A Russian Perspective on Kosovo

From Desperate Dispatch:

A daily Russian newspaper, Argumenty i Fakty, claims many of these states have to tackle their own separatist conflicts. “The Kosovo precedent will inspire them,” the paper writes. “Time will show if Kosovo is the beginning of the end of Europe.”

A more liberal Rossijskaya Gazeta is equally fatalistic. “Kosovo marks the emergence of new principles of international law” where the United Nations is a legal “non-entity” and the “rule of force once again features as a key principle of world order.”

Michael J. Lewis on Yale's Abortion Art Scandal

A professor of art at Williams College published a very interesting op-ed in the Wall Street Journal yesterday, explaining that Aliza Shvarts's Yale art project--where she supposedly inseminated herself artificially and then gave herself an abortion--is "a fully characteristic example of the program and its students." Basically, given the faculty at Yale and hegemonic assumtions of the contemporary art world, this project was intended to get an "A." Lewis blames Yale University's art department, not the student, for this fiasco:

Given the choice of this arduous training or the chance to proceed immediately to the making of art free of all traditional constraints, one can understand why all but a few students would take the latter. But it is not a choice that an undergraduate should be given. In this respect -- and perhaps only in this respect -- Ms. Shvarts is the victim in this story.

Hommage à M. Aimé Césaire, poète français, homme politique et co-fondateur du mouvement littéraire la négritude

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French President Nicholas Sarkozy's tribute to Aimé Césaire:

Publié le 17-04-08 à 13:06
Hommage à M. Aimé Césaire, poète français, homme politique et co-fondateur du mouvement littéraire la négritude.

J’apprends avec une très grande tristesse le décès d’Aimé Césaire. J’imagine le chagrin immense de toute la population martiniquaise, antillaise et ultramarine qui perd, aujourd’hui, l’un de ses pères spirituels. Mais, en vérité, c’est toute la nation française qui est en deuil.

Je veux saluer la mémoire d’un grand poète qui a acquis sa notoriété par la qualité de son écriture. On retiendra de lui qu’il est l’initiateur, avec Léopold Senghor, du concept de la Négritude. Ce fut un grand humaniste dans lequel se sont reconnus tous ceux qui ont lutté pour l’émancipation des peuples au XXème siècle.

Esprit libre et indépendant, il a incarné, sa vie durant, le combat pour la reconnaissance de son identité et la richesse de ses racines africaines. Par son appel universel au respect de la dignité humaine, à l’éveil et à la responsabilité, il restera un symbole d’espoir pour tous les peuples opprimés.

Je salue son engagement politique, sa longue carrière d’élu de la Martinique et de parlementaire de la Nation. Conscient des progrès que représentait la « départementalisation », il a su courageusement soutenir la loi de 1946 qui a mis fin aux colonies, sans pour autant rompre avec sa recherche identitaire qui constituait le cœur de sa vie.

Il restera pour nous tous l’une des figures les plus emblématiques de la classe politique de l’outre mer.

J’adresse, à l’ensemble de sa famille et à ses proches, mes condoléances les plus attristées et je tiens à lui rendre un hommage solennel au nom de la Nation et de tous les Français.

More about Césaire here, in French. And in English, from Wikipedia

Victor Bokas at the Maitland Art Center

The mother of someone I know sent in this review by Philip E. Bishop from the Orlando Sentinel of "Roots and Branches," a new show by a Florida painter we met at her daughter's home:

Victor Bokas has always been an  artist of ebullient spirit, and his exhibition of recent work at the Maitland Art Center sparkles with new visual ideas.

Called "Roots and Branches," the show is inspired several times over. Many of the works are artistic meditations on Bokas' family and the idea of rootedness. The exhibition provides its own signboard in "Take One and Call Me in the Morning," an homage to Bokas' druggist father. He has used tablets and capsules to fill the neon outline of the sign on the family pharmacy in Gulf Breeze.The other inspiration was the artist's chance encounter with a blooming orchid tree, as Bokas explains in a catalog note. The tree's outline and extravagant colors merged in Bokas' imagination with a Chinese proverb --"Keep a green tree in your heart and perhaps a singing bird will come"-- and so we have a bird in a tree, the real heart of this show.

Bokas is a graphic designer by day, and he transforms and elaborates his visual ideas with exuberant ingenuity. The orchid tree's florid silhouette, with a bird stenciled or attached at its center, is painted first as a positive, then as a negative image. It's reproduced in silk-screen prints and

 painted 20 times over on large ceramic tiles. The array of painted tiles makes an especially handsome wall installation in the art center's main gallery.

Bokas's work includes this mosaic at the Orlando International Airport. His website: http://www.victorbokas.com.

Happy Passover!

