CHIROT ZERO ZINE--ANNOUNCING NEW BLOG

Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
---
http://chirotzerozine.blogspot.com
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at david.chirot@gmail.com
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... books.google.com/books?isbn=0312263805... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... www.huffingtonpost.com/.../leonard-peltier-american_n_265764.html - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US


Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667
icasualties.org/oif/

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
http://icasualties.org/oef/


=

Cost of War in Iraq

$691,188,637,164

Cost of War in Afghanistan
$229,137,844,021

The cost in your community

www.nationalpriorities.org/index.php?option=com_wrapper&Itemid=182

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

Cracking World’s Walls & Codes Concrete & Virtual


VISUAL POETRY/MAIL ART CALL
No Sieges, Tortures, Starvation & Surveillance
GAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
http://davidbaptistechirot.blogspot.com
Addresses: david.chirot@gmail.com
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
USA

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'



Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'


The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.


The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)

I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Friday, January 11, 2008

2 new visual poetry books by Richard Tipping and Clemente Padin from Red Fox Press









Great news from Francis van Maele aka Fan Mail!!!




Richard Tipping (Australia) - "Subvert I Sing"
Clemente Padin (Uruguay) - "Homage to the square"


Number 15 and 16 in our collection for visual poetry,
experimental texts and works influenced by dada and fluxus


A6 format (10.5x15 cm / 4 x 6") - 40 pages
hardcover, thread and quarter cloth binding
laser printing on ivory paper.
price: 15 euro / 20 US $ / 10 UK Sterling each


order your copy by email
or subscribe to the collection
and receive each book with invoice.
No postage charged.











REDFOXPRESS
Francis Van Maele
Dugort, Achill Island, County Mayo, Ireland
 
--   =============================================================  FRANCIS VAN MAELE REDFOXPRESS Dugort, Achill Island County Mayo, Ireland  http://www.redfoxpress.com info@redfoxpress.com Tel.: 00353 - (0)98 - 43784  Recent publications: http://www.redfoxpress.com/new.html New mail art call: http://www.redfoxpress.com/salt.html Franticham blog: http://franticham.blogspot.com/  fairs and exhibitions:  Inkubator, Edinburgh, 17 march-27 april 2007 Bristol UWE, 21-22 april 2007 Mainz Minipressen Messe, 17-20 mai 2007 Seoul: 4th International Artistbook Fair, 1-6 june 2007 Manchester; 2nd Artist's book fair, 29 sept 2007 Small Publishers book fair, Conway Hall, London, 12-13 October 2007 Fine Press Fair, Oxford, 3-4 November 2007 London Artist's book fair, ICA, 23-25 November 2007 University of Leeds, 11th Artist's Book Fair, 7-8 march 2008 Glasgow International Artist's Book Fair, 25-26 april 2008  


Put your friends on the big screen with Windows Vista® + Windows Live™. Start now!

On Music and War And Empathy by Jazz Musician Gilad Atzmon --




To: davidbchirot@hotmail.com
Subject: Palestine Chronicle - On Music and War
From: info@palestinechronicle.com
Date: Fri, 11 Jan 2008 16:12:28 -0600

Dear Readers:
World-famous Jazz musician and commentator, Gilad Atzmon contributed this article to the PalestineChronicle.com. It's entitled: On Music, War and Empathy; the writer describes his journey from the Israeli army to activism for justice in this lengthy but most intriguing essay.
Make sure to visit PalestineChronicle.com for full update.
PalestineChronicle.com Site Admin
PALESTINECHRONICLE.COM FEATURE ARTICLE
On Music, War and Empathy
By Gilad Atzmon
Special to PalestineChronicle.com

