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Think and think again

Sunday, December 27th, 2015

[ by Charles Cameron — the world is not always built to our expectations, eh? ]
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Here are a couple of “unexpected consequences” — unexpected in this case because the local context in which they arose isn’t the context that the wider-angle, borader-brush view to which we are habituated might suggest. The first shows Israeli Jews rejoicing at the death by burning of a Palestinian baby:

At a wedding, Right-Wing West Bank Jewish settler yeshiva students celebrate the arson-murder, allegedly carried out by right-wing Jewish settler youths, of an 18-month-old Palestinian baby and his parents in the West Bank Palestinian village of Douma (Duma) in July 2015. Aired by Israel’s Channel 10 News on 12-23-2015

The seond shows Moroccan Jews celebrating national unity with cries of Allahu Akbar:

Jews saying Allahu Akbar while they sing Sawt al Hassan Ynadi. They also sing Layouune 3iniya. This is Morocco, where unity and patriotism brings all people together as one! This is the face of coexistence and peace. This is the face of Morocco from Tangier to Lagouira!

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And for a touch of authentic Christmas spirit..

A group of Muslims are being hailed for a heroic act in Kenya. After Al-Shabaab militants ambushed their bus, they shielded the Christian passengers and kept them from being singled out. CNN’s David McKenzie reports.

Whose black banner is it, anyway? — and the Khawarij

Monday, December 29th, 2014

[ by Charles Cameron — a flag flapping in the wind, in the mind ]
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You see this flag?

Who flies it?

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The media often call it “the Islamic State flag” these days, and indeed in the photo above, it’s a convoy of IS / Daesh vehicles that’s flying it.

But in the recent 13th issue of Al Qaida in the Arabian Peninsula‘s magazine, Inspire, that same flag is used as an icon for both Mohammad Jawlani, the emir of AQ’s Iraqi branch, Jabhat al-Nusra, and Mukhtar Abu Zubair, late emir of al-Shabaab — and indeed, it also features in AQAP’s Malahem Media logo:

whose black banner

It is one of the ironies of the age that the image of a black banner featuring the white circular “seal of the Prophet” is flown by both sides in the contentious rivalry between the Islamic State and Al Qaida for leadership in the global jihad .

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And who are the Khawarij today?

Joas Wagemakers, in ‘Seceders’ and ‘Postponers’? — an analysis of the ‘Khawarij’ and ‘Murji’a’ labels in polemical debates between quietist and jihadi-salafis, identifies the central distinctive opinion of the Khawarij thus:

The first of these is the Khawarij’s belief that revolt against Muslim rulers was allowed if they were deemed insufficiently pious. When ‘Ali accepted arbitration with Mu‘awiya, the people later known as Khawarij reportedly shouted ‘judgement is God’s alone’ (la hukm illa li-llah). In the context of that event, this referred to their belief that only God had the authority to arbitrate, not human beings, and that ‘Ali should not have accepted Mu‘awiya’s offer. The slogan later came to represent their broader view that all judgements and rulings should be left to God, thus applying Qur’anic rulings so strictly that they expelled Muslims guilty of major sins from their community and fought them. Because they believed sinful Muslims to be unbelievers (kuffar, singular: kafir), they directly applied passages from the Qur’an pertaining to jihad against non-Muslims to those of their co-religionists who were less than perfectly pious.

Does any of that sound familiar?

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Well and truly trolled, JM!

Serpent logics: the marathon

Sunday, November 24th, 2013

[ by Charles Cameron — oh, the sheer delightful drudgery of finding patterns everywhere ]
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I’ll start this post, as I did the previous one to which this is a sort of appendix, with a (deeply strange, tell me about it) example of the…

Matrioshka pattern:


That’s a piece of jewelry made out of disembodied pieces of Barbies from the extraordinary designer’s mind of Margaux Lange, FWIW.