From Wikipedia:

The verb "pasàch" (Hebrew: פָּסַח) is first mentioned in the Torah account of the Exodus from Egypt (Exodus 12:23), and there is some debate about its exact meaning: the commonly-held assumption that it means "He passed over", in reference to God "passing over" the houses of the Israelites during the final plague of the Ten Plagues of Egypt, stems from the translation provided in the Septuagint (παρελευσεται in Exodus 12:23, and εσκεπασεν in Exodus 12:27). Judging from other instances of the verb, and instances of parallelism, a more faithful translation may be "he hovered over, guarding." Indeed, this is the image used by Isaiah by his use of this verb in Isaiah. 31:5: "As birds hovering, so will the Lord of hosts protect Jerusalem; He will deliver it as He protecteth it, He will rescue it as He passeth over" (כְּצִפֳּרִים עָפוֹת--כֵּן יָגֵן יְהוָה צְבָאוֹת, עַל-יְרוּשָׁלִָם; גָּנוֹן וְהִצִּיל, פָּסֹחַ וְהִמְלִיט.) (Isaiah 31:5)

The English term "Passover" came into the English language through William Tyndale's translation of the Bible, and later appeared in the King James Version as well.

The term Pesach (Hebrew: פֶּסַח) may also refer to the lamb or kid which was designated as the Passover sacrifice (called the Korban Pesach in Hebrew). Four days before the Exodus, the Israelites were commanded to set aside a lamb or kid (Exodus 12:3) and inspect it daily for blemishes. During the day on the 14th of Nisan, they were to slaughter the animal and use its blood to mark their lintels and door posts. Up until midnight on the 15th of Nisan, they were to consume the lamb. Each family (or group of families) gathered together to eat a meal that included the meat of the Korban Pesach while the Tenth Plague ravaged Egypt.

In subsequent years, during the existence of the Tabernacle and later the Temple in Jerusalem, the Korban Pesach was eaten during the Passover Seder on the 15th of Nisan. However, following the destruction of the Temple, no sacrifices may be offered or eaten. The story of the Korban Pesach is therefore retold at the Passover Seder, and the symbolic food which represents it on the Seder Plate is usually a roasted lamb shankbone, chicken wing, or chicken neck.

At last night's Seder, it was pointed out that this is the first Passover in our lifetime without Charlton Heston, who played Moses in Cecil B. DeMille's epic, The Ten Commandments. Here's an appreciation of the film, by Doron Rosenblum, from Haaretz:

Even at a time when we are flooded with cheap audiovisual stimuli, when movies are bursting at the seams with computerized effects and surround sound makes the apartment shake, it is amazing how much power still resides in this movie. Seemingly this is due to the spectacles: the staff that morphs into a snake, the yellow Nile turning into blood, the creeping green miasma of the "killing of the firstborn" that passes over the houses of the Hebrews, on which the mezuzahs have been marked with blood, the pillar of fire that goes before the camp - and the zenith: the Red Sea divided in two, which no digital effect has yet been able to outdo in the thrill and sense of wonder it inspires.

But these effects reflect the frame of mind in which the film was made, and which still preserves it: abysmal seriousness and a profound faith in sublime values. And those values are, like it or not, the values of the Western world, the Judeo-Christian world, which have been so twisted in vain wars, so subjected to attack from the outside, and have become so outmoded and tattered from inside: namely, human dignity and the right to freedom.

As though to emphasize that this is not just any movie, it is served up with religious solemnity: a long "overture," uplifting music and credits inscribed in marble. Moreover, "before the curtain goes up" the director, Cecil B. DeMille himself, emerges from backstage - a cordial uncle type and surprisingly authoritative - to deliver a kind of papal urbs et orbis, in which he makes it clear that he is not intent on just telling a story, but wants to transmit an ambitious message: "The theme of this picture is whether men ought to be ruled by God's laws or whether they are to be ruled by the whims of a dictator like Rameses. Are men the property of the State or are they free souls under God? This same battle continues throughout the world today."

One critic remarked that this is probably the last time we heard an oration to the masses, in the name of God, delivered in the spirit of humanism and enlightenment, and not in the spirit of revenge, suppression, terror and hatred.

Cecil Blount DeMille, the son of an Episcopalian preacher and a Jewish mother who converted to Christianity upon her marriage - accompanied the cinema from the silent period to the great spectacles of the age of Technicolor, with almost unbroken success. His image - with riding boots and whip (though he never got on a horse in his life) - became a legend in his lifetime. He was reputed to be tyrannical with his actors, a pedant who made sure the last of the extras was properly outfitted and the most negligible element in the set was accurate. At the same time, he was an educated man and knowledgeable about the Bible, and in "The Ten Commandments" he invested not only extensive historical research, but his very soul. During the shooting in Egypt he suffered a heart attack but kept on directing (it would be his last film: he died three years later). Throughout the film his sonorous voice, like the voice of God himself, is also heard in narration, seamlessly blending biblical fervor with the American values of liberty. According to the values of that world, the good, the people whose side God is on, is embodied in the ancient Hebrews; and, by inference (as also expressed in Otto Preminger's "Exodus," from the same period), the new Hebrews, too, meaning the Israelis. God was ours, ours alone.