Rather often I face the same question when interviewed by Arab media outlets: "Gilad, how is it that you observe that which so many Israelis fail to see?" Indeed, not many Israelis interpret the Israeli ethical failure as an inherent symptom. For many years I didn't have any answer to offer. However, recently I realized that it must have something to do with my Saxophone. It is music that has shaped my views of the Israeli Palestinian conflict and formed my criticism of Jewish identity.
It is known that life looks like a meaningful event when reviewed retrospectively from its end to its very beginning. Accordingly, I will try to scrutinize my own battle with Zionism through my late evolvement as a musician. I will explore my struggle with Arabic music. I will try to elaborate retrospectively on the role of music on my understanding of the world that surrounds me. To a certain extent, this is the story of my life to date (at least one of them).
I grew up in Israel in a rather Zionist secular family. My Grandfather was a charismatic poetic veteran terrorist, an ex prominent commander in the right wing Irgun terror organization. I may admit that he had a tremendous influence on me in my early days. His hatred towards anything that failed to be Jewish was a major inspiration. He hated Germans; consequently he didn't allow my dad to buy a German car. He also despised the Brits for colonizing his 'promised land'. I assume that he didn't detest the Brits as much as he hated the Germans because he allowed my father to drive an old Vauxhall Viva. He was also pretty cross with the Palestinians for dwelling on the land he was sure belonged to him and his people. Rather often he used to wonder about the Palestinians: "these Arabs have so many countries, why do they have to live exactly in the land we want to live in?" But more than anything, my grandfather hated Jewish Leftists. However, it is important to mention that since Jewish leftists have never produced any cars, this specific loathing didn't mature into a conflict of interests between himself and my dad. Being a follower of Zeev Jabotinsky, my Grandfather obviously realized that Leftist philosophy and the Jewish value system is a contradiction in terms. Being a veteran right wing terrorist as well a proud tribal Jew, he knew very well that tribalism can never live in peace with humanism and universalism. Following his mentor Jabotinsky, he believed in the "Iron Wall" philosophy. He supposed that Arabs in general and Palestinians in particular should be confronted fearlessly and fiercely. Quoting Betar's anthem he repeatedly said, "in blood and sweat, we would erect our race".
My Grandfather believed in the Jewish race, and so did I in my very early days. Like my peers, I didn't see the Palestinians around me. They were no doubt there, they fixed my father's car for half the price, they built our houses, they cleaned the mess we left behind, they where schlepping boxes in the local food store, but they always disappeared just before sunset and appeared again around dawn. They had never socialized with us. We didn't really understand who they were and what they stood for. Supremacy was no doubt brewed in our being, we gazed at the world via a racist, chauvinist binocular.
When I was seventeen, I was preparing myself for my compulsory IDF service. Being a well-built teenager fuelled with Zionist spirit and soaked in self-righteousness, I was due to join an air force special rescuing unit. But then the unexpected happened. On an especially late night Jazz program, I heard Bird (Charlie Parker) with Strings.
I was knocked down. It was by far more organic, poetic, sentimental and yet wilder than anything I had ever heard before. My father used to listen to Bennie Goodman and Artie Shaw, these two were entertaining, they could play the clarinet, but Bird was a different story altogether. He was a fierce libidinal extravaganza of wit and energy. The morning after, I decided to skip school, I rushed to 'Piccadilly Record', Jerusalem's No 1 music shop. I found the jazz section and bought every bebop album they had on the shelves (probably two albums). On the bus, on the way home, I realized that Bird was actually a Black man. It didn't take me by complete surprise, but it was kind of a revelation, in my world, it was only Jews who were associated with anything good. Bird was a beginning of a journey.
At the time, like my peers, I was pretty convinced that Jews were indeed the chosen people. My generation was raised on the Six Day War magical victory, we were totally sure of ourselves. Since we were secular, we associated every success with our omnipotent qualities. We didn't believe in divine intervention, we believed in ourselves. We believed that our might is brewed in our resurrected Hebraic soul and flesh. The Palestinians, on their part, were serving us obediently and it didn't seem at the time as if this was ever going to change. They didn't show any real signs of collective resistance. The sporadic so-called 'terror' attacks made us feel righteous, it filled us with some eagerness to get revenge. But somehow within this extravaganza of omnipotence, to my great surprise, I learned to realize that the people who exited me the most were actually a bunch of Black Americans. People who have nothing to do with the Zionist miracle. People that had nothing to do with my own chauvinist exclusive tribe.