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This post is the hard core follow up to my earlier piece today, Serpent logics: a ramble, and offers you the chance to laugh and groan your way through all the other “patterns” I’ve been collecting over the last few months. My hope is that repeated (over)exposure to these patterns will make the same patterns leap out at you when you encounter them in “real life”.

Most of the examples you run across may prove humorous — but if you’re monitoring news feeds for serious matters, my hunch is that you’ll find some of them helpful in grasping “big pictures” or gestalts, noting analomalies and seeing parallels you might otherwise have missed.

Have at it!

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Here’s another Matrioshka, from the structural end of lit crit that my friend Wm. Benzon attacks with gusto over at New Savannah:

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Enantiodromia:

You’ll recall this is the pattern where something turns into its opposite… as described in this quote from the movie Prozac Nation:

I dream about all the things I wish I’d said.
The opposite of what came out of my mouth.
I wish I’d said
“Please forgive me. Please help me.
I know I have no right to behave this way?”

Here are a few examples…

Ahmed Akkari Repents Violent Opposition to Danish Cartoons Lampooning Islam:

After a Danish newspaper published cartoons satirizing the Muslim Prophet Muhammad, Ahmed Akkari spearheaded protests that ultimately cost the lives of 200 people. Now he says he’s sorry. Michael Moynihan on what changed Akkari’s mind.

That’s impressive!

That one’s run of the media mill…

And this one’s from my delightful, delicious boss, Danielle LaPorte:

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A friend sent me this:

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Let’s just plough ahead…

Nominalism:

Nominalism is the category where the distinction between a word and what it represents gets blurry — a very significant distinction in some cases —

How’s this for naming your donkey after your President?

Consider this one, another instance of nominalism in action, from the French justice system:

A mother who sent her three-year-old son Jihad to school wearing a sweater with the words “I am a bomb” on the front, along with his name and ‘Born on September 11th’ on the back, was handed a suspended jail sentence on Friday for “glorifying a crime”. A court of appeal in the city of Nimes, southern France, convicted Jihad’s mother Bouchra Bagour and his uncle Zeyad for “glorifying a crime” in relation to the terrorist attacks in the United States on September 11th 2001.

The classic nominalist image — with which I’d compare and contrast the French three-year-old with the unfortunate name and tsee-shirt — is Magritte’s cdelebrated “Ceci n’est pas une pipe”:

And here’s one final nominalist example:

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The spiral:

Here’s a potential downwards spiral, for those watching India:

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Straight parallelism:

This one’s from Jonathan Franzen:

And meanwhile the overheating of the atmosphere, meanwhile the calamitous overuse of antibiotics by agribusiness, meanwhile the widespread tinkering with cell nucleii, which may well prove to be as disastrous as tinkering with atomic nucleii. And, yes, the thermonuclear warheads are still in their silos and subs.

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Simple Opposition:

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Some of these categories seem pretty fluid — or to put that another way, some of these examples might fit with equal ease into several doifferent categories. Here’s another oppositional class:

Arms crossed:

From Ezra Klein and Evan Solta blogging at WaPo’s Wonkbook: The Republican Party’s problem, in two sentences:

It would be a disaster for the party to shut down the government over Obamacare. But it’s good for every individual Republican politician to support shutting down the government over Obamacare.

A great “values” juxtaposition:

And hey, nice phrasing:

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Here’s an example of one of the central patterns of violence and justice:

Tit for Tat:

[ the account this tweet came from, which was a media outlet for Shabaab, has since been closed — hence the less than euqal graphical appearance of this particular tweet… ]

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And here, without too much further ado, is a whole concatenation of…

Serpents biting their tails:

[ … and that last one of Nein‘s appears to have been withdrawn from circulation ]

This one I love for its lesson on biblical pick-and-choose:

This one is also a DoubleQuote:

when closely followed by:

And this one really bites:

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To close the series out with more of a bang than a whimper, here’s Serpent bites Tail with apocalypse & gameplay for additional spice:

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.


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