *ur 43erda :i3es. Ne"
Gor(: /etro.o#itan ;oo()%
Wa#)er, Ro+% &II2% "unning with the 2e3il: &ower- <ender- and #adness in ,ea3
#etal #usic. /idd#eto"n, CT: We)#e$an Uni*er)it$ Pre))%
Wurt8#er, 'te*e K% 011J% 3One Future o- 'ound 'tudie) Fit) into the Pa# o- $our Hand%4
#usic- (ound- and the #o3ing Image 0, No% 0 =&@I6&D2>%
Gear)#e$, Da*id% 011I% 3,i##ing the Crue##$ "ith the CIA?) 'ong): /u)ic Torture,4
$altimore Chronicle 6 (entinel- &2 /arch 011I,
htt.:BB"""%+a#tiorechronic#e%coB011IB12&@1IGear)#e$%)ht#%
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Thi) artic#e ha) +ene-ited great#$ -ro -riend) and co##eague) "ho de)er*e uch ore
ac(no"#edgent and .rai)e than I can gi*e the here% ;en:ain Tau)ig, Konathan Ritter, and Chri)
Ta+ron a## .ro*ided coent) that "ere huge#$ *a#ua+#e% 'u8anne Cu)ic( ha) +een an in).iring
con*er)ationa# .artner and ad*ocate% Li)a Gi#an and Konathan Pie)#a( ha*e +een great co##eague)
throughout the $ear) in "hich "e "ere .ur)uing inter)ecting re)earch to.ic)% /$ than() a#)o go to C#a$
/o#t8 and hi) )tudent) at the Na*a# Po)t Graduate 'choo#, There)a 'a+oni)6He#- and Ga*in He#- and
their co##eague) at U'AID, and, o)t o- a##, the an$ anon$ou) *eteran) and ci*i#ian) "ho)e
te)tionie) enrich thi) docuent iea)ura+#$% O- cour)e, the on#$ thing I tru#$, )ingu#ar#$ o"n in thi)
artic#e are an$ i)ta(e) and )hortcoing) that I o*er#oo(ed%
0
The caou-#age .attern ar() the he#et a) .art o- the U' Ar$?) De)ert Caou-#age Uni-or
=DCU>, "hich +egan to +e .ha)ed out in 011F%
2
Donna Hara"a$?) o-t6cited 3C$+org /ani-e)to4 .re)ent) the c$+org a) a .o"er-u# tro.e -or
theori8ing odern huan) a) +io6techno#ogica# h$+rid) "ho are a#"a$) a#read$ +ound to techno#ogie)%
Hara"a$ u)e) the c$+org to 3)ugge)t a "a$ out o- the a8e o- dua#i)) in "hich "e ha*e e<.#ained
our +odie) and our too#) to our)e#*e)L =(imians- C+orgs- and Women: The "ein3ention o! Nature
ONe" Gor(: Rout#edge, &II&P, .% &J&>% Thu) -raed, 3odern "ar i) a c$+org org$, coded +$ C2I,
coand6contro#6counication6inte##igence,4 =i+id%, &F&>% 'ee a#)o ;runo Latour?) in-#uentia#
di)cu))ion o- h$+rid) =&II2>%
C
Aong other #ocation), the .hoto, dated Ku#$ 011C, i) .o)ted on i#ounge%co "ith the ca.tion,
3,u"aitBIra! +order% On#$ thing I can count on ore than $ /6&@ i) $ iPodR4
htt.:BB"""%i#ounge%coBinde<%.h.Bga##er$BiageUedB&1&B% 'ee a#)o Ander)on 011@%
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Photo), a#ong "ith an account o- Garrad?) e<.erience and a ro+u)t di)cu))ion o- the iage), can +e
-ound at: htt.:BB"""%-#ic(r%coB.hoto)Bti(iBCCF@0&0IIB% The Wired )tor$ carrie) the )ae .hoto):
htt.:BB"""%"ired%coBgadget#a+B011DB1CBi.odU*)Ua(CDUi.B%
@
The Co..er Greene .o)ter) ha*e +een di)cu))ed, in *ar$ing #e*e#) o- detai#, in Peter Ho"ard 'e#8 and
'u)an Landauer, Art o! 4ngagement: =isual &olitics in Cali!ornia and $eond- I))ue D0, .% D&6D07
'te*en He##er and /ir(o I#ic, The Anatom o! 2esign: )nco3ering the In!luences and Ins/irations in
#odern <ra/hic 2esign =011D>7 Ka)+ir ,% Puar, Terrorist Assem+lages: ,omonationalism in Cueer
Times- .% &10% For()cre" Gra.hic), the -ir that di)tri+ute) the iage) -or -ree o*er the internet, can +e
-ound at htt.:BB"""%-or()cre"%coBain%ht#% thi) "e+)ite i) no" de-unct% Ho"e*er, the .o)ter)