Desperate Dispatch

Someone told me about this website today: Desperate Dispatch:News Stuck Behind the News. Among other items, it reports this news from Somalia (remember Somalia?):

Somalia’s President Abdullahi Yusuf Ahmed returned to capital Mogadishu on February 16 after more than a month in London and visits to Addis Ababa.

The militant branch of Islamic Courts forcces, Al-Shabab, greeted his return with a series of attacks at the airport, seaport and the Presidential Palace Villa Somalia.

“The shelling started hours after the president’s arrival in the capital but the closest shell landed on a house near the palace area and others passed (by),” the security official told AFP.

Abdirahim Ali Mudey, a spokesman for the Islamic Courts, has claimed responsibility for an earlier attack at the seaport on February 15. Mudey said they targeted the seaport because “a ship docked there brought weapons and other materials for the African Union Mission in Somalia (AMISOM)”.

The violence has intensified in recent weeks with over 6,000 killed and two million Somali lives currently “at risk”according to UN estimates. The casualty levels in Mogadishu’s hospitals have doubled since last year. Most Somalis see no clear end to violence and have no place to go. Seventy Somali refugees were expelled from Kenya last week alone.

Pope Comes to Washington

(White House Photo)

Here's a link to Claire's Papal Visit Blog.

Apartment Therapy: Polly's Pomander Walk House

Polly is an "old girl" from a British boarding school attended by someone I know. So we were pleased as punch to learn an online tour of her recently redecorated 580 square foot townhouse is featured in Apartment Therapy (click here for tour).

Bolt from DC to NYC for $1...

Just read about this in today's Washington Post--after seeing my first one the other day on DC streets and wondering, to someone I know, what's that? Turns out, a new service from Greyhound based on RyanAir-type cheap seats. Prices run from $1 to $20, depending on when you book your seat. Service takes about four hours from New York to Washington, DC or vice versa. First reviews from Marc Fisher at the Post are very good:

The Bolt is a spanking new orange and black coach--so new it has the most intense new car smell I've ever sniffed--that pulls up to the southeast corner of 11th and G streets NW 12 minutes early. (It will pull out two minutes early, another impressive touch.) The driver, dressed in a neat, form-fitting Bolt Bus black sweater and a black uni, just glances at the boarding pass you've printed out at home and you're on your way. Service started last week, so I guess the fact that there were a grand total of six people on my midday trip to New York is not necessarily a sign of lack of customer interest.

On my trip, three of the six passengers chose Bolt because its buses offer wireless service all along the route (though a couple of folks complained that the reception was slow--hey, for a buck, hold the whining.) All of us chose Bolt because of the price. One woman, a student at the University of Maryland, said she picked Bolt because "I heard it's owned by Peter Pan/Greyhound, so it's reputable-ish."

Only two of us got the $1 fare (there's a 50-cent booking fee online, which is the main way to buy Bolt seats). The others paid $5 or $7, except for the one walk-on, who paid $20, which is still less than Greyhound and less than a third the cost of a regional Amtrak train around the same time of day. Bolt uses a Southwest Airlines-style fare system in which a few seats on each trip are sold at ludicrously cheap levels and the prices bump up a notch or two as more seats sell and as the time before the trip diminishes. But the service's highest fares remain competitive with the Chinatown buses and cheaper than real Greyhound (which these days offers a $22 web-only one-way fare to New York.)

The Bolt bus was sparkling clean with black velour seats and heavily tinted windows.While there were three flat-screen TVs on board, luckily they were not in operation. Indeed, our driver told us that while "we usually say to please keep conversation to a minimum so you don't disturb your neighbors, today you can do whatever you want" because there were so few of us and we were spread all around the bus. I used three rows for my various paraphernalia.

We made it to 33rd Street on Manhattan's West Side in three hours and fifty two minutes--eight minutes longer than an Amtrak local train I took on the way home and 25 minutes shorter than the scheduled time for Greyhound's D.C.-NYC run. It was a remarkably smooth ride, with a courteous and friendly driver who helped folks with their luggage. And best of all, Bolt, unlike some of its competitors, makes no potty stop--just a nonstop Bolt to the big city. Anytime I'm on a Chinatown bus that makes a pit stop, I cross that company off my list.

"Artist" Tortures Dog in Costa Rican Gallery

Agustin Blazquez, our favorite Cuban-American documentary filmmaker (also a painter), sent us this item :

Please sign and crosspost to everyone you know. Not just rescuers. Send to friends and family, too.

This is a very serious matter...

In 2007, the 'artist' Guillermo Vargas Habacuc, took a dog from the street, tied him to a rope in an art gallery, and starved him to death.

For several days, the 'artist' and the visitors of the exhibition have watched emotionless the shameful 'masterpiece' based on the dog's agony, until eventually he died.

Does it look like art to you?

