Quotulatiousness

December 9, 2014

The “broken windows theory” of policing … applied to the police

Filed under: Law, Liberty, USA — Tags: , , , — Nicholas @ 07:02

In The Atlantic, Conor Friedersdorf discusses an interesting application of the “broken windows theory”:

One of the most influential policing concepts of our era, the broken-windows theory, holds that disorder and crime are “usually inextricably linked in a kind of developmental sequence.” At the community level, ignoring disorder leads to more of it, just as a building with a broken window soon has other windows broken. That insight has been widely embraced by law enforcement in the United States. But as Ken White observed in a recent post, we’ve yet to apply it to police agencies. “If tolerating broken windows leads to more broken windows and escalating crime,” he asks, “what impact does tolerating police misconduct have?” He points to recent examples in order to argue that the consequences are dire:

    [J]ust as neighborhood thugs could once break windows with impunity, police can generally kill with impunity. They can shoot unarmed men and lie about it. They can roll up and execute a child with a toy as casually as one might in Grand Theft Auto. They can bumble around opening doors with their gun hand and kill bystanders, like a character in a dark farce, with little fear of serious consequences. They can choke you to death for getting a little mouthy about selling loose cigarettes. They can shoot you because they aren’t clear on who the bad guy is, and they can shoot you because they’re terrible shots, and they can shoot you because they saw something that might be a weapon in your hand—something that can be … any fucking thing at all, including nothing.

    … We’re not pursuing the breakers of windows. If anything, we are permitting the system … to entrench their protected right to act that way. We give them … third and fourth chances. We pretend they have supernatural powers of crime detection even when science shows that’s bullshit. We fight desperately to support their word even when they are proven liars. We sneer that “criminals have too many rights,” then give the armed representatives of our government stunning levels of procedural protections when they abuse or even kill us.

I’d never thought about police abuses in quite this way before. But it seems to me that the reforms implied by applying broken-windows theory to police officers are very similar to many of the policy changes that critics of policing have lately been advocating. How to consistently punish police officers at the first sign of disordered behavior? Record their interactions to a cloud server that they do not control. Assign independent prosecutors to handle cases of unlawful behavior. And end the practice of arbitrators reversing punishments given to misbehaving cops.

As a former St. Louis policeman put it in the Washington Post, “The problem is that cops aren’t held accountable for their actions, and they know it. These officers violate rights with impunity. They know there’s a different criminal justice system for civilians and police. Even when officers get caught, they know they’ll be investigated by their friends, and put on paid leave. My colleagues would laughingly refer to this as a free vacation. It isn’t a punishment. And excessive force is almost always deemed acceptable in our courts and among our grand juries. Prosecutors are tight with law enforcement, and share the same values and ideas.”

Exodus: Gods and Kings gets panned by Forbes

Filed under: History, Media, Middle East, Religion — Tags: , , , — Nicholas @ 00:04

Scott Mendelson reviews the soon-to-open movie by Ridley Scott, and finds it awful:

Exodus: Gods and Kings is a terrible film. It is a badly acted and badly written melodrama that takes what should be a passionate and emotionally wrenching story and drains it of all life and all dramatic interest. It hits all the major points, like checking off boxes on a list, yet tells its tale at an arms-length reserve with paper-thin characters. It is arguably a film intended for adults, with violence that makes a mockery of its PG-13 rating, yet it has far less nuance, emotional impact, and moral shading than DreamWorks Animation’s PG-rated and seemingly kid-targeted The Prince of Egypt.

The film starts with an arbitrary mass battle scene, one which serves no purpose save for having a mass battle sequence to toss into the trailers. The primary alteration to the story is the inclusion of said gratuitous action beats. The film is relentlessly grim yet oddly unemotional, which is a tricky balance to accidentally pull off. The actors (who have all done excellent work elsewhere) are all oddly miscast, and that’s not even getting to the whole “really white actors playing Egyptians” thing. Oh right, that little issue… It’s actually worse than you’ve heard.

