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Keeping it pop in natsec and politics

Friday, April 21st, 2017

[ by Charles Cameron –0 a DoubleTweet from Foreign Affairs deputy managing editor Justin Vogt ]
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Halal Dunkin’ Donuts in Karachi..

and Ted Nugent gets a private tour of the White House from President Trump — with Kid Rock and Sarah Palin:

“He gave us a wonderful personal tour of every room and talked about the origins of every carpet and every painting — there was a Monet — and then we had dinner,” said Mr. Nugent, who has referred to former President Barack Obama as a “mongrel” and to Hillary Clinton with an array of unflattering epithets.

Daveed Gartenstein-Ross in Foreign Affairs, my oblique analysis

Sunday, March 5th, 2017

[ by Charles Cameron — in which Gartenstein-Ross reminds me of Albrecht Dürer ]
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Daveed speaks:

Daveed is worth reading and heeding, especially when he says he’s written something of particular consequence — so read his Foreign Affairs piece.

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My topic is triggered by a single sentence in Daveed’s piece, and is orthogonal to his. Daveed writes:

These spaces included both literal ungoverned territory and discursive spaces

In the overall flow of Daveed’s piece that’s a simple introductory remark, an observation of fact. From my point of view, though, there’s more to it than that — it’s a disjunction & conjunction of the two realms of geography and cognition, matter and mind, or “outer and inner space” if you will. And that’s something always worth noting.

In fact, Daveed’s comment reminds me of Albrecht Dürer and his illustrations of Saint Michael Fighting the Dragon, from The Apocalypse:

Here, the supernatural sits comfortably above (Latin: super) the natural.

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The physical-metaphysical (body-mind; outer-inner; objective-subjective) disjunction & conjunction is recognizable in Descartes, and takes contemporary form as the so-called hard problem in consciousness. It’s significant that the “war in heaven” of Durer’s vision no longer fills the skies in our contemporary images of war, though heaven and hell are no less with us than before..

And so I note that, en passant, Daveed has alluded to what is perhaps the great schism of our time, that between visionary and factual truths.

Kathleen Raine, poet — and mentor of my youthful self:

Fact is not the truth of myth; myth is the truth of fact.

Witness her distress as we abandon truth of myth shining “above” truth of fact, for truth of fact alone:

Chemistry dissolves the goddess in the alembic,
Venus the white queen, the universal matrix,
Down to molecular hexagons and carbon-chains,

John of Patmos, the alchemists, Durer, Blake, Jung, Raine, have the richer vision.

DoubleQuoting Blake on Guinea and Sun

Thursday, October 20th, 2016

[ by Charles Cameron — an appendix to The importance of Albrecht Dürer ]
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On two separate occasions Blake compares a guinea (a coin worth one pound and one shilling) and the sun:

blaketo-the-eyes-of-a-miser

In the quote above, we see things as they appear “to the eyes of a miser”, while in that below, we see them through the eyes of the Poet:

blake-when-the-sun-rises

Blake continues that second quote, by saying “I question not my Corporeal or Vegetative Eye any more than I would Question a Window concerning a Sight: I look thro it & not with it.” Hence my distinguishing between “as they appear” in the miser’s eyes and “through” the poet’s eyes..

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The two quotes, taken together, freshly demonstrate the gulf between the two views so forcefully expressed in the second — the topic of my earlier post, The importance of Albrecht Dürer

The importance of Albrecht Dürer in grokking ISIS

Thursday, October 20th, 2016

[ by Charles Cameron — because the world of the jihadists resembles Dürer’s more than it does our own? ]
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It’s extraordinary the insight that an appreciative acquaintance with Albrecht Dürer provides, in attempting to understand ISIS not just theoretically but imaginatively, and thus viscerally.

Under the title ISIL Boasts: America will go down to defeat in the Streets of Mosul Juan Cole blogs [emphasis mine]:

AFP is reporting that a news agency linked to Daesh (ISIS, ISIL), “A`maq,” is carrying a video of a Daesh fighter who swears that he and his colleagues will inflict a decisive defeat on the US in Iraq, as the guerrillas spread through the streets of the city. He addresses the camera saying, “As for you, America, we promise you that which our honored elders promised you, God bless them, such as Abu Mus`ab (al-Zarqawi) and Abu `Umar and Abu Hamza [etc.].”

