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Myanmar between Woolwich and Al-Aqsa 2: graphical innovation

Wednesday, October 23rd, 2013

[ by Charles Cameron — in which jihadis utilize the graphical technique known as kinetic typography for what may be the first time — follow on to part 1: interfaith hatred ]
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Today the Combating Terrorism Center at West Point notified their mailing list of the launch of their Militant Imagery Project online. It’s a very helpful resource, covering much of the same issues as Artur Beifuss & Francesco Trivini Bellini, Branding Terror: The Logotypes and Iconography of Insurgent Groups and Terrorist Organizations and Asiem El Difraoui, The Jihad of Images — which I discussed briefly in Jottings 7: Two for the iconography of terror a while back.

The CTC explains:

The use of propaganda and imagery by terrorist groups has long been an understudied dimension of the broader field of political violence. This project explores the use of imagery and visual themes by militant groups, focusing largely on jihadist media production. Jihadist organizations and individuals inspired by their message are prolific producers and distributors of visual propaganda, and their efforts have expanded exponentially online. However, these images frequently utilize themes which can be inscrutable to those not familiar with the sub-culture. It is our hope that this project will provide academics, practitioners, and students with a basic contextual understanding of the ideas these images convey before they turn to the larger questions of why they are employed, how they work, and what responses they may elicit.

It is in that spirit that I would point you to the following three screengrabs from the Al-Shabaab video I discussed in my previous post…

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Imagine the images tilting and changing, as the words spoken on the soundtrack are gradually spelled out typographically on screen in this sequence:

Jihad was now global. Jihad in the West — Madrid — London — Paris — Boston — Jihad was now coming home to the West, And it was making a dramatic entrance… WOOLWICH ATTACK

Here are the screengrabs:

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These three screengrabs illustrate what may well be the first use of the technology called “kinetic typography” or more simply “moving text” in jihadist propaganda. Somali news outlet Harar24‘s Editorials team claim it’s a first, writing:

It is not unusual for jihadi videos to be laden with high graphics and effects. However Al-Shabaab this time used a never technique never adopted before in any jihadi videos, kinetic typography.

The best way to investigate kinetic typography in depth is via Marco Papale‘s video site, the Kinetic typography Channel on Vimeo.

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I don’t intend to embed the Shabaab piece itself, but here for your further illumination is the Grandmaster Flash sample rom which the screengrab at the top of this post was taken, in full:

That’s kinetic typography!

Myanmar between Woolwich and Al-Aqsa 1: interfaith hatred

Wednesday, October 23rd, 2013

[ by Charles Cameron — in which jihadis take on Jews, Christians, Muslims and Buddhists, quite an interfaith haul for hatred ]
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Aaron Zelin at Jihadology posted an hour-long video entitled Woolwich Attack a week or so ago, and I found it particularly interesting on two accounts: first, that it makes a multi-faith attack that includes Buddhism in its catalogue of enemies of Islam, and second, that it uses an innovative feature of modern digital typography. Here, I’ll concentrate on the first. Here’s the video’s title:

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Christianity as a target is well represented in the form of Dr Justin Welby, the recently-appointed Archbishop of Canterbury:

Notice also the lower of these two screengrabs, this one showing Ayman al-Zawahiri (left) berating a leading Muslim spokesman in the UK, Ibrahim Mogra of the Muslim Council of Britain (right), for speaking at the same event as the Archbishop. The damning subtitle suggests he’s one of those “who issue Fatwas according to the school of thought of the head of the Church of England”.

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It wasn’t the attack on Christians or fellow Muslims that caught my eye, though, but the unexpected presence of the monk Wirathu, the rhetorical leader of Myanmar’s recent Buddhist rioting against Burmese Muslims. I’d seen his face on Time magazine and elsewhere, but it came as a bit of a shock here in a jihadist video — I’d filed him and his 969 movement under “Buddhism” rather than “Islam” in my mental listing of violent movements with religious underpinnings.

Ugly, ugly.