can +e do"n#oaded at Yhtt.:BB"""%+#ood-oroi#%orgBiRa!6.o)ter)BZ%
D
;ruce Kohn)on and /artin C#oonan engage in a )u)tained in*e)tigation o- u)ic and *io#ence in their
recent *o#ue, The 2ark (ide o! the Tune: &o/ular #usic and =iolence =London: A)hgate, 011J>%
J
Co#u+ia Phonogra.h Co.an$, c$#inder [&F&IF% An e<cer.t o- thi) c$#inder, -ro the co##ection o-
;ruce 'tinchco+, can +e -ound on """%tin-oi#%coBc6IJ1D%ht% 'ee a#)o Fran( W% Ho--ann,
Ho"ard Fer)t#er, 4ncclo/edia o! "ecorded (ound- =olume 1 =CRC Pre)), 011C>, 0&1%
I
\uoted in Wi##ia H% ,enne$, "ecorded #usic in American :i!e: The &honogra/h and &o/ular
#emor- 1>?@51?AB =Ne" Gor(: O<-ord, &III>, &IC%
&1
Le)#ie A#+recht, 3'o#dier Lo)e) Good Friend, Find) hi) Father in Ira! War,4 #erced (un5(tar- &D
No*e+er 011D% Pre)) artic#e) e<.#oring the u)e o- iPod) in the "ar inc#ude ;en:ain 'uther#and,
3A..#e?) Ne" Wea.on,4 Newsweek- 0D A.ri# 011I7 Ro##ing 'tone =011@>, Ro+ert /ac(e$, 3The
Pentagon Add) iPod) to it) Ar)ena#,4 The :ede: The New York Times News $log- @ /a$ 011I,
htt.:BBthe#ede%+#og)%n$tie)%coB011IB1FB1@Bthe6.entagon6add)6iPod)6to6the6ar)ena#B%
&&
/$ u)e o- thi) ter -o##o") ,ate Lace$?) =0111: 0J&> ca## -or an in*e)tigation o- the
3hierarchica##$ di--erentiated and co.eting auditor$ regie) ana#ogou) to OFrench -i# theori)t
Chri)tianP /et8?) )co.ic regie) =)cienti-ica##$ and techno#ogica##$ generated Ntechni!ue) o-
o+)er*ation?>,4 a) .art o- her )tud$ o- Aerican radio #i)tening .ractice)% Lace$?) "or( "a) in).ired +$
)cho#ar) o- *i)ua# )tudie) "ho 3dra" attention to the ru.ture), di)continuitie) and u#ti.#icit$ o-
*ie"ing .o)ition) "ithin and acro)) hi)torica# oent) and in re#ation to di--erent techni!ue) and
techno#ogie) o- ).ectator)hi.,4 ,ate Lace$ =0111: 0J16&>% A do8en $ear) ear#ier, ,a:a 'i#*eran
e.#o$ed the ter, "ithout e<.#icit#$ de-ining it, to .oint to the )tructured )en)i+i#itie) e+edded in
the )ound) o- -i#) "ithin a gi*en .eriod =&IJJ: i<, 2&, 2J, &DD>% The notion o- hi)torica##$6contingent,
techno#ogica##$ ena+#ed #i)tening .ractice) ha) +een circu#ating aong u)ic )cho#ar) -or )oe tie%
'ee o)t .roinent#$ /anue# &II2% 'ee a#)o the di)cu))ion o- 3)tructure) o- #i)tening4 in /o"itt &IJI
and 3audi#e techni!ue)4 in 'terne 0112% In de)cri+ing "hat I "ou#d ca## the genera# -oundation o- a##
auditor$ regie) o- u)ica# #i)tening, Richard Le..ert "rote: 3#i)tening, to +e#a+our the o+*iou),
deand) a #i)tener% ;ut #i)tening i) not .ro.er#$ under)tood a) a +io#ogica# .henoenon, rather a
hi)torico6)ociocu#tura# one: the #i)tener i) -raed +$ hi)tor$, )ociet$, and cu#ture4 =Le..ert 011C: 0D>%
It i) "ith a )ii#ar a"arene)) o- the u#ti.#e doain) that )urround, -rae, and .artia##$ )tructure an$
act o- auditor$ .erce.tion that I de.#o$ the ter here%
&0
A .o"er-u# ethodo#og$ -or e<aining the co.#e< net"or() o- huan and non6huan actor) =e%g%,
techno#ogie)> that o+tain in )ocia# )ituation) can +e e<tra.o#ated -ro )cho#ar) "or(ing under the ru+ric
o- Actor Net"or( Theor$% 'ee Latour &II2 and 011F -or a good e<a.#e o- "or( that a--ord)
techno#ogie) a #iited agenc$ de*oid o- intentiona#it$%
&2
/$ "or( on the )onic dien)ion o- O.eration Ira!i Freedo ha) in*o#*ed the )o#icitation o-