The threats don’t make any sense. The US does not have infantry combat troops at the front lines, and is mainly intervening with fighter jets and bombers. If you are a small guerrilla group, you really cannot match that firepower. There is no obvious way in which Daesh could inflict harm on the US in Mosul.

How about a non-obvious way?

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For the apocalyptic true believers of ISIS, these verses (ayat, which also refers to “signs”) from the Qur’an ring true today:

When thou saidst to the believers, ‘Is it not enough for you that your Lord should reinforce you with three thousand angels sent down upon you? Yea; if you are patient and godfearing, and the foe come against you instantly, your Lord will reinforce you with five thousand swooping angels.’

Qur’an 3.124-25

We may have lost sight of the angels, and for that matter the dragon, the horsemen, the “woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars” and the “Lamb which is in the midst of the throne” — in our western mostly post-Christian tradition, but John of Patmos and Albrecht Durer saw them, in what we now think of as “the sky”, familiarly known in their days as “the heavens”.

But is that our clarity or our blindness?

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If we are to understand ISIS, we need an analytic framework which doesn’t automatically exclude angels from its purview — as I argued somewhat more broadly in my essay The Dark Sacred: The Significance of Sacramental Analysis in Robert Bunker‘s Blood Sacrifices [Kindle, $3.99].

We are dealing with a subset of that culture wherein poetry is as highly valued as it is lowly valued in our own — as Shahab Ahmad tells us in What is Islam, “the poetical discourses of Muslim societies” are “the form of speech regarded as the highest register of human self-expression and social communication.”

And we are easily blind to such things. Thomas Hegghammer, in his Paul Wilkinson Memorial Lecture at the University of St. Andrews, Why Terrorists Weep: The Socio-Cultural Practices of Jihadi Militants, writes:

It took me a long time to even notice these things. I’ve studied jihadi groups for almost fifteen years, and for the first ten, I was addressing standard questions, like, how did group A evolve, what has ideologue B written, who joins movement C, etc. The thing is, when you study one type of group for a while, you take certain things for granted. I knew that these groups were weeping and reading poetry, but it didn’t really register – it was background noise to me, stuff I needed to shove aside to get to the hard information about people and events.

Hegghammer goes on to comment that “soft” activities — he names weeping, reading and reciting poetry, dreaming — “pose a big social science puzzle, in that they defy expectations of utility-maximising behaviour.”

We tend to the “utility-maximizing” end of a philosophical spectrum (running, as per my example above, from “heaven” to “sky”) but they do not.

Oh, no. They do not.

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To understand the poetics of jihad, and thus the passions it arouses, we must first glimpse the visionary faculty that is implicit in our own so easily disregarded poetry.

Thus William Blake, in his A Vision of the Last Judgment:

“What,” it will be Questioned, “When the Sun rises, do you not see a round Disk of fire somewhat like a Guinea?” O no no, I see an Innumerable company of the Heavenly host crying “Holy Holy Holy is the Lord God Almighty.” I question not my Corporeal or Vegetative Eye any more than I would Question a Window concerning a Sight: I look thro it & not with it.

Heart Line — a response to Bill Benzon

Wednesday, October 12th, 2016

[ by Charles Cameron — design fascination — including a Mimbres rabbit with a supernova at its feet ]
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Bill Benzon has been blogging a remarkable series of posts on Jamie Bérubé‘s drawings as recorded in the online illustrations to Michael Bérubé‘s book, Life As Jamie Knows It: An Exceptional Child Grows Up.

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I wanted to respond to Bill’s latest, Jamie’s Investigations, Part 5: Biomorphs, Geometry and Topology, which included this illustration:

berube-benzon-5-biomorphs

and these comments, which I’ve edited lightly for clarity and simplicity:

I emailed Mark Changizi, a theoretical neuroscientist who has done work on letterforms. He has been making a general argument that culture re-purposes, harnesses (his term), perceptual capacities our ancestors developed for living in the natural world. One of his arguments is that the forms used in writing systems, whether Latinate or Chinese (for example), are those that happened to be useful in perceiving creatures in the natural world, such as plant and animal forms. I told him that Jamie’s forms looked like “tree branches and such.” He replied that they looked like people. His wife, an artist, thought so as well, and also: “This is like early human art.”