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Finally, no invitation to jihad these days is complete without its mention of the al-Aqsa mosque and Jerusalem — and it is here that Judaism comes in for attack. Consider these two screengrabs:

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The video closes, significantly, with a long shot of the Dome of the Rock through a window…

Yesterday my friend William Benzon made a post titled On Describing a Painting which began:

Harvard art historian Jennifer Roberts bills her article thus: The Power of Patience: Teaching students the value of deceleration and immersive attention. OK. But I take a different lesson from it, one about one of my current hobby horses: description. Roberts focuses on an 18th Century painting by John Singleton Copley, A Boy with a Flying Squirrel. Her point is that the more you look at the painting, the more you notice and hence the more you can note in a written description. She asks her students to spend a full three hours with a single painting.

Of her own experience with that painting she observes:

It took me nine minutes to notice that the shape of the boy’s ear precisely echoes that of the ruff along the squirrel’s belly—and that Copley was making some kind of connection between the animal and the human body and the sensory capacities of each. It was 21 minutes before I registered the fact that the fingers holding the chain exactly span the diameter of the water glass beneath them. It took a good 45 minutes before I realized that the seemingly random folds and wrinkles in the background curtain are actually perfect copies of the shapes of the boy’s ear and eye, as if Copley had imagined those sensory organs distributing or imprinting themselves on the surface behind him. And so on.

She begins her next paragraph: “What this exercise shows students is that just because you have looked at something doesn’t mean that you have seen it.”

Looking at that final screengrab with this in mind, I see a close correlation between the golden Dome that focuses our attention on the Noble Sanctuary / Temple Mount, and the round, yellow-gold keffiyeh of the jihadist observing it through his window — “making some kind of connection between” them, to echo the words of Harvard’s Elizabeth Cary Agassiz Professor of the Humanities…

It’s a skilled and meaning-filled use of the medium.

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In my second post in this series, I’ll point to a significant development in graphics and technology introduced in this video.

Teju Cole on Nairobi: death and birdsong, death and poetry

Thursday, September 26th, 2013

[ by Charles Cameron — on the topic of Nairobi there’s the news — and then there’s Teju Cole ]
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Teju Cole, left, Kofi Awoonor, right -- photo credits Teju Cole & Peace FM Online respectively

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We’re interested in creativity as well as natsec issues here at Zenpundit, so i thought it might be appropriate to see what a fine writer had to say about the hideous attack and siege of the Westgate mall in Nairobi — and perhaps more importantly, how he chooses to say it.

Teju Cole is a writer (“award winning” and rightly so) whose insightful and skilfully deployed tweets caught my attention some while back, and have only increased my admiration for him over time. I followed his twitterstream along with others while the events in Nairobi were playing out, and today read his New Yorker blog post covering much the same ground in greater detail.

What is striking to me about Cole’s approach — the approach of a fine writer, in Nairobi at the time, a friend and admirer of the Ghanaian poet Kofi Awoonor who died at the mall — is the care he takes to balance death with birdsong, death with poetry. In treating matters this way — and we can be sure he is every bit as deliberate in his use of 140 characters as he is in longer-form writings — he both gives a world of context to the small world of the mall event itself, and offers us hope to balance our despair and disgust.

Cole is reading from his novel Open City at the National Museum at the time the attack on the mall begins:

During the reading, as word of the attack filtered in, people answered their phones and checked their messages, but, onstage and oblivious, I continued taking questions from the audience

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Here, then, I have pulled together most of the tweets Cole posted in recent days for your consideration, in the order in which he posted them… Together, they offer us a very different way to encounter tragic events from those presented by journalists or analysts.