te)tionie) in the U', Kordan, and ,u"ait7 reading through i#itar$ +#og), o.en6)ource docuent), and
archi*a# ateria#)7 and con)u#ting "ith .ro-e))iona#) "ho "or( "ith U' i#itar$ .er)onne# andBor Ira!i
ci*i#ian)% I ha*e not $et *i)ited Ira!, or ).ent an$ tie in an acti*e co+at 8one%
&C
5ietna *et and author Ti O?;rien ha) ca##ed thi) aura 3that )en)e o-, N"e?re a## innocent +$ rea)on
o- in)anit$?7 Nthe "ar "a) cra8$ and there-ore "e?re innocent?%4 =\uoted in Koanna ;our(e, An Intimate
,istor o! 7illing: 8ace5to58ace 7illing in Twentieth5Centur War!are ONe" Gor(: ;a)ic ;oo()7
London: Granta, &IIIP, D%>
&F
'ee a#)o Gittoe) 0112 and Ander)on 011@%
&@
In hi) +oo(, (ound Targets: American (oldiers and #usic in the Ira' War- Konathan Pie)#a( argue)
that the inter)ecting ideo#ogie) o- .o"er, #$rica# re-erence) to death and *io#ence, and other u)ica#
inde<e) o- aggre))ion that .er*ade eta# and gang)ta ra. a$ account -or their .o.u#arit$ aong
)o#dier) =011I: &2F6&@D>%
&D
A near#$ identica# #i)t, "hich ;u88e## ca##ed 3$ N'tr$(er 'oundtrac(? .#a$#i)t,4 "a) .u+#i)hed in the
011@ +oo( ada.tation o- hi) +#og =..% &C@6D>% Konathan Pie)#a( inter*ie"ed ;u88e## in 011@, and an
audio recording o- their di)cu))ion o- the 'tr$(er 'oundtrac( can +e -ound on Pie)#a(?) "e+)ite:
"""%)oundtarget)%co%
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Cite Wa#)er, "unning with the 2e3il.
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The re#e*ant )ection o- the regu#ation read): 3At the di)cretion o- the coander, and "hen re!uired
in the .er-orance o- dutie) #i)ted a+o*e, )o#dier) a$ "ear an e#ectronic de*ice on the +e#t, +e#t #oo.),
or "ai)t+and o- the uni-or% On#$ one e#ectronic de*ice a$ +e "orn7 it a$ +e either a .ager or a ce##
.hone% The +od$ o- the de*ice a$ not e<ceed C<0<& inche), and the de*ice and carr$ing ca)e u)t +e
+#ac(7 no other co#or) are authori8ed% I- )ecurit$ cord) or chain) are attached to the de*ice, )o#dier) "i##
concea# the cord or chain -ro *ie"% Other t$.e) o- e#ectronic de*ice) are not authori8ed -or "ear on
the uni-or% I- the coander i))ue) and re!uire) the u)e o- other e#ectronic de*ice) in the
.er-orance o- dutie), the )o#dier "i## carr$ the in the hand, .oc(et, +rie-ca)e, .ur)e, +ag, or in )oe
other carr$ing container%4
01
Richard Enge#, War 9ournal: # 8i3e Years in Ira' =011J: 0ID6J>%
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OI cou#d not -ind *eri-ia+#e )tati)tic) -or ortar attac() in the Green Qone -ro 011@ to 011J% I did
-ind thi) +#og .o)t a+out ho" di--icu#t it i) to #earn ho" an$ attac() actua##$ occur:
htt.:BBgdaean%+#og).ot%coB011DB1FBgreen68one6attac(6)tati)tic)%ht#% Ho"e*er, $ou cou#d re"ord
the )entence to )a$ 3-re!uenc$4 in)tead o- 3nu+er,4 then u)e a )ource )uch a) thi) one:
htt.:BB"""%"a)hington.o)t%coB".6d$nBcontentBartic#eB011DB12B0JBAR011D120J10C02%ht#%P
00
Counter6Roc(et6Arti##er$6/ortar )$)te
02
Contra)t "ith Da*id ;eer?) 3tuning out%4
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A#-red Paddoc(, Kr%, 3/i#itar$ P)$cho#ogica# O.eration),4 in &olitical War!are and &schological
*/erations- edited +$ Carne) Lord and Fran( R% ;arnett =Wa)hington, D%C%: Nationa# De-en)e
Uni*er)it$ Pre)), &IJI>, CF% 'ee a#)o Kerro#d /% Po)t, 3P)$cho#ogica# O.eration) and
