How did the most powerful nation on earth come to embrace terror as the organizing principle of its security policy? In The Theater of Operations, Joseph Masco locates the origins of the present-day U.S. counterterrorism apparatus in the Cold War's "balance of terror." He shows how, after the attacks of 9/11, the U.S. global War on Terror mobilized a wide range of affective, conceptual, and institutional resources established during the Cold War to enable a new planetary theater of operations. Tracing how specific aspects of emotional management, existential danger, state secrecy, and threat awareness have evolved as core aspects of the American social contract, Masco draws on archival, media, and ethnographic resources to offer a new portrait of American national security culture. Undemocratic and unrelenting, this counterterror state prioritizes speculative practices over facts, and ignores everyday forms of violence across climate, capital, and health in an unprecedented effort to anticipate and eliminate terror threats—real, imagined, and emergent.
This exhibition catalogue, accompanying the major building-wide exhibition Theater of Operations: The Gulf Wars 1991-2011, includes four new commissioned texts by scholars of Iraqi art Zainab Bahrani, Rijin Sahakian, and Nada Shabout, as well as a media-focused critique from McKenzie Wark. The book will also feature essays from our curators Ruba Katrib and Peter Eleey, as well as critical reproductions from contemporaneous media artifacts, ranging from the Baghdad Diaries--the personal diaries during Iraqi occupation and sanction of artist Nuha Al-Radi--as well as entries from the still-anonymous blogger Riverbend's Baghdad Burning blog chronicling her time living under occupation, as well as texts from Serge Daney, Jean Baudrillard. As this conflict was the first to disseminate via a 24hr televised news cycle, this publication examines the impact of this period of ongoing conflict and its pervasive effects on visual culture.
This assured debut novel from acclaimed Chilean author Andrea Jeftanovic explores the devastating psychological effects of the conflict in the Balkans on a family who flee to South America to build a new life. It is told from the perspective of the young Tamara, as she tries to make sense of growing up haunted by a distant conflict. Yet the ghosts of war re-emerge in their new land – which has its own traumatic past – to tear the family apart.Staging scenes from childhood as if the characters were rehearsing for a play, the novel uses all the imaginary resources of theatre director, set paint- er and lighting designer to pose the question: how can Tamara salvage an identity as an adult from the ruins of memory, and rediscover the ability to love? With themes that echo Elif Shafak’s The Bastard of Istanbul , a sensitive narrator recalling Eimear McBride’s A Girl is a Half-Formed Thing , and a focus on the body in the style of Elfriede Jelinek, this is an artfully construct- ed, widely praised work from one of the most exciting novelists at work in Latin America today.
Theater strategy and theater security cooperation are two of the most important tools available in attaining national security. They offer an effective means for geographic Combatant Commanders to engage other countries, deter aggression, or resolve crises. However, there is little current, concise, and comprehensive guidance on how they are planned and implemented. This paper explains what theater strategy is, its basis, how it is formulated, and how it is executed with emphasis on theater security cooperation. The author illustrates the role in national affairs of theater strategy and security cooperation through examples from a case study leading up to and during Operation Enduring Freedom in Afghanistan.
Doctrine provides a military organization with unity of effort and a common philosophy, language, and purpose. This manual, "Theater Army Operations" (FM3-93), discusses the organization and operations of the theater army headquarters, including its role as the Army Service component command (ASCC) to the geographic combatant commander (GCC) and the relationships between the theater army headquarters and the theater enabling commands. The manual also discusses theater army responsibilities for setting the theater, Title 10 functions and responsibilities, generally referred to as the combatant commander's daily operations requirements, as well as the operational employment of the theater army's contingency command post (CCP) to directly mission command limited types of operations.