It didn't take more than two days before I hired my first saxophone. The saxophone is a very easy instrument to start with, and if you don't believe me you better ask Bill Clinton. However, as much as the saxophone was an easy instrument to pick up, playing like Bird or Cannonball looked like an impossible mission. I started to practice day and night, and the more I practiced, the more I was overwhelmed with the tremendous achievement of that great family of Black American musicians, a family I was then starting to know closely. Within a month I learned about Sonny Rollins, Joe Henderson, Hank Mobley, Monk, Oscar Peterson and Duke, and the more I listened the more I realized that my initial Judeo-centric upbringing was totally wrong. After one month with a saxophone shoved up my mouth, my Zionist enthusiasm disappeared completely. Instead, of flying choppers behind enemy lines, I started to fantasize about living in NYC, London or Paris. All I wanted was a chance to listen to the great names of Jazz and in the late 1970's, many of them were still around.
Nowadays, youngsters who want to play Jazz tend to enroll in a music college, in my days it was very different. Those who wanted to play classical music would enroll in a college or a music academy, however, those who wanted to play for the sake of music would stay at home and swing around the clock. Nonetheless, in the late 1970's there was no Jazz education in Israel and in my hometown Jerusalem there was just a single Jazz club. It was called Pargod and it was set in an old converted pictorial Turkish Bath. Every Friday afternoon they ran a jam session and for my first two years in jazz, these jams were the essence of my life. Literally speaking, I stopped everything else, I just practiced day and night preparing myself for the next 'Friday Jam'. I listened to music, I transcribed some great solos, I even practiced while sleeping. I decided to dedicate my life to Jazz accepting the fact that as a white Israeli, my chances to make it to the top were rather slim. Without realizing it at the time, my emerging devotion to jazz had overwhelmed my Zionist exclusive tendencies. Without being aware, I left the chosenness behind. I had become an ordinary human being. Years later, I realized that Jazz was my escape route. Within months I felt less and less connected to my surrounding reality, I saw myself as part of a far broader and greater family. A family of music lovers, a bunch of adorable people who were concerned with beauty and spirit rather than land and occupation.
However, I still had to join the IDF. Though later generations of Israeli young Jazz musicians just escaped the army and ran away to the Jazz Mecca NYC, for me, a young lad of Zionist origin in Jerusalem, such an option wasn't available, a possibility as such didn't even occur to me.
In July 1981 I joined the Israeli Army but, I may suggest proudly, that from my first day in the army I was doing my very best to avoid any call of duty. Not because I was a pacifist, not because I cared that much about the Palestinians or subject to a latent peace enthusiasm, I just loved to be alone with my saxophone.
When the 1st Lebanon war broke, I was a soldier for one year. It didn't take a genius to know the truth, I knew that our leaders were lying. Every Israeli soldier realized that this war was an Israeli aggression. Personally I couldn't feel anymore any attachment to the Zionist cause. I didn't feel part of it. Yet, it still wasn't the politics or ethics that moved alienated me, but rather my craving to be alone with my horn. Playing scales at the speed of light seemed to me far more important for than killing Arabs in the name of people's redemption. Thus, instead of becoming a qualified killer I spent every possible effort trying to join one of the military bands. It took a few months, but I eventually landed safely at the Israeli Air Force Orchestra (IAFO).
The IAFO was made of a unique social setting, you could join in either for being an excellent promising Jazz talent or just for being a son of a dead pilot. The fact that I was accepted, knowing that my Dad was amongst the living reassured me for the first time that I may be a musical talent. To my great surprise, none of the orchestra members took the army seriously. We were all concerned about one thing, our very personal musical development. We hated the army and it didn't take time before I started to hate the state that had such a big army with such a big air force that needed a band that stopped me from practicing 24/7. When we were called to play in a military event, we always tried to play as bad as we could just to make sure that we would never get invited again. In the IAFO orchestra I learned for the first time how to be subversive. How to destroy the system in order to achieve immaculate personal perfection.
In the summer of 1984, just 3 weeks before I took off my military uniform, we were sent to Lebanon for a tour of concerts. At the time, Lebanon was a very dangerous place to be in and the Israeli army was dug deep in bunkers and trenches avoiding any confrontation with the local population. On the 2nd day we arrived at Aszar, a notorious Israeli concentration camp on Lebanese soil. This event changed my life.