Counterterrori)%4 htt.:BB"""%dtic%i#BdoctrineB:e#B:-!U.u+)B&J2D%.d-
0F
htt.:BB"""%"ired%coBdangerrooB011JB&0Bar$)6u#tiate60B
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htt.:BB"""%n$tie)%coB011FB&0B&&B.o#itic)B&&.ro.aganda%ht#
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Iage courte)$ o- Wired- htt.:BB"""%"ired%coBdangerrooB011JB&0Bar$)6u#tiate60B%
=PER/I''ION RE\UE'TED>
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It i) unc#ear "hether thi) .ractice continue)%
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The Aerican Techno#og$ Cor.oration "e+)ite ha) detai#ed in-oration on the LRAD:
htt.:BB"""%atc)d%coB)iteBcontentB*ie"B&FB20B%
21
'uch in)tance) #end a .o"er-u##$ *i)cera# edge to the 3dou+#e6edged4 !ua#it$ o- a## 3u)ica#
tran)action)4 that ;ruce Kohn)on and /artin C#oonan .ut -or"ard in their recent *o#ue on u)ic and
*io#ence: 3e*er$ tie u)ic i) u)ed to dearcate the territor$ o- )e#- or counit$, it i) inci.ient#$
+eing u)ed to in*ade, argina#i8e, or o+#iterate that o- other indi*idua#) or grou.)4 =C>%
2&
Lane DeGregor$% 011C% htt.:BB"""%).tie)%coB011CB&&B0&BF#oridianBIra!UUnUUro##%)ht# %
3Ira!?n?ro##4, 't Peter)+urg Tie) on#ine% F#oridian% No*e+er 0&, 011C,
htt.:BB)Otie)BcoB011CB&&B0&BF#oridianBIra!UnUro##%)ht#% 'ee a#)o 'u8anne Cu)ic(, 3/u)ic a) Torture
B /u)ic a) Wea.on,4 Transcultural #usic "e3iew &1 =011@>,
"""%)i+etran)%coBtran)Btran)&1Bcu)ic(Ueng%ht7 Da*id Gear)#e$, 3,i##ing the Crue##$ "ith the
CIA?) 'ong): /u)ic Torture,4 $altimore Chronicle 6 (entinel- &2 /arch 011I,
htt.:BB"""%+a#tiorechronic#e%coB011IB12&@1IGear)#e$%)ht#%
20
Cite a## three artic#e)%'ee Cu)ic( =011@, 011Ja, 011J+>% OI) thi) ho" $ou?d #i(e to cite her artic#e)AP
22
Cite "or() on u)ic and torture, inc#uding Kohn)on and C#oonan%
2C
Car#otta Ga##, 3The Reach o- War: Detainee)? Right) Grou. Re.ort) A-ghani)tan Torture,4 New York
Times, &I Dece+er 011F% \uoted in 'u8anne Cu)ic(, 3NGou Are in a P#ace that i) Out o- the
Wor#dS?: /u)ic in the Detention Ca.) o- the NG#o+a# War on Terrror?%4 9ournal o! the (ociet !or
American #usic 0, no% & =011J>, 0%
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'u8anne Cu)ic(, 3/u)ico#og$, Torture, Re.air%4 "adical #usicolog 2 =011J>, htt.:BB"""%radica#6
u)ico#og$%org%u(B011JBCu)ic(%ht%
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Pur)e @F%
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In a .eacetie, ci*i#ian conte<t, /ichae# ;u## ha) .re)ented o+i#e audio techno#og$?) a+i#it$ to
-aci#itate thi) (ind o- auditor$ 3di)engageent4 a) one o- it) .o)iti*e attri+ute)% =(ounding *ut the
Cit: &ersonal (tereos and the #anagement o! 43erda :i!e% O<-ord and Ne" Gor(: O<-ord
Uni*er)it$ Pre)), 0111, .% &11%>
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Kohn)on and C#oonan, &D1%
2I
htt.:BB:on%.ie)#a(%coBa)oBCo#+$;u88e##%ht
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/ar$ Loui)e Pratt, 3Har?) Wa$: Language and the Conte.orar$ Art) o- War,4 &#:A &0C, No%F,
&F&I%
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Here I a a##uding to Ar#ene E#o"e /acLeod?) o-t6cited .a))age on the 3a+iguou) agenc$4 o-
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