But this is not all... the prestigious Visual Arts Biennial of the Central America decided that the 'installation' was actually art, so that Guillermo Vargas Habacuc has been invited to repeat his cruel action for the biennial of 2008.

PLEASE HELP STOP HIM.

http://www.petitiononline.com/ea6gk/petition.html

Please read to the end of this....He has been INVITED to do this again THIS year.

Note: He paid five local children to help him catch the terrified stray dog...in the impoverished area. The dog had no way to escape capture or his fate once he was in the hands of this cruel maniac.

But this is not all... the prestigious Visual Arts Biennial of the Central American decided that the 'installation' was actually art, so that Guillermo Vargas Habacuc has been invited to repeat his cruel action for the biennial of 2008.

PLEASE HELP STOP HIM.

http://www.petitiononline.com/ea6gk/petition.html


Besides signing the petition, please also write or e-mail the gallery that will host the 2008 exhibition to ask them to prohibit him. We can also write to other galleries that carry his other works and ask them to boycott him. Here's some addresses:

(1) EXHIBITION IS TAKING PLACE AT:

info@madc.ac.cr

Centro Nacional de la Cultura
Antigua Fábrica Nacional de Licores.
Avenida 3, calle 15/17. San José, Costa Rica.
Teléfono: (506) 257 7202 / 257 9370
Fax: (506) 257 8702


(2) ANOTHER GALLERY SHOWING HIS WORK:
This is the email address to a gallery which currently holds some of
Vargas' work for display and sale. If anyone would like to ask the gallery to
drop him from their list of artists the email address is below.
Email address: info@jacobkarpio-galeria.com

ALSO: The Animal Legal Defense Fund. suggests:

At this point, we feel the most effective method of protest is to write local animal protection agencies demanding they put a stop to this exhibit. You can search for agencies here in the Latin America/Caribbean section http://worldanimalnet.org/new.asp?co=&geo=SA&prov=&cat=are

On the other hand, we received this email today:

Hello Larry!

Re today's blog post: are you sure that everything this "artist" says is true?

Juanita Bermúdez, director of the Códice Gallery, insisted Natividad escaped after just one day. She said: 'It was untied all the time except for the three hours the exhibition lasted and it was fed regularly with dog food Habacuc himself brought in.'

http://arts.guardian.co.uk/art/news/story/0,,2269320,00.html

Chaining up a dog and forcing it to go without food and water in the name of art is a surefire way of making yourself unpopular with animal lovers. The furore created by Damien Hirst's pickled sheep and Tracey Emin's dirty bed pales into insignificance against the international outrage Guillermo 'Habacuc' Vargas has unleashed.

The Costa Rican has been called an animal abuser, killer and worse over claims that a stray dog called Natividad died of starvation after he displayed it at an exhibition last year at the Códice Gallery in Managua, Nicaragua. Vargas tethered the animal without food and water under the words 'Eres Lo Que Lees' - 'You Are What You Read' - made out of dog biscuits while he played the Sandinista anthem backwards and set 175 pieces of crack cocaine alight in a massive incense burner. More than a million people have signed an online petition urging organisers of this year's event to stop Vargas taking part.

Vargas, 32, said he wanted to test the public's reaction, and insisted none of the exhibition visitors intervened to stop the animal's suffering. He refused to say whether the animal had survived the show, but said he had received dozens of death threats. [emphasis mine]

Juanita Bermúdez, director of the Códice Gallery, insisted Natividad escaped after just one day. She said: 'It was untied all the time except for the three hours the exhibition lasted and it was fed regularly with dog food Habacuc himself brought in.'

Then again, it may be Ms. Bermudez who's pulling our chain, but this whole matter's not be so cut and dried... it may be as serious as you report, or it may be another artist-provocateur exploiting not animals, but people's capacity for outrage and willingness to embrace it.

Regards,
James

Is it true? I don't know...this looks bad: "He refused to say whether the animal had survived the show, but said he had received dozens of death threats." Maybe one of our readers in Costa Rica can tell us for sure...

Meanwhile, if Habcuc did it, it wouldn't have been the first time. At least one "artist" has killed a dog before, in the USA--Tom Otterness, according to Wikipedia:

Gary Indiana criticized Otterness for an independent work done while part of the East Village art scene in the mid-eighties called "Shot Dog Piece", in which Otterness "adopted a dog and then shot it to death for the fun of recording his infantile, sadistic depravity on film."

Here's what Indiana's wrote in New York Magazine:

But I’m repulsed by this show’s inclusion of Tom Otterness, a sculptor of limitless nonentity despite his demonstrated skill at conning public-art commissions and taste-impaired collectors into making him rich. Mr. Otterness, once upon a time, adopted a dog and then shot it to death for the fun of recording his infantile, sadistic depravity on film. I’d like the New Museum’s visitors to keep that in mind while looking at this creep’s work. Mr. Otterness isn’t one of those special exceptions deserving the adage “Lousy person, terrific artist.” Lousy both.