In retrospect, it may have been better to just make a 100% white cast similar to Noah. This film instead is filled with minorities in subservient roles, be it slaves, servants, or (implied) palace sex toys. Instead of merely having a film filled with only white actors, what the film does is implicitly impose a racially-based class system, where the white characters are prestigious and/or important while the various minorities are inherently second or third-class citizens almost by virtue of their skin color. I am sure this was unintentional, but that’s the visual picture that Exodus paints.

Now to be absolutely fair, even if Exodus was cast with 100% racial/ethnic authenticity, it would still be a pretty bad motion picture. The screenplay has our poor, miscast actors speaking in various accents and in a bizarre hybrid of “ancient times period piece” English and more modern American English, which leads to lines like “From an economic standpoint alone, what you’re asking is problematic,” which is Rameses’s (Joel Edgerton) response to Moses’s initial plea to “Let my people go!”

Colby Cosh on the recent “unprecedented” terror attacks

Filed under: Cancon, Europe, History, Politics — Tags: , , , , — Nicholas @ 00:03

In his latest Maclean’s article, Colby Cosh talks about the recent “freelance” terror attacks on Canadian soil and points out that no matter what the reporters say, they’re hardly “unprecedented”:

There has been much discussion about how to think of the type of freelance Islamist terrorist that has recently begun to belabour Canada. What labels and metaphors are appropriate for such an unprecedented phenomenon? I possess the secret: It is not unprecedented. This has been kept a secret only through some odd mischance, some failure of attention that is hard to explain.

I discovered the secret through reading about 19th-century history, particularly the years from the 1848 revolutions to the outbreak of the First World War in 1914. The key was Bismarck, the Prussian minister-president who unified Germany. If you want to learn about Bismarck, you will probably pick up a book by some historian of international relations, such as A.J.P. Taylor. That’s the right place to start. But it means you can read a lot about Bismarck before finding out about the time in May 1866 when a guy shot him.

Ferdinand Cohen-Blind, a Badenese student of pan-German sentiments, waylaid Bismarck with a pistol on the Unter den Linden. He fired five rounds. None missed. Three merely grazed his midsection, and two ricocheted off his ribs. He went home and ate a big lunch before letting himself be examined by a doctor.

[…]

The point is not that Bismarck was particularly hated, although he was. The point is that this period of European (and American) history was crawling with young, often solitary male terrorists, most of whom showed signs of mental disorder when caught and tried, and most of whom were attached to some prevailing utopian cause. They tended to be anarchists, nationalists or socialists, but the distinctions are not always clear, and were not thought particularly important. The 19th-century mind identified these young men as congenital conspirators. It emphasized what they had in common: social maladjustment, mania, an overwhelming sense of mission and, usually, a prior record of minor crimes.

In my Origins of WW1 series, I quoted from The War That Ended Peace (which I still heartily recommend):

Margaret MacMillan describes the typical members of the Young Bosnians, who were of a type that we probably recognize more readily now than at any time since 1914:

    [They] were mostly young Serb and Croat peasant boys who had left the countryside to study and work in the towns and cities of the Dual Monarchy and Serbia. While they had put on suits in place of their traditional dress and condemned the conservatism of their elders, they nevertheless found much in the modern world bewildering and disturbing. It is hard not to compare them to the extreme groups among Islamic fundamentalists such as Al Qaeda a century later. Like those later fanatics, the Young Bosnians were usually fiercely puritanical, despising such things as alcohol and sexual intercourse. They hated Austria-Hungary in part because they blamed it for corrupting its South Slav subjects. Few of the Young Bosnians had regular jobs. Rather they depended on handouts from their families, with whom they had usually quarreled. They shared their few possessions, slept on each other’s floors, and spent hours over a single cup of coffee in cheap cafés arguing about life and politics. They were idealistic, and passionately committed to liberating Bosnia from foreign rule and to building a new and fairer world. Strongly influenced by the great Russian revolutionaries and anarchists, the Young Bosnians believed that they could only achieve their goals through violence and, if necessary, the sacrifice of their own lives.