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Nature has entered the picture: next up will be death — the death of his poet colleague and friend, described first obliquely in the poet’s own words:

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Then comes the first of two tweets in which Cole judiciously balances the tragically human and blithely natural worlds, including in his tweet a short soundscape in which those voices are woven together in counterpoint:

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This one is grim — suitable, or a bit overstated, with its echo of the Holocaust? — a question best left to individual taste, perhaps:

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And then his second polyphonic melding of sounds natural and human-made, joyous and terrifying:

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He returns to his friend’s death…

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And then again to birdsong, to the natural world, to the world in which the events of the past days are framed…

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There is something powerfully moving about Cole’s tweeted reflections, and I believe they take their impact from the precision with which Cole himself frames and balances the horror with beauty.

Just today, my friend Jessie Daniels posted a tweet that caught my eye:

Teju Cole has gone from a tweet to a blog post on the New Yorker site in a matter of days. Here’s just a brief taster:

The massacre did not end neatly. It became a siege. In my hotel room, about half a mile from the mall, I was woken in the mornings that followed by the sounds of gunfire, heavy artillery, attack helicopters, and military planes. In counterpoint to these frightening sounds were others: incessant birdsong outside my window, the laughter of children from the daycare next door. I read Awoonor’s poems, and watched a column of black smoke rise from the mall in the distance. The poems’ uncanny prophetic force became inescapable. A section of “Hymn to My Dumb Earth” reads:

What has not happened before?
An animal has caught me,
it has me in its claws
Someone, someone, save
Save me, someone,
for I die.

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But you should really read the whole thing: Letter from Nairobi: “I will say it before death comes”.

Book Review: The Authentic Swing by Steven Pressfield

Wednesday, September 25th, 2013

[by Mark Safranski a.k.a “zen”]

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Authentic Swing by Steven Pressfield 

Callie was kind enough to send me a review copy of Steven Pressfield’s new non-fiction book, The Authentic Swing. Much like the title implies, it is a book with an arc.

The Authentic Swing continues a theme Pressfield began with his excellent The War of Art, continued with Do the Work and Turning Pro of helping struggling writers, artists and others conquer their resistance and acquire the mature habits of mind to become creative, productive professionals. While the previous books were advice, The Authentic Swing is a demonstration. Pressfield breaks down for the reader the gestation and evolution of his first successful novel, The Legend of Bagger Vance and applies a granular eye to the creative process but does so without tipping his hand or writing a “cookbook”. Steve is employing all his gifts as a storyteller to lead and nudge the reader into understanding.

There are many parts in the book that I like, but the following is in my view the most important, despite being less colorful and more straightforward than others:

When Robert McKee was a young writer/director in New York, he got the chance to interview Paddy Chayefsky, the only person to have one two Academy Awards for original Screenplay (Marty and Network) Chayefsky shared this priceless nugget:

As soon as I figure out the theme of my play, I type it out in one line and scotch tape it to the front of my typewriter After that, nothing goes into the play that isn’t on-theme.

If  there is a single more powerful piece of wisdom for any writer, artist or entrepreneur, I don’t know what it is.

Theme.

Theme is everything.

Once we know the theme we know the climax, we know the protagonist, we know the antagonist, we know the supporting characters, we know the opening, we know the throughline.

I said before that I have a file in my computer titled NEW IDEAS. I have another THEME.  for each new project, I open a new file and title it THEME. I go back to this file over and over. I pile paragraph on paragraph, trying to answer the question, “What the hell is this book about?”

It’s hard.

Theme not only drives art, it drives a coherent life. It makes the disparate connected and gives actions unity. We see theme in great innovative companies, in the curriculum of our best university programs, at the core of great religions, in revolutionary political movements and a nation’s grand strategy. Charles Hill, drew on themes of classical literature to teach that very point about foreign policy. This advice is worth the price of the book alone.

The theme here is authenticity and allowing yourself to express it. Pressfield demonstrates this frequently by parable and metaphor, moving the reader toward the process of discovering authenticity without making the fact that it is a process confuse the reader with the expectation that it will be linear or easy, only natural. I don’t want to give away too much because it is fun to see how the vignettes unfold on build upon one another, obviously golf and the cultural context the sport provided for Bagger Vance is a large part of the book but that will not be a surprise. I will say that The Authentic Swing is a very elegant method of teaching.