It was a boiling day in early July. On a dusty dirt track we arrived at hell on earth. A huge detention centre surrounded by barbed wire. On the way to the camp headquarters we drove through the view of thousands of inmates being scorched under the sun. It is hard to believe, but military bands are always treated as VIPs. Once we landed at the officer command barracks we were taken for a guided tour in the camp. We were walking along the endless barbed wire and the post guard towers. I couldn't believe my eyes. "Who are these people?" I asked the officer. "They are Palestinians" he said, here are the PLO on the left and here on the right are the Ahmed Jibril's ones, they are far more dangerous (Popular Front for the Liberation of Palestine PFLP-GC) so we keep them isolated.
I looked at the detainees and they looked very different to the Palestinians I saw in Jerusalem. The ones I saw in Ansar were angry. They were not defeated and they were many. As we moved along the barbed wire and I was gazing at the inmates, I realized that unbearable truth, I was walking there in Israeli military uniform. While I was still contemplating about my uniform, trying to deal with some severe sense of emerging shame, we arrived at a large flat ground in the middle of the camp. We stood there around the guide officer and learned from more him, some more lies about the current war to defend our Jewish haven. While he was boring us to death with some irrelevant lies I noticed that we were surrounded by two dozen concrete blocks the size of one square meter and around 1.30 cm high. They had a small metal door and I was horrified by the fact that my army may have decided to lock the guard dogs in these constructions for the night. Putting my Israeli Chutzpah into action, I asked the guide officer what these horrible concrete cubes were. He was fast to answer. "These are our solitary confinement blocks, after two days in one of these you become a devoted Zionist".
This was enough for me. I realized already then in 1984 that my affair with the Israeli state and Zionism was over. Yet, I knew very little about Palestine, about the Nakba or even about Judaism and Jewishness. I just realized that as far as I was concerned, Israel was bad news and I didn't want to have anything to do with it. Two weeks later, I gave my uniform back, I grabbed my alto sax, took the bus to Ben Gurion airport and left for Europe for a few months. I was basking in the street. At the age of 21, I was free for the first time. In December it was too cold and I went back home with a clear intention to make it back to Europe.
It took me another 10 years before I could leave Israel for good. In these years I started to learn closely about the Israeli Palestinian conflict, about oppression. I started to accept that I was actually living on someone else's land. I started to take in that devastating fact that in 1948 the Palestinians didn't really leave willingly but were rather brutally ethnically cleansed by my Grandfather and his ilk. I started to realize that ethnic cleansing has never stopped in Israel, it just took different shapes and forms. I started to acknowledge the fact that the Israeli legal system was totally racially orientated. A good example was obviously the 'Law of Return', a law that welcomes Jews to come 'home' after 2000 years but stops Palestinians from returning to their land and villages after 2 years abroad. All that time I had been developing as a musician, I had become a major session player and a musical producer. Yet, I wasn't really involved in any political activity. I scrutinized the Israeli left discourse and realized that it was very much a social club rather than an ideological setting motivated by ethical awareness.
At the time of Oslo agreement (1994), I just couldn't take it anymore. I realized that Israeli 'peace making' was fraud. It wasn't there to reconcile with the Palestinians or to confront the Zionist original sin. Instead it was there to reassure the secure existence of the Jewish state at the expense of the Palestinians. The Palestinian Right of Return wasn't an option at all. I decided to leave my home, to leave my career. I left everything behind including my wife Tali, who joined me later. All I took with me was my Tenor Saxophone, my true eternal friend.
I moved to London and attended postgraduate studies in Philosophy at Essex University. Within a week in London I managed to get a residency at the Black Lion, a legendary Irish pub in Kilburn High Road. At the time I didn't understand how lucky I was. I didn't know how difficult it is to get a gig in London. In fact this was the beginning of my international career as a Jazz musician. Within a year I had become very popular in the UK playing bebop and post bop. Within three years I was playing with my band all over Europe.
However, it didn't take long before I started to feel some homesickness. To my great surprise, it wasn't Israel that I missed. It wasn't Tel Aviv, Haifa or Jerusalem. It was actually Palestine. It wasn't the rude taxi driver in Ben Gurion airport, or a shopping center in Ramat Gan, it was the little Humus place in Yafo at Yesfet/Salasa streets. It was the Palestinian villages that are stretched on the hills between the olive trees and the Sabbar cactuses. I realized that whenever I felt like visiting home, I would end up in Edgware Road, I would spend the evening in a Lebanese restaurant. However, once I started to explore my thoughts about Israel in public, it soon became clear to me that Edgware Road was probably as close as I could ever get to my homeland.