It didn't seem to hurt Otterness's art career--his "public art" installations include works on display at a New York City public school. As an alumnus of P.S. 24 in the Bronx, it makes me very sad...I found this post in the comments section of a Flickr site that gives more detail:

candidoescandido says:

I'm afraid... no I'm still very, very angry because in fact the piece about Shot Dog Piece is absolutely true. I was an art critic in New York at the time and I know how very difficult it was (and still is) to break into the NY art world. I used to hear the gallery owners complain about the young artists coming around and leaving their slides (God forbid that they would actually see the works themselves). The gallery owners could show a maximum of what- a dozen artists a year? So it was unfortunately necessary to do something to attract the attention of those with the power to make an artist and Otterness was hungry to make it and hit on a 'good idea'. I saw the video at a gallery I cannot remember at a group show. I didn't stay for the whole thing but I saw the puppy playing at Otterness’ feet as he lay sitting on the ground under a tree. Then he picked up a gun and shot it. I turned away so I couldn't authenticate whether or not he filmed the death throes of the dog or not. The accompanying material lead one to believe that the dog was his old family pet and was at the end of its useful life anyway. So that’s the story- a young artist so hungry to make it that he killed a dog in order to attract attention. Now the beloved artist is the toast of Beverly Hills with his own factory/foundry in Brooklyn and I think its more of an indictment of the incompleteness of the Internet that not one page details this crime than its being a cause for suspicion as to the truth of Otterness’ canineacide.

According to the Brooklyn Eagle, Otterness has apologized for killing the dog...but, I don't believe it has brought the dog back.

Bernard Avishai on The Hebrew Republic

I was in the World Bank "InfoShop" bookstore on Friday and happened upon a copy of Bernard Avishai's new book, The Hebrew Republic: How Secular Democracy and Global Enterprise Will Bring Israel Peace At Last. Reading the jacket blurb, I thought Avishai's thesis sounded very familiar. I realized that I had already heard a similar proposal from Peter Bergson (Hillel Kook) and Samuel Merlin in the 1970s. They had handed me a copy of their manifesto calling for an Israeli constitution--promised to them as members of the first Knesset. The failure to write a constitution, Merlin and Bergson argued at that time, was at the root of Israel's insecurity in the world. Israel had to define herself first politically, before peace would be possible. At the time, I didn't understand what they were saying. It seems that Bernard Avishai did, and has taken Bergson and Merlin's message to heart in the mission of his new book. On page 12, Avishai notes his meeting with Bergson in 1975 to discuss the concept. As Bergson explained, an Israel with a constitution that separated religion and the state would look more like America, less like England. It would be Jewish in the way America is Christian, for historical, cultural and demographic reasons--and Israeli Arabs would be truly equal citizens, in the way that American Jews can be equally American. Israelis could be Israelis, Jews could be Jews, Arab Jews would be able to achieve full equality in Israel, while American Jews would not be made to feel guilty about living in the Diaspora. Such a vision should equally appeal to many Russian immigrants, who are not officially Jewish, yet form a significant part of today's Israeli immigrant class. Just as descendants of Mayflower pilgrims do not constitute the majority of the American population, descendants of Zionist pioneers need not be a demographic majority in Israel to maintain the values of the founders. Israeli nationalism, not Jewish religion, would become the driving force in national development. Israel would transform into a Hebrew Republic, more than merely a Jewish State--in the way that the Republic of Ireland replaced the Irish Free State. Today, the Republic of Ireland is booming, no longer fighting England in Protestant-Catholic warfare. A Hebrew Republic of Israel could develop a similar relation with her Arab neighbors.

Maybe it wouldn't work, but in this age of religious fanaticism, recasting Israel as a secular nation along Herzl's original Zionist principles deserves serious consideration and debate. To get started, heres' a link to Avishai's interview with himself on his blog:

Q: As opposed to a Jewish state, why do you espouse a Hebrew republic?

BA: The Hebrew Republic is the Jewish state as the most original forces in the Zionist movement conceived it. It is a democratic country whose language is Hebrew, much the way the French Republic is French. I am not proposing anything terribly original here. I’m just trying to bring Israel up to code. In a way, I’m trying to imagine what Israel would look like if it accepted the charter of the European Union and became a member, as I hope it eventually will be.

Zionism originally grew out of the insight that to survive in the modern world Jews would have to transform themselves into a nation. Jews would embrace scientific doubt, tolerance, individualism, and get out from under the suffocating power of rabbinic orthodoxy. They conceived of a Hebrew enlightenment. Many Zionists, is true, were appalled by the growing power of anti-Semitic movements in Europe. But Jews who were mainly concerned about that went to America, not to Palestine. The Hebrew Republic is merely a retrieval of Zionism’s original vision, that Jews should ask modern questions, from technological to erotic questions, in Hebrew.