Steve’s best non-fiction book since The War of Art.

Ronfeldt’s In-Depth Review of America 3.0

Monday, September 23rd, 2013

 

 David Ronfeldt, RAND strategist and theorist has done a deep two-part  review of America 3.0 over at his Visions from Two Theories blog. Ronfeldt has been spending the last few years developing his TIMN analytic framework (Tribes, Institutions [hierarchical], Markets and Networks) which you can get a taste from here  and here or a full reading with this RAND paper.

David regards the familial structure thesis put forward by James Bennett and Michael Lotus in America 3.0 as “captivating”  and “compelling” for  “illuminating the importance of the nuclear family for America’s evolution in ways that, in my view, help validate and reinforce TIMN”. Both reviews are detailed and should be read in their entirety, but I will have some excerpts below:

America 3.0 illuminates significance of nuclear families — in line with TIMN (Part 1 of 2) 

….Bennett and Lotus show at length (Chapter 2, pp. 29-45) that the nuclear family explains a lot about our distinctive culture and society:

“It has caused Americans to have a uniquely strong concept of each person as an individual self, with an identity that is not bound by family or tribal or social ties. … Our distinctive type [of] American nuclear family has made us what we are.” (p. 29)And “what we are” as a result is individualistic, liberty-loving, nonegalitarian (without being inegalitarian), competitive, enterprising, mobile, and voluntaristic. In addition, Americans tend to have middle-class values, an instrumental view of government, and a preference for suburban lifestyles. 

As the authors carefully note, these are generally positive traits, but they have both bright and dark sides, noticeable for example in the ways they make America a “high-risk, high-return culture” (p. 38) — much to the bane of some individuals. The traits also interact in interesting ways, such that Americans tend to be loners as individuals and families, but also joiners “who form an incomprehensibly dense network of voluntary associations” — much to the benefit of civil society (p. 39). 

In sum, the American-style nuclear family is the major cause of “American exceptionalism” — the basis of our freedom and prosperity, our “amazing powers of assimilation” (p. 53), and our unique institutions:

“It was the deepest basis for the development of freedom and prosperity in England, and then in America. Further, the underlying Anglo-American family type was the foundation for all of the institutions, laws, and cultural practices that gave rise to our freedom and prosperity over the centuries.” (p. 52)The authors go on to show this for America 1.0 and 2.0 in detail. They also reiterate that Americans have long taken the nuclear family for granted. Yet, very different marriage and family practices are the norm in most societies around the world. And the difference is profoundly significant for the kinds of cultural, social, economic, and political evolution that ensue. Indeed, the pull of the nuclear model in the American context is so strong that it has a liberating effect on immigrants who come from societies that are organized around extended families and clans (p. 55) — an important point, since America is a land of immigrants from all over, not just from Anglo-Saxon nuclear-family cultures.

….As for foreign policy, the authors commend “an emerging phenomenon we call “Network Commonwealth,” which is an alignment of nations … who share common ties that may include language, culture and common legal systems.” (p. 260) Above all, they’d like to see the “Anglosphere” take shape. And as the world coalesces into various “global networks of affinity” engaged in shifting coalitions (p. 265), America 3.0 would cease emphasizing democracy-promotion abroad, and “reorient its national strategy to a primary emphasis on maintaining the freedom of the global commons of air, sea, and space.” (p. 263) [UPDATE: For more about the Network Commonwealth and Anglosphere concepts, see Bennett’s 2007 paper here.]

Read the whole thing here.

America 3.0 illuminates significance of nuclear families — in line with TIMN (Part 2 of 2)  

….Overlaps with TIMN themes and propositions

Part 1 discussed America 3.0’s key overlap with TIMN: the prevalence and significance of the nuclear family in the American case. This leads to questions about family matters elsewhere. Furthermore, it should be pointed out that there is more to TIMN’s tribal form than the nature of the family. I also spotted several additional thematic overlaps between America 3.0 and TIMN, and I want to highlight those as well. Thus, in outline form, this post addresses:

  • Seeking a fuller understanding of family matters beyond the American case.
  • Gaining a fuller understanding of the tribal/T form.
  • Anticipating the rise of the network/+N form.
  • Recognizing that every form has bright and dark sides.
  • Recognizing the importance of separation among the forms/realms.
  • Recognizing that balance among them is important too.
  • Cautioning against the exportability of the American model.