I may admit that In Israel, I wasn't at all interested in Arabic music. Supremacist colonials are never interested in the culture of the indigenous. I always loved folk music. I was already established in Europe as a leading Klezmer player. Throughout the years I started to play Turkish and Greek music. However, I completely skipped Arabic music and Palestinian music in particular. Once in London, in these Lebanese restaurants, I started to realize that I have never really explored the music of my neighbors. More concerning, I just ignored it, though I heard it all the time. It was all around me, I never really listened. It was there in every corner of my life, the call for prayers from the Mosques over the hills. Um Kalthoum', Farid El Atrash, Abdel Halim Hafez, were there in every corner of my life, in the street, on the TV, in the small cafes in old city Jerusalem, in the restaurants. They were all around me but I dismissed them disrespectfully.
In my mid thirties, away from my homeland, I was drawn into the indigenous music of my homeland. It wasn't easy. It was on the verge of unfeasible. As much as Jazz was easy for me to take in, Arabic music was almost impossible. I would put the music on, I would grab my saxophone or clarinet, I would try to integrate and I would sound foreign. I soon realized that Arabic music was a completely different language altogether. I didn't know where to start and how to approach it.
Jazz music is a western product. It evolved in the 20th century and developed in the margins of the cultural industry. Bebop, the music I grew up on is made of relatively short fragments of music. The tunes are short because they had to fit into the 1940's record format (3 min). Western music can be easily transcribed into some visual content within standard notation and chord symbols.
Jazz, like every other Western art form, is partially digital. Arabic music, on the other hand, is analogue, it cannot be transcribed. Once transcribed, its authenticity evaporates. By the time I achieved enough humane maturity to face the music of my homeland, my musical knowledge stood in the way.
I couldn't understand what was it that stopped me from encompassing Arabic music. I couldn't understand why it didn't sound right. I spent enough time listening and practicing. But it just didn't sound right. As time went by, music journalists in Europe started to appreciate my new sound, they started to regard me as a new Jazz hero who crossed the divide as well as an expert of Arabic music. I knew that they were wrong, as much as I tried to cross the so-called 'divide', I could easily notice that my sound and interpretation was foreign to the Arabic true color.
But then, I found an easy trick. In my gigs, when trying to emulate the oriental sound, I would first sing a line that reminded me the sound I ignored in my childhood, I would try to recall echoes of the Muezzin sneaking into our streets from the valleys around. I would try to recall the astonishing haunting sound of my friends Dhafer Youssef and Nizar Al Issa. I would hear myself the low lasting voice of Abel Halim Hafez. Initially I would just close my eyes and listen to my internal ear, but without realizing I started gradually to open my mouth and sing loudly. I then realized that if I sing while having the saxophone in my mouth I would achieve a sound that was very close to the mosques' metal horns. Originally I tried to get closer to the Arabic sound but at a certain stage, I just forgot what I was trying to achieve; I started to enjoy myself.
Last year, while recording an album in Switzerland, I realized suddenly that my Arabic sound wasn't embarrassing anymore. Once listening to some takes in the control room I suddenly noticed that the echos of Jenin, Al Quds and Ramallah popped naturally out of the speakers. I tried to ask myself what happened, why did it suddenly started to sound genuine. I realized that I have given up on the primacy of the eye and reverted to the primacy of the ear. I didn't look for an inspiration in the manuscript, in the music notes or the chord symbol. Instead, I was listening to my internal voice. Struggling with Arabic music reminded me why I did start to play music in the first place. At the end of the day, I heard Bird in the radio rather seeing him on MTV.
It's that it is about time we learn to listen to the people we care for. It is about time we listen to the Palestinians rather than following some decaying textbooks. It is about time. Only recently I grasped that ethics comes into play when the eyes shut and the echoes of conscience are forming a tune within one's soul. To empathize is to accept the primacy of the ear.
-Gilad Atzmon is an internationally acclaimed jazz musician whose CD Exile was selected by the BBC in 2003 as Album of the Year. He was born in Israel and served in the Israeli Defense Force (IDF), and is now living in self-exile in the UK. Visit his web site at: www.gilad.co.uk. He can be reached at: gilad@gilad.co.uk