You’ll see why that-all interests me — letters and life forms — below.

And then:

Yes, each is a convex polygon; each has several ‘limbs’. And each has a single interior line that goes from one side, through the interior space, to another side. The line never goes outside the polygon .. Why those lines? I don’t know what’s on Jamie’s mind as he draws those lines, but I’m guessing that he’s interested in the fact that, given the relative complexity of these figures and the variety among them, in every case he can draw such a line.

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Two thoughts cross my mind.

The first is that one of these forms, Benzon’s Biomorphic Objects 6a, bears a striking resemblance to the letter aleph, with which the Hebrew alphabet — or better, alephbeth — begins:

berube-benzon-5-biomorph-6a-aleph

There may be some connection there, I’m not sure — though Jamie also has a keen interest in alphabetic forms, as illustrated here:

berube-benzon-5-letterforms

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But it’s my second point that interests me more.

These “biomorphic objects” with “single interior line that goes from one side, through the interior space, to another side” remind me of nothing so much as the Native American style of representing animals with a “heart line” — best illustrated, perhaps, by this Acoma Pueblo Polychrome Olla with Heartline Deer:

The image comment notes:

One generally associates the use of heartline deer with pottery from Zuni Pueblo and that is most likely the origin. The fact that it appears on Acoma Pueblo pottery has been explained in a number of fashions by a number of contemporary Acoma potters. Deer designs have been documented on Acoma pottery as early as 1880, but those deer do not feature heartline elements. Some potters at Acoma have indicated that Lucy Lewis was the first Acoma potter to produce heartline deer on Acoma pottery. She did this around 1950 at the encouragement of Gallup, New Mexico Indian art dealer Katie Noe. Lewis did not use it until gaining permission from Zuni to do so. Other potters at Acoma have stated that the heartline deer is a traditional Acoma design; however, there is no documented example to prove this. Even if the heartline deer motif is not of Acoma origin, potters at Acoma have expressed that it does have meaning for them. It is said to represent life and it has a spiritual connection to deer and going hunting for deer.

Here’s a “heartline bear” from David and Jean Villasenor‘s book, Indian Designs:

bear-heartline

And here’s an equivalent Mimbres design for a rabbit with heartline, in which the line passes completely through the body from one side to the other, as in Jamie’s biomorphs:

mimbres-rabbit

Again, the comment is interesting — it cites a 1990 New York Times article, Star Explosion of 1054 Is Seen in Indian Bowl:

When the prehistoric Mimbres Indians of New Mexico looked at the moon, they saw in its surface shading not the “man in the moon” but a “rabbit in the moon.” For them, as for other early Meso-American people, the rabbit came to symbolize the moon in their religion and art.

On the morning of July 5, 1054, the Mimbres Indians arose to find a bright new object shining in the Eastern sky, close to the crescent moon. The object remained visible in daylight for many days. One observer recorded the strange apparition with a black and white painting of a rabbit curled into a crescent shape with a small sunburst at the tip of one foot.

And so the Indians of the Southwestern United States left what archeologists and astronomers call the most unambiguous evidence ever found that people in the Western Hemisphere observed with awe and some sophistication the exploding star, or supernova, that created the Crab nebula.

That would be the sunburst right at the rabbit’s feet!

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Posts in Bill’s series thus far:

  • Jamie’s Investigations, Part 1: Emergence
  • Jamie’s Investigations, Part 2: On Discovering Jamie’s Principle
  • Jamie’s Investigations, Part 3: Towers of Color
  • Jamie’s Investigations, Part 4: Concentrics, Letters, and the Problem of Composition
  • Jamie’s Investigations, Part 5: Biomorphs, Geometry and Topology
  • My previous comment on #1 in the series:

  • On the felicities of graph-based game-board design: nine

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