Why the US Might Reconsider Support for Separatism

(ht Drudge) Tibet, Xinjiang, Chechnya, Kosovo...might serve as precedents for the mother of all separatist movements--the "reconquista" of the American Southwest. Samuel Huntington warned about it in Who Are We?--and now Absolut Vodka (Swedish) is promoting it--in a Mexican advertising campaign. Here's the LA Times account:

The billboard and press campaign, created by advertising agency Teran\TBWA and now running in Mexico, is a colorful map depicting what the Americas might look like in an "Absolut" -- i.e., perfect -- world.

The U.S.-Mexico border lies where it was before the Mexican-American war of 1848 when California, as we now know it, was Mexican territory and known as Alta California.

Following the war, the Treaty of Guadalupe Hidalgo saw the Mexican territories of Alta California and Santa Fé de Nuevo México ceded to the United States to become modern-day California, Texas, New Mexico, Utah, Colorado and Arizona. (Texas actually split from Mexico several years earlier to form a breakaway republic, and was voluntarily annexed by the United States in 1846.)

The campaign taps into the national pride of Mexicans, according to Favio Ucedo, creative director of leading Latino advertising agency Grupo Gallegos in the U.S.

Ucedo, who is from Argentina, said: “Mexicans talk about how the Americans stole their land, so this is their way of reclaiming it. It’s very relevant and the Mexicans will love the idea.”

But he said that were the campaign to run in the United States, it might fall flat.

“Many people aren’t going to understand it here. Americans in the East and the North or in the center of the county -- I don’t know if they know much about the history.

“Probably Americans in Texas and California understand perfectly and I don’t know how they’d take it.”

Why You Can't Take Your Water Bottle Onboard Your Flight

From today's Daily Mail (UK):

A gang of British Muslims planned to blow up seven planes within hours in the biggest terrorist atrocity since 9/11, a court heard yesterday.

Two thousand passengers would have died in the plot by eight fanatics working "in the name of Islam", the jury was told.

It could have involved up to 18 suicide bombers. And they were almost ready to strike.

The jets they targeted would all have been bound from Heathrow to cities in the U.S. and Canada, it was claimed.

Once the first had exploded the authorities would have had to watch, powerless, as the six others were downed.

Plastic soft-drink bottles were to be the murder weapon - filled with explosive and connected to a detonator.

The alleged plot led to a ban on liquid containers bigger than 100ml which is still in force at UK airports.

Had it been successful, the death toll would have far eclipsed the 52 killed on July 7, 2005, when four suicide bombers detonated their rucksacks on the London transport system.

And if the conspirators chose to blow themselves up over land, the number of casualties in the air and on the ground could have exceeded the Twin Towers attacks in which nearly 3,000 died.

Yesterday eight men went on trial at Woolwich Crown Court in South-East London accused of conspiracy to murder and conspiracy to commit an act of violence likely to endanger the safety of an aircraft.

Peter Wright QC, prosecuting, said: "What these men intended was a violent and deadly statement of intent which would have a truly global impact.

"These men were actively engaged in a deadly plan designed to bring about what would have been, had they been successful, a civilian death toll from an act of terrorism on an almost unprecedented scale.

"If each of these aircraft was successfully blown up the potential for loss of life was indeed considerable.

"And there would be little if any chance of saving any of them from their impending disaster.

"For when the mid-flight explosions began the authorities would be unable to prevent the other flights from meeting a similar fate as they would already be in mid air and carrying their deadly cargo."

He described the defendants as having the "cold-eyed certainty of the fanatic".

Charles Moore: Treat Islamists Like Thatcher Treated Arthur Scargill

First read this interesting speech on how to defeat Islamists in The Spectator. Charles Moore recalled Thatcher's victory over another extremist--Arthur Scargill, who brought Britain to a halt with miner's strikes and Moscow gold--at the Keith Joseph Memorial Lecture entitled: "How to Beat the Scargills of Islam". You can listen to the speech as an mp3 file on this link at the Center for Policy Studies, thanks to Sophie Kydd. Or, you can read it here, as a PDF file:

Indeed, to return to my trade union analogy, even if we want to do a base deal with the extreme, self-appointed spokesmen of Islam today, we should recognise that they cannot deliver. Everything is in flux. We are seeing a battle about modernity. The struggle to replace the old, tribal immigrant leaders is led, on one side, by a rigorous revolutionary creed, a sort of God-intoxicated Militant Tendency which thinks it is in the vanguard of history. Hizb ut Tahrir, for example, sells itself as an organisation that scorns most of what happens in mosques, puts little emphasis on prayer and even holds out the prospect of much wider marriage opportunities than are traditional. It acts modern.

On the other side are those genuine reformers who long to live at peace in the free Western world, who are in Britain by choice as well as by chance.

I think the extremists are as brittle as was Arthur Scargill and, unless we are so foolish as to help them, they will not prevail. The bearded men who brandish placards calling for the beheading of those who insult Islam because of a few harmless cartoons will quite soon come to look as outdated as those pickets with their mutton-chop whiskers gathered round braziers and shouting ‘Scab!’ in the 1970s.