Watch "Cause Effect," a show about real people making a real difference. Learn more

Checkpoint 303 LIVE in AMSTERDAM and more!







-

1. English
2. Français

1.________________________EN


Dear Checkpoint 303 friends,

Here are the latest Checkpoint 303 news and a selection of cultural events some of you might find interesting.

Checkpoint 303 LIVE IN AMSTERDAM[03.02.2008 @ 8pm]

We are pleased to announce our first show in 2008 which will be held in Amsterdam on Sunday February 3rd at the Melkweg. This concert is part of a unique musical event entitled: SONIC RESISTANCE organized by "De Levante" (Eastwind) a young foundation that promotes Oriental Art and Culture in the Netherlands. Most importantly, Checkpoint 303 will be performing for the first time alongside the outstanding Ramallah Underground collective, the talented artist John Kameel Farah and the eclectic DJ Takimi in an evening that will showcase contemporary electronic music out of and dealing with the Palestinian hope and quest for peace and justice.
(CP303 flyer attached - spread the word to friends, blogs & forums)

CP 303 on Radio BEUR FM -   [15.01.2008 - Cafe des Artistes 8-9pm]

Checkpoint 303 will be the guest of the program "Café des Artistes" next Tuesday January 15th on the Paris-based Radio BEUR FM from 8 to 9 pm.
You can also listen to the program (French) online at the station's website: http://www.beurfm.net/


Film Screening in JERUSALEM - [12.01.2008 - 6 pm]

The documentary film "Salata Baladi" by Nadia Kamel (English subtitles/105 min) will be screened this Saturday January 12 at 6pm at Al-Ma'mal Foundation for Contemporary Art located at New Gate, Old City in Jerusalem.
More about this documentary at http://www.salatabaladi.blogspot.com/
More about Al Ma'mal Foundation for Contemporary Art: http://www.almamalfoundation.org


Piano Concert in Gaza - [29.01.2008 - 3 pm]

A piano concert by Elena Leddawi organized by the Gaza French Cultural Center will take place on Tuesday January 29th at the Qattan Center in Gaza.
Full January 08 cultural program of the Gaza CCF: http://www.consulfrance-jerusalem.org/article.php3?id_article=782  [french]


Musicians for Palestine @ Angers, France - [07.02.2008]

The 6th edition of the "Musicians for Palestine" musical evening will take place at Le Chabada, Angers, France on February 7th 2008. The event organized by the Al Kamandjati association will feature Souad Massi, The Joubran Brothers, Alee, Gaza Team and Origines Controlées.
The Chabada venue website: http://www.lechabada.com/spip.php?article540

Thanks for all the messages of support!

Salam,
Hajiz 303 / Checkpoint 303
www.checkpoint303.com

ps. you have received this email because you or a friend has added your address to our mailing list. If you no longer wish to receive CP-303's newsletter reply to this email with "unsubscribe" as subject.




2. ___________________________FR


Chers amis de Checkpoint 303,

Au menu de cette petite lettre d'information : les derniers news de Checkpoint 303 et quelques informations culturelles qui pourraient vous intéresser.

Concert Checkpoint 303 à AMSTERDAM[03.02.2008 - début: 20h]

Le premier concert de l'année 2008 de Checkpoint 303 aura lieu à Amsterdam le dimanche 3 février 2008 au Melkweg. Ce concert fait partie d'une soirée intitulée "SONIC RESISTANCE" organisée par "De Levante" (Eastwind) une jeune association dont le but est de promouvoir l'art et la culture orientale au Pays-bas. Checkpoint 303 se produira pour la première fois aux côtés de l'excellent collectif trip-Hop Ramallah Underground, de l'artiste exceptionnel John Kameel Farah ainsi que de l'éclectique DJ Takimi. Cette soirée prendra aussi la forme d'un show case de nouvelles musiques électroniques palestiniennes et exprimera l'espoir d'une paix juste et durable en Palestine.
(Flyer en pièce-jointe - à diffuser sans modération)


CP-303 sur BEUR FM -   [15.01.2008 - Café des Artistes 20h-21h]

Checkpoint 303 sera au micro de BEUR FM mardi prochain (15/01/08) dans l'émission "Café des Artistes".
Vous pourrez également écouter l'émission en ligne via le site de la radio: http://www.beurfm.net/


Projection de film à JERUSALEM - [12.01.2008 - 18h]

Le documentaire "Salata Baladi" realisé par Nadia Kamel (sous-titré en anglais, durée 105 min) sera projeté ce samedi 12 janvier à 18h à la fondation Al-Ma'mal pour l'art contemporain au New Gate dans la vielle ville de Jérusalem.
Plus d'info sur ce documentaire: http://www.salatabaladi.blogspot.com/
Al Ma'mal Foundation for Contemporary Art: http://www.almamalfoundation.org


Concert de Piano à Gaza - [29.01.2008 - 15h]

Un concert de piano par Elena Leddawi organisé par le centre culturel français de Gaza aura lieu le mardi 29 janvier au Centre Qattan à Gaza. Retrouvez le programme complet du mois de Janvier du CCF de Gaza ici:
http://www.consulfrance-jerusalem.org/article.php3?id_article=782  [french]


Musiciens pour la Palestine @ Angers, France - [07.02.2008]

La 6ème édition de la soirée "Musiciens pour la Palestine" aura lieu le jeudi 7 février 2008 au Chabada à Angers.
L'évènement organisé par l'association Al Kamandjati réunira entre autres: Souad Massi, Frères Joubran, Alee, Gaza Team et Origines Contrôlées.
Programme sur le site du Chabada: http://www.lechabada.com/spip.php?article540

Merci encore pour tous vos messages de soutien et d'encouragement!