The “peaceful century” from the defeat of Napoleon to the outbreak of the First World War was far from peaceful — we only see it as such in contrast to the bloodbath of 1914-1918. And terrorists of a type we readily recognize from the front pages of the newspapers today were prefigured exactly by the anarchist revolutionaries of a century ago.

The intra-feminist arguments over sex work and video game portrayals of it

Filed under: Gaming, Media, Politics — Tags: , , — Nicholas @ 00:02

Noah Berlatsky talks about feminist videographer Anita Sarkeesian’s criticism of the portrayal of sex workers in video games and how that contributes to negative views toward all women and the sex workers who take issue with Sarkeesian’s presentation:

In her series of controversial videos critiquing sexism in video games, Anita Sarkeesian often focuses on the way games treat sex workers. She points to games like Hitman: Absolution, in which characters can dump the dead body of a stripper over a railing as a way to distract police; or Saints Row, in which characters are encouraged to steal prostitutes from one pimp and deliver them to another; or Grand Theft Auto, where having sex with a sex worker increases health much like quaffing an energy drink. Sarkeesian concludes that sex workers in many video games are viewed as commodities and objects, rather than as people — and that they are often targeted for violence. In Red Dead Redemption, for example, the player is rewarded with an achievement for kidnapping a sex worker and murdering her.

Violence against sex workers is a serious problem, both nationally and internationally [PDF], and Sarkeesian makes a good case that the games she discusses treat that violence as fun, enjoyable, or even laudable. But Sarkeesian’s videos have not garnered much praise from those most directly affected by these tropes. On the contrary, many sex workers have argued that Sarkeesian’s videos contribute to the objectification and stigma that she claims she is trying to reduce.

Much of the criticism of Sarkeesian has centered around her terminology. She doesn’t call sex workers “sex workers.” Instead she refers to them throughout her video series as “prostituted women.” That’s a term often used by writers who see all sex work as automatically exploitative or harmful to women, and by those who want to criminalize sex work. Sex workers have repeatedly tried to ask Sarkeesian on social media to reconsider her language, but she hasn’t responded, and has continued to use the term. For example, in this recent tweet she says that fans of Grand Theft Auto have been harassing her by sending her images of “gameplay of the use & murder of prostitutes.” The fact that gamers are using images of sex workers to harass Sarkeesian seems like it fits into her analysis—violence against sex workers is deployed in a misogynist way, in order to harass and intimidate a woman. But at the same time, Sarkeesian, by referring to the “use” of sex workers, seems to buy into the same logic, treating sex workers as things or utilities, rather than as human beings. (Sarkeesian did not respond to a request to comment for this article.)

This seeming contradiction is tied to longstanding tensions between some strands of feminist cultural criticism and sex workers. Sarkeesian’s criticism of video games is in a tradition of feminist analysis that goes back to the 1980s, when theorists like Andrea Dworkin argued that “Pornography is used in rape — to plan it, to execute it, to choreograph it, to engender the excitement to commit the act.” Dworkin saw sexualized images of women as directly implicated in misogyny and violence against women — which could mean that women taking part in pornography, or in sexualized imagery, were seen as themselves culpable or morally flawed. Thus anti-porn feminists like Julie Burchill declared that, “When the sex war is won prostitutes should be shot as collaborators for their terrible betrayal of all women.” Anti-porn feminists and video games here come together in celebrating violent attacks on sex workers.

QotD: The rise of the word “fuck” in common usage

Filed under: Britain, History, Military, Quotations, WW1 — Tags: , , , — Nicholas @ 00:01

During the first World war use of the four-letter word, as it is now called, became universal, or more probably its universal use was first observed by the literate classes. Between the wars the word was presented by writers in a modified form — mucking or flicking — or with its initial only: f—ing. Its use in full — fuck — now seems to be approaching literary, though not conversational, respectability.

A.J.P. Taylor, A History of England: England 1914-1945, 1961.

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