Conservatives, who have the advantage over the Left of being unembarrassed by British history, should study the interesting fact that tens of thousands of Muslims volunteered — they were not conscripted — to fight for the British Empire in two world wars. In the first, they fought against the Ottoman Empire, to which, in theory, they owed spiritual allegiance. Why did they do so? Not, surely, because they were offered multiculturalism, but because they felt themselves respected and secure in the self-confident British political culture of that time.

We should bear in mind the importance of the individual rather than the group. A believing Muslim will naturally regard his belief as encompassing his whole life, but that will not mean that he makes no separation between his personal beliefs and his politics.

Our Western language of rights and freedom puts great stress on the fact that each person is entitled to choice and autonomy. We must never allow our respect for any organised religion to allow us to forget the individual rights of its adherents and of the rest of us. We must not fall into the trap of speaking of Muslims as being defined, for purposes of most public policy and law, by their religion. For most purposes, we do not need to speak to Muslims through self-appointed gatekeepers. Muslims here, like Jews and Hindus and Sikhs and Christians and nothings and don’t knows, are individual men and women and they are British.

But it may also be that, purged of its current political deformations, Islam will indeed have things from which British society can profit. I am in correspondence with a Muslim thinker who criticises the ‘identity politics’ pursued by so many Islamist leaders. He says such attitudes produce only anger and pride. Muslims are enjoined, he says, to be ‘scholars of the heart’. In Islam, the word ‘honour’ does not have to go with the word ‘killing’, but can have a real meaning which it has too often lost in our secular society. So can ideas of dignity, of obligation to elderly parents, of community. He quotes a Sufi saying: ‘If every man were to mend a man, then every man would be mended.’ Our broken society, of which conservatives rightly talk so much today, has need of such mending.

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Carla Bruni Joins Gordon Brown in UK

From The Guardian, today:

Moving rapidly to capitalise on the national explosion of Carlamania, which saw Bruni-Sarkozy heralded as a new Princess Diana during the French state visit to the UK last week, Brown will formally announce the latest addition to his "government of all the talents" in a speech tomorrow at the Institut Français in South Kensington, London.

For too long, he will say, Britain has suffered an inferiority complex with regard to mainland European countries such as France and Italy, whose citizens are seen as effortlessly stylish and sophisticated.

"I want a Britain, now and in the future, where good taste and sophistication are the birthright of the many, not the privilege of an elite, whether in fashion, in food and drink, or in cultural pursuits," Brown will say. To launch the scheme, the Italian-born Bruni-Sarkozy, 40, will relocate to London for three months, starting in June, according to one Brown aide. She is expected to commute back to Paris via Eurostar for French state engagements involving her husband, President Nicolas Sarkozy.

"At first, when it became clear she was going to upstage [Sarkozy] during the state visit, we got a bit worried about it all looking a bit frivolous," the aide said. "But it was during the banquet at the Guildhall that the prime minister had his eureka moment. Yes, she charmed him. But the key point is that he is committed to putting that charm in the service of a better Britain."

Bruni-Sarkozy will focus initially on improving the UK's dress sense and cuisine. The aide joked that she would steer clear, for the moment, of the other popular British assumption about the French and Italians - that they have more exciting sex lives.

She is understood already to have spoken to the chief executive of Marks & Spencer, Stuart Rose, to discuss the launch of an affordable range of high-street designs inspired by the demure tailored grey suits that won her so much acclaim during last week's visit. They were created for Dior by the British designer John Galliano, who has signed up as a supporter of Brown's plan. The M&S versions will be roomier, and may incorporate several more practical features, such as zip-up pockets and mobile phone holders.

Bruni-Sarkozy has also expressed an interest in meeting Jamie Oliver to develop plans to introduce a more "continental" approach to eating and drinking, which could see British parents encouraged to serve small volumes of red wine with meals to children as young as seven or eight.

To coincide with the prime minister's announcement, the thinktank Demos will release a report this week arguing that the answer to a wide swath of social and economic problems facing Britain may lie in adopting a more French approach.

"The missing ingredient in the UK's approach to a range of pressing policy challenges is straightforward: it is savoir-faire," the report's authors said in a press release.

The study concludes that numerous national problems - including the decline of Britain's railway infrastructure, the collapse of Northern Rock, and the scourge of binge drinking - could all have been more successfully addressed had politicians and bureaucrats demonstrated "a certain je ne sais quoi".

Bush Resigns!

From CommonDreams.org:

Today, I am resigning as President of the United States because I have compromised the trust of my constituents.

"Several months ago, I publicly declared my innocence because I was not strong enough to face the truth.

"So, I misled my family, staff, friends, colleagues, the public -- even myself.

"For all of this, I am deeply sorry.

"The truth is -- I broke the law, concealed my conduct, and disgraced my high office.