Salam,
Hajiz 303 / Checkpoint 303
www.checkpoint303.com

ps. si vous ne souhaitez plus recevoir les news de checkpoint 303 répondez simplement à ce mail en indiquant "unsubscribe" dans l'objet du mail.


--
________________________________
free tunes from occupied territories
www.checkpoint303.com

Wednesday, January 09, 2008

Two Protest Wall Poems





Tuesday, January 08, 2008

: The Golden Thread, TYR 3





> Greetings from Dominion Press,
>
> We hope the following new edition may be of interest which is now
> available for immediate shipment. This is strictly limited to 200
> copies, which can be reserved by email.
>
> If you have already contacted us and reserved a copy, please provide
> your shipping information and make arrangements for payment and your
> copies will be dispatched in the next few days.
>
> The new volume of TYR is also available, but we recommend it be
> ordered directly from the publisher, Ultra, either via Amazon or by
> contacting: elecampane@bellsouth.net.
>
> Best wishes for the New Year!
>
> Michael/Dominion
>
> ---
>
>
> Dominion Press Is Proud to Announce the Publication of
>
> The Golden Thread: The Timeless Wisdom of the Western Mystery Traditions
> by Joscelyn Godwin
> Foreword by Richard Smoley
>
> The Western Esoteric Tradition--which includes magic, Hermeticism,
> Gnosticism, alchemy, and theosophy--can be viewed as a continuous
> thread running beneath the surface of Western history. Those within
> the walls of traditional faith, and even more so those outside it,
> have all drawn upon its perennial wisdom throughout the ages. "The
> Golden Thread" traces the interconnectedness of esoteric wisdom in
> the Western world, from classical antiquity to contemporary Europe
> and America. Every chapter makes reference to some aspect of
> contemporary life and issues of immediate concern. Educated readers
> who are curious about the esoteric and mystery traditions and
> interested in finding surprising new approaches that veer away from
> the trends of current thought will be particularly drawn to "The
> Golden Thread."
>
> Contents
>
>
>
> Foreword by Richard Smoley
>
> Preface
>
> Chapter 1: The Prisca Theologia
>
> Chapter 2: The Hermetic Tradition
>
> Chapter 3: The Orphic Mysteries
>
> Chapter 4: Pythagoras and His School
>
> Chapter 5: Plato's Cave
>
> Chapter 6: The Power of the Egregore
>
> Chapter 7: The Meddling God
>
> Chapter 8: The Negative Theology
>
> Chapter 9: Cathedrals of Light
>
> Chapter 10: The Arts of the Imagination
>
> Chapter 11: The Pagan Renaissance
>
> Chapter 12: The Philosopher's Dilemma
>
> Chapter 13: Inner Alchemy
>
> Chapter 14: The Religion of Art
>
> Chapter 15: Wise Men from the East
>
> Chapter 16: The End of the Thread?
>
> Notes
>
> Index
>
>
> NOW AVAILABLE AS A LIMITED CLOTHBOUND EDITION
>
> A beautiful clothbound edition of this important book by a masterful
> modern scholar of esotericism is now exclusively available from
> Dominion Press. The edition is strictly limited to 200 copies, and
> will never be available again in this form. Each book features sewn
> signatures, dark maroon cloth with gold stamping of a calligraphic
> design by Joscelyn Godwin, and a special translucent protective dust-
> wrapper. 53⁄4" x 9", 200 + xii pages. ISBN-13: 978-0-9712044-5-4
>
> "Thoughtful and thought provoking, this is a delightful and erudite
> collection of gently subversive essays--a book to savor." -- Arthur
> Versluis, author of Song of the Cosmos: An Introduction to
> Traditional Cosmology
>
> Price: $40.00 postpaid in the U.S.A., or $50.00 airmail postpaid to
> the rest of the world. Please send check or money order