“Vandalism” is a word invented by its victims. It names damage done by outsiders to things the center considers sacred: monuments, images, narratives of order. In late Rome, the Vandals and Goths were not merely destroyers of marble; they were destroyers of Roman self-certainty. To call them vandals was to collapse political threat, cultural difference, and aesthetic offense into a single moral judgment. The word survives because empires do.

The fall of the Roman Empire is often imagined as a barbarian eruption against civilization, but this is a retrospective fantasy. The Goths were already inside Rome—serving in its armies, speaking its languages, converting to its Christianity. Their “vandalism” was less an annihilation than a reallocation: power, land, legitimacy moved away from an exhausted center. What fell was not civilization, but monopoly.

This is where Augustine enters the picture. A Berber African from the imperial periphery, he rose to become Doctor of the Universal Church while never quite ceasing to be marked as other—by accent, by origin, by the faint suspicion that holiness should sound Roman. The City of God itself is a strange text of imperial afterlife: a Christian theology written to explain why Rome’s gods failed, and why Rome itself did not matter as much as it thought. Augustine did not smash statues; he dissolved them conceptually. His was a vandalism of meaning.

Christianity, in its early centuries, functioned as a culture-jamming operation against pagan imperial spectacle. The cross replaced the eagle; martyr stories replaced triumphal processions. Paganism, meanwhile, became the name for everything local, plural, and insufficiently universal. Yet Christianity, once enthroned, quickly learned to protect images rather than interrupt them. Vandalism, like prophecy, became heresy once institutionalized.

Fast forward to the contemporary United States and its military-industrial hegemony: an empire of logistics, branding, and managed perception. Here vandalism reappears not primarily as physical destruction but as semiotic interference. The adbuster and the culture jammer do not topple statues; they détourn billboards, parody logos, and interrupt the smooth flow of consumer militarism. Their “damage” is to narrative coherence.

Street art and nonviolent direct action operate in this Gothic register: inside the empire but not of it. Like the Goths in Rome, they speak the dominant language fluently enough to break it. They reveal the fragility of what presents itself as inevitable. A modified advertisement is unsettling because it exposes how much power resided in the unmodified one.

Is the adbuster the adjuster of the social ledger? Perhaps—but only temporarily. Empire’s ledger is vast, and its accountants are patient. Still, adjustments matter. Vandalism, in this sense, is not chaos but critique enacted at the level of surfaces. It asks: who authorized this image? who benefits from its intactness? what happens if we refuse to look correctly?

Augustine understood this paradox. “Like all men of Rome I have been proconsul, like all men a slave.” Borges’s line captures the imperial condition perfectly: to rule is also to be ruled by the structure that grants authority. The culture jammer inherits this insight. They are inside the system they oppose, fluent in its aesthetics, constrained by its reach. Their vandalism is an admission of captivity and a test of freedom.

What connects Goth, Pagan, Christian, and adbuster is not theology or ideology but position: each names a force that destabilizes an imperial claim to universality. Vandalism is what the center calls that destabilization when it cannot absorb it. Sometimes the empire falls. More often, it adapts. But the scratch on the surface remains—a reminder that no image is final, and no order is immune to reinterpretation.

[composed with artificial intelligence]