"I know that I will forfeit my freedom, my reputation, my worldly possessions, and most importantly, the trust of my friends and family.

"Some time ago, I asked my lawyers to inform the special war crimes prosecutor that I would like to plead guilty and begin serving a prison term.

"Today is the culmination of that process.

"I will continue to cooperate with the government's ongoing investigation to the best of my ability.

"In my life, I have known great joy and great sorrow.

"And now I know great shame."

(April Fool)

Dith Pran, 65

Sad to read that Dith Pran has died of pancreatic cancer. We saw him years ago, when someone I know and I worked with groups trying to save the Boat People and aid Cambodian refugees. His life presented a legendary example of courage.Here's a link to his New York Times obituary,:

Mr. Schanberg wrote about Mr. Dith in newspaper articles and in The New York Times Magazine, in a 1980 cover article titled “The Death and Life of Dith Pran.” (A book by the same title appeared in 1985.) The story became the basis of the movie “The Killing Fields.”

The film, directed by Roland Joffé, showed Mr. Schanberg, played by Sam Waterston, arranging for Mr. Dith’s wife and children to be evacuated from Phnom Penh as danger mounted. Mr. Dith, portrayed by Dr. Haing S. Ngor (who won an Academy Award as best supporting actor), insisted on staying in Cambodia with Mr. Schanberg to keep reporting the news. He believed that his country could be saved only if other countries grasped the gathering tragedy and responded.

A dramatic moment, both in reality and cinematically, came when Mr. Dith saved Mr. Schanberg and other Western journalists from certain execution by talking fast and persuasively to the trigger-happy soldiers who had captured them.

But despite his frantic effort, Mr. Schanberg could not keep Mr. Dith from being sent to the countryside to join millions working as virtual slaves.

Mr. Schanberg returned to the United States and was awarded a Pulitzer Prize for his reporting from Cambodia. He accepted it on behalf of Mr. Dith as well.

Carla Bruni & Georges Seurat

Michel Compte's fully unveiled photograph of France's First Lady,which goes on sale as lot 0064 among photographs from the collection of Gert Elfering at Christie's New York on April 10th has a significant art-historical pedigree. It is an homage to Georges Seurat's Models:

From WebMuseum, Paris:

1887-88; Oil on Canvas, 78 3/4 x 98 3/8 in. Signed, bottom right; The Barnes Foundation, Merion, PA.

Following Bathing at Asnieres and La Grande Jatte, Models is the third large picture that Seurat exhibited in public, and the second executed in his new pointillist-or "neo-impressionist"-manner. It was, until now, less famous and popular than the preceding two, only because it has been less looked at and studied, and was almost never reproduced. Nonetheless, one of the artists' most ambitious works, Models is also among the most important paintings of his career, and one of the richest in interpretive possibilities, as significant for the history of modern painting as Cézanne's large Bathers or Picasso's Demoiselles d'Avignon.

This canvas is painted on the same monumental scale as the history paintings at the official Salon. Seurat's contemporary Arsene Alexandre wrote that it represented the young painter's attempt ``to prove that his theory, which was so well-suited to subjects en plein air, was applicable to large-scale interiors with figures''. In fact, in the context of La Grande Jatte, one objection to Seurat's technique had been that the pointillist system of contrasting color was suited, at best, to the representation of immaterial things-light, water, or foliage, for example-but not the human figure. In the fall of 1886, then, this more traditional subject matter represented a distinct challenge to Seurat's revolutionary technique. Keeping within the confines of realism, the title clearly implies a depiction of contemporary models at work- or a single model in three separate stages of activity: disrobing, dressing, and posing. The scene can be precisely dated from accessories and hairstyles that were in fashion in 1886-1887, and also from the presence of La Grande Jatte, which is shown leaning against the studio wall within this painting, and which had been an object of scandal a few months before, at the last impressionist exhibition of 1886.

Seurat's context is commonplace: nudes in a studio before a painting that rests on the floor. But the artist exploits every possible connection between the two elements of his composition: the nude women might be models from La Grande Jatte-where they appear fully dressed- who have returned to the studio to disrobe. Strewn about the foreground are articles from the "painting-within-a-painting": the hats, shoes, parasols, and a small basket of flowers that have been cast off by these women. Such elements tempt us to contemplate oppositions: dressed and undressed, truth and artifice, nature and culture, the captured instance of daily life and the timelessness of art.

Geert Wilders Releases Fitna

(ht Radio Netherlands):

http://www.liveleak.com/view?i=7d9_1206624103.

We report, you decide...

UPDATE: More info on Wikipedia.

UPDATE: After being pulled by LiveLeak following threats, Fitna was made available on Google Video, here:

More Google Earth Art

Carl Holzman, a Google Earth artist from Chicago (scroll down), let us know about Evert Schut's Google Earth art website in Holland. It's called "Google Earth Art," and features links to yet more Google Earth artists on the web.