After these points, the post ends by summarily noting that America 3.0 is more triformist than quadriformist in conception — but a worthy kind of triformist plus, well worth reading.

My discussion emphasizes the T and +N forms. Bennett and Lotus also have lots to say about +I and +M matters — government and business — and I’ll squeeze in a few remarks along the way. But this post mostly skips +I and +M matters. For I’m more interested in how America 3.0 focuses on T (quite sharply) and +N (too diffusely). 

By the way, America 3.0 contains lots of interesting observations that I do not discuss — e.g., that treating land as a commodity was a feature of nuclear-family society (p. 105), and so was creating trusts (p. 112). Readers are advised to harvest the book’s contents for themselves.

….Caution about the exportability of the American model: TIMN sharpens — at least it is supposed to sharpen — our understanding that how societies work depends on how they use four cardinal forms of organization. This simplification leaves room for great complexity, for it is open to great variation in how those forms may be applied in particular societies. Analysts, strategists, and policymakers should be careful about assuming that what works in one society can be made to work in another. 

….In retrospect it seems I pulled my punch there. I left out what might/should have come next: TIMN-based counsel to be wary about assuming that the American model, especially its liberal democracy, can be exported into dramatically different cultures. I recall thinking that at the time; but I was also trying to shape a study of just the tribal form, without getting into more sweeping matters. So I must have pulled that punch, and I can’t find anywhere else I used it. Even so, my view of TIMN is that it does indeed caution against presuming that the American model is exportable, or that foreign societies can be forced into becoming liberal democracies of their own design.

Meanwhile, America 3.0 clearly insists that Americans should be wary of trying to export the American model of democracy. Since so much about the American model depends on the nature of the nuclear family, policies that work well in the United States may not work well in other societies with different cultures — and vice-versa. Accordingly, the authors warn,

“American politicians are likely to be wrong when they tell us that we can successfully export democracy, or make other countries look and act more like the United States.” (p. 24)

“A foreign-policy based primarily on “democracy-promotion” and “nation-building” is one that will fail more times than not, … .” (p. 254)TIMN is not a framework about foreign policy. But as a framework about social evolution, it may have foreign-policy implications that overlap with those of America 3.0. In my nascent view (notably herehere, and here), the two winningest systems of the last half-century or so are liberal democracy and patrimonial corporatism. The former is prominent among the more-advanced societies, the latter among the less-developed (e.g., see here). As Bennett and Lotus point out, liberal democracy is most suitable where nuclear families hold sway. And as I’ve pointed out, patrimonial corporatism is more attractive in societies where clannish tribalism holds sway. 

Read the rest here.

This discussion about America 3.0 and TIMN seems particularly appropriate in light of the need to process, digest and distill the lessons of more than a decade of COIN and counter-terrorism warfare in Iraq, Afghanistan, Pakistan, Yemen and – increasingly- Africa. One of the more difficult aspects of COIN operations has been for American military and diplomatic to decipher the layered relationships and interplay of family honor, tribe, political institution, emerging market and networks in a nation shattered by dictatorship and war like Iraq or to import modern institutions and  a democratic political system in Afghanistan where they had never existed.

Many of these aspects were opaque and were understood only through hard-won experience (frequently lost with new unit rotation) or still remain elusive to Americans even after ten years of fighting among alien cultures which were also permeated by the sectarian nuances and conflicts of Islam. A religion to which relatively few Americans adhere or know sufficiently about, yet is a critical psychological driver for many of our adversaries as well as our allies.

Arguably, the eye-opening response of people to America 3.0 indicates we do not even understand ourselves, much less others


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