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[ by Charles Cameron — burqas and veiled threats, Martha Nussbaum, virtual reality ]
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I believe the photo is from Dubai, the cartoon is by New Zealand’s Malcolm Evans, and all sorts of things are going on when we put the two of them together, thus:

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For a start, the photographer presumably saw the same thing with his eyes and through his lens that the cartoonist saw in the mind’s eye, and then on paper. Who knows, one of them may have seen the other’s work, and that could have been what triggered their interest in capturing the same effect.

Call that the problem of simultaneous, independent vs sequential, causally connected origination. It’s a fascinating issue in archetypal psychology and cultural anthropology…

Then there’s the juxtaposition of the two images, and the fact of their close similarities and differences. Apart from the obvious difference of media, there’s the neat difference that the women in the photo reality might be thinking roughly the thoughts attributed to them in the cartoon, we’ll never know because thoughts are private — but the cartoon reality adds a “virtual” layer of text to the image, so the women’s “thoughts” and their parallelisms and oppositions are no longer tacit.

But then — hey, those two sets of thought are juxtaposed, just as the two styles of clothing are — so each of the two images I’ve juxtaposed is itself a carefully-executed juxtaposition, artfully conceived, and revealing by comparing and contrasting.

Each of those two images is a Sembl move.

And we haven’t even begun to talk about the issue of burqas and veils — or bikinis and short short skirts — yet.

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But this post is really my oblique way of introducing Martha Nussbaum‘s book, The New Religious Intolerance, which grew out of her column on veils and burqas — and tummy tucks and breast implants — Veiled threats, on the NY Times Opinionator blog.

I’d love to review it. Will I ever even find time to read it?

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Veils worn by nuns, Muslims, ninjas — and everybody in the Windy City in December. Circumcision in Islam and Judaism, metzitzah b’peh — and various forms of female genital mutilation around the world. Prayer in schools, other people’s prayers in school. Peyote and wine as taboos, as sacraments. Pork and beef, pigs and cows. Kosher, halal, voodoo — and Socrates sacrificing a cock to Asclepius…

This business of religion and society is a subtle, multi-faceted business.

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My sympathies tend to go with whoever wants to wear whatever. But then I tell myself, I have different body parts, and they have different preferences.

Perhaps more accurately — and certainly more metaphorically — I might say that I am part-angel, part-beast.

Either way, I too contain multitudes.

[ by Charles Cameron — importance of social media ]
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h/t @caidid — on Twitter, naturally!

[ by Charles Cameron — an expat’s nostalgia ]
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While the eye reads the letters of a text the mind’s eye is forming images, and some of them can be startling. From today’s (UK) Metro:

Residents yesterday lost their High Court battle to prevent surface-to-air missiles being deployed on the roof of their apartment block.

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But we don’t need to use our imaginations: the BBC has filmed the building, and the Telegraph has photographed the missiles…

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Taking a look at the BBC’s brief video of the apartments (screen-shot: upper image above) I’m reminded of the British poet John Betjeman‘s famous 1937 lines about a dreadful (from his pastoral point of view) English town whose name, “Slough”, rhymes with “plow” rather than “rough”:

Come friendly bombs and fall on Slough!
It isn’t fit for humans now,
There isn’t grass to graze a cow.

I’m sure, though, that the residents of Slough didn’t appreciate that particular poem, and the people who live in those apartments may curse them at times, but they almost certainly love them too — those apartments are their homes.

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Tenant: But, but — an Englishman’s home is his castle!
High Court: Precisely — and we’re requisitioning the battlements for our archers.

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Sigh. Ah well, we survived the Blitz.

[ by Charles Cameron — Marisa Urgo on Zawahiri ]
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I have long been familiar with the second quote in this pair, the one by Anais Nin, and regard it as one of the touchstones of my understanding of the creative process. Anais Nin is exactly right in thinking that in terms of the arts, it is the deeply felt personal detail that profoundly touches the artist’s audience, and thus becomes universal.

It was therefore with quite a shock of recognition that I read Marisa Urgo‘s latest post in her series on Zawahiri‘s Knights Under the Banner of the Prophet. If Zawahiri’s spiritual autobiography draws this sort of response from an analyst giving it a close reading, it’s likely something we should be paying attention to.

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Marisa’s series thus far can be read in reverse order here.

I previously made note of the emergence of an authoritarian Creepy-state element in American government, enjoying bipartisan popularity with this era’s predominantly Boomer elite politicians, CEOs and academic activists. Largely because this growing surveillance state is directed at controlling the rest of us and eroding the democratic and legal accountability of a self-imagined superclass.

Here’s a new (but unsurprising) wrinkle. The political-bureaucratic folks quietly building this incipient machinery of coercion already distrust and fear the men and women who are employed to run it. Evidently, the “Rise of the Praetorian Class“ theory has been widely read.

US spy agency accused of illegally collecting personal data