Now that the United States and Cuba have staked out their (well rehearsed and often deployed routine) positions, the two states have begun the "litigation" phase of their state-to-state conflict in the courts of public opinion. The objectives are fairly simple--to sway Western public opinion (and thus to manage pressure in the liberal Western democratic traditions of the rules of play, and to stoke the usual fears in the Cuban population-the fear of invasion, the fear of subversion, and the fear of the old imperial power seeking some sort of new neo-colonialist relationship with the people (that is the state). For the Cubans there is an added benefit. The Affair of the Sonic Weapons Attack, if played correctly, will serve Cuba's regional interests by stoking similar fears n regional states and working to enhance their position in the Caribbean and Central America. It might also produce benefits in the context of their efforts to retain influence in the complex politics fo Venezuela, including the complex politics of negotiating a regime transition.
During the litigation phase both parties begin a process of strategic disclosures and assertions based on evidence that they produce to suit the development of their "case." To advance Cuba's "case", the state apparatus and its allies abroad have been doing two things. First they have asserted that they had nothing to do with the attacks (e.g., here, and here), then that the entire affair has been made up (e.g. here) and the product of mass hysteria (e.g., here). More potently, they have managed to have leaked to the Western press a slew of stories that seem to implicate U.S. spy and spy networks as the cause of the entire affair (here, and here).
Now the United States has started the presentation of evidence for its "case." Desmond Boyland, the the Associated Press reported that "The Associated Press has obtained a recording of what some U.S. Embassy workers heard in Havana, part of the series of unnerving incidents later deemed to be deliberate attacks." Josh Lederman and Michael Weissenstein, "What Americans heard in Cuba attacks," The Morning Journal (12 Oct. 2017). The object is clear--to start to make the case, first for the reality of the attack (to counter the initial Cuban assertions) and the seriousness of the injuries. The sound evidence may well serve as the first round of that sort of evidence leaked in strategic stages. Later disclosures may well be used to point to the source of the attack.
The narrative lines are becoming clearer then. The Cubans suggest a narrate grounded in implausibility, or in their own victimization, or in conspiracy theory (e.g., U.S. spy platy gone bad). These play well to their allies and their regional political aspirations. The United States is also deploying an ideological narrative grounded in the "rogue state" trope, in which Cuba is playing with or is being played by its crew of friends in the international community, all of whom are to some extent are seeking to undermine the U.S. The U.S. is also playing the "CSI" narrative--it will tell its story through the language of science and scientific deduction; it will let the "facts speak. " "Stay tuned. We await more thrust and counterthrust as the United States and Cuba drill down into the facts of the dispute. Portions of the Josh Lederman and Michael Weissenstein reporting follows.
"What Americans heard in Cuba attacks"
Josh Lederman and Michael Weissenstein
The Morning Journal (12 Oct. 2017).
WASHINGTON >> It sounds sort of like a mass of crickets. But not quite. A high-pitched whine, but from what? It seems to undulate, even writhe. Listen closely: Some hear multiple, distinct tones colliding in a nails-on-the-chalkboard effect.
The Associated Press has obtained a recording of what some U.S. Embassy workers heard in Havana, part of the series of unnerving incidents later deemed to be deliberate attacks. The recording, released Thursday by the AP, is the first disseminated publicly of the many taken in Cuba of sounds that led investigators initially to suspect a sonic weapon.
The recordings from Havana have been sent for analysis to the U.S. Navy, which has advanced capabilities for analyzing acoustic signals, and to the intelligence services, the AP has learned. But the recordings have not significantly advanced U.S. knowledge about what is harming diplomats. Officials say the government still doesn’t know what is responsible for injuries to its personnel, but the U.S. has faulted Cuba for failing to protect American diplomats on its soil.
The Navy and the State Department did not respond to requests for comment on the recording. Cuba has denied involvement or knowledge of the attacks.
Not all Americans injured in Cuba heard sounds. Of those who did, it’s not clear they heard precisely the same thing.
Yet the AP has reviewed several recordings from Havana taken under different circumstances, and all have variations of the same high-pitched sound. Individuals who have heard the noise in Havana confirm the recordings are generally consistent with what they heard.
“That’s the sound,” one of them said.
The recording being released by the AP has been digitally enhanced to increase volume and reduce background noise, but has not been otherwise altered.
The sound seemed to manifest in pulses of varying lengths — seven seconds, 12 seconds, two seconds — with some sustained periods of several minutes or more. Then there would be silence for a second, or 13 seconds, or four seconds, before the sound abruptly started again.
Whether there’s a direct relationship between the sound and the physical damage suffered by the victims is unclear. The U.S. says that in general, the attacks caused hearing, cognitive, visual, balance, sleep and other problems.
A closer examination of one recording reveals it’s not just a single sound. Roughly 20 or more different frequencies, or pitches, are embedded in it, the AP discovered using a spectrum analyzer, which measures a signal’s frequency and amplitude.
To the ear, the multiple frequencies can sound a bit like dissonant keys on a piano being struck all at once. Plotted on a graph, the Havana sound forms a series of “peaks” that jump up from a baseline, like spikes or fingers on a hand.
“What it is telling us is the sound is located between about 7,000 kHz and 8,000 kHz. There are about 20 peaks, and they seem to be equally spaced. All these peaks correspond to a different frequency,” said Kausik Sarkar, an acoustics expert and engineering professor at The George Washington University who reviewed the recording with the AP.
Those frequencies might be only part of the picture. Conventional recording devices and tools to measure sound may not pick up very high or low frequencies, such as those above or below what the human ear can hear. Investigators have explored whether infrasound or ultrasound might be at play in the Havana attacks.
The recordings have been played for workers at the U.S. Embassy to teach them what to listen for, said several individuals with knowledge of the situation in Havana. Some embassy employees have also been given recording devices to turn on if they hear the sounds. The individuals weren’t authorized to discuss the situation publicly and demanded anonymity.
Cuban officials wouldn’t say whether the U.S. has shared the recordings with Cuba’s government.
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At least 22 Americans are “medically confirmed” to be affected, the State Department says, adding that the number could grow. The attacks started last year and are considered “ongoing,” with an incident reported as recently as late August.
Cuba has defended its “exhaustive and priority” response, emphasizing its eagerness to assist the U.S. investigation. Cuban officials did not respond to requests for comment for this story but have complained in the past that Washington refuses to share information they say they need to fully investigate, such as medical records, technical data and timely notification of attacks.
The recordings also appear to rule out one possibility for a high-tech weapon: electromagnetic pulses.
The broad array of symptoms reported, including those not easily explained by sound waves, had led to questions of a possible microwave or radio wave device frying body tissue from afar. Research conducted by the U.S. military decades ago showed that short, intense “pulses” of microwaves could affect tissue in the head in a way that was interpreted by the ear as sound, meaning that a microwave device could potentially “beam” sounds directly into people’s heads.
If that were the case, the sounds wouldn’t show up on a recording.