Doctrine provides a military organization with unity of effort and a common philosophy, language, and purpose. This manual discusses the organization and operations of the theater army headquarters, including its role as the Army Service component command (ASCC) to the geographic combatant commander (GCC) and the relationships between the theater army headquarters and the theater enabling commands. The manual also discusses theater army responsibilities for setting the theater, Title 10 functions and responsibilities, generally referred to as the combatant commander's daily operations requirements, as well as the operational employment of the theater army's contingency command post (CCP) to directly mission command limited types of operations.FM 3-93 serves as a guide for organizing the theater army headquarters and its command posts, for training the staff, and conducting operations as directed by the combatant commander.FM 3-93 has sixteen chapters and one appendix.- Chapter 1 discusses the theater army's role as the ASCC and the joint context in which it operates. It discusses the theater army's responsibilities to support the combatant commander's theater campaign plan across the GCC's area of responsibility (AOR), referred to as the theater army's AOR-wide support responsibilities. It also discusses the theater army's role in theater opening, including reception, staging, onward movement, and integration (RSOI) of Army and joint forces provided to the joint force commander (JFC) in joint operations areas (JOA) opened within the AOR, and the theater army's dominant role in sustaining Army and joint forces, as directed, across the AOR. Chapter 1 also discusses the sustainment concept of support and the modification of responsibilities of the Army forces commander (ARFOR) within the JOA. Finally, Chapter 1 discusses the theater enabling commands (intelligence, sustainment, medical, signal, and aviation) and their command or support relationships with theater army and the ARFOR operating in JOAs within the AOR.- Chapter 2 discusses how the theater army employs its CCP to support joint and combined training exercises and other theater security cooperation activities. It also discusses the direct mission command of limited (scale and scope) military operations within the AOR.- Chapter 3 discusses the organization and functions of the theater army's main command post.- Chapter 4 discusses the organization and functions of the theater army's CCP.- Chapter 5 discusses the organization and functions of the headquarters and headquarters battalion, which provides administrative and sustainment support to the theater army headquarters staff.- Chapters 6 through 14 discuss the organization and functions of the theater army command group, personal and special staff, and the warfighting functional cells (intelligence, movement and maneuver, fires, protection, sustainment, and mission command).- Chapter 15 discusses the organization and functions of the theater army CCP, and its capabilities, limitations, and dependencies.- Chapter 16 discusses the organization and functions of the theater army headquarters and headquarters battalion (HHB), including HHB sustainment support for the CCP when it deploys.
Doctrine provides a military organization with unity of effort and a common philosophy, language, and purpose. This manual discusses the organization and operations of the theater army headquarters, including its role as the Army Service component command (ASCC) to the geographic combatant commander (GCC) and the relationships between the theater army headquarters and the theater enabling commands. The manual also discusses theater army responsibilities for setting the theater, Title 10 functions and responsibilities, generally referred to as the combatant commander's daily operations requirements, as well as the operational employment of the theater army's contingency command post (CCP) to directly mission command limited types of operations. FM 3-93 serves as a guide for organizing the theater army headquarters and its command posts, for training the staff, and conducting operations as directed by the combatant commander. FM 3-93 applies to the Active Army, the Army National Guard (ARNG)/Army National Guard of the United States (ARNGUS), and the United States Army Reserve (USAR) unless otherwise stated. This publication is most applicable to theater army commanders and staff. It also provides relevant information regarding theater army organization and operations for commanders and staffs at subordinate theater level commands and brigades, GCC, and other Service headquarters. The organizational figures and associated staffing levels are derived from the Chief of Staff of the Army approved theater army design, and may vary to some degree from individual theater army modified tables of organization and equipment (MTOEs). The personnel staffing levels are provided for reference only and are not intended to provide a justification for adjusting staffing levels for MTOEs or Tables of Distribution and Allowances (TDAs). The approved theater army design 5.4 does not include augmentation TDAs, which vary significantly from one theater army to another and include both military and civilian personnel.
Discusses the Allied invasion of Normandy, with extensive details about the planning stage, called Operation Overlord, as well as the fighting on Utah and Omaha Beaches.
This book describes how future Army forces, as part of joint, interorganizational, and multinational efforts, operate to accomplish campaign objectives and protect U.S. national interests. It describes the Army's contribution to globally integrated operations, and addresses the need for Army forces to provide foundational capabilities for the Joint Force and to project power onto land and from land across the air, maritime, space, and cyberspace domains. The Army Operating Concept guides future force development through the identification of first order capabilities that the Army must possess to accomplish missions in support of policy goals and objectives.
In late June 2005, media sources recounted the tragic story of nineteen U.S. special operations personnel who died at the hands of insurgent / terrorist leader Ahmad Shah- and the lone survivor of Shah's ambush-deep in the Hindu Kush Mountains of Afghanistan. The harrowing events of Operation Red Wings marked an important-yet widely misreported-chapter in the Global War on Terror, the full details of which the public burned to learn. In Victory Point, globally published author and photographer Ed Darack reveals the complete, as-yet untold, story of Operation Red Wings (often mis-referenced as "Operation Redwing"), and the follow-on mission, Operation Whalers. Together, these two U.S. Marine Corps operations (that in the case of Red Wings utilized Navy SEALs for its opening phase) unfurl not as a mission gone terribly wrong, but of a complex and difficult campaign that ultimately saw the demise of Ahmad Shan and his small army of barbarous fighters. Due to the valor, courage and commitment of the 2nd Battalion of the 3rd Marine Regiment in the summer of 2005, Afghanistan was able to hold free elections that Fall. Here is the inspiring true account of heroism, duty, and brotherhood between Marines fighting the War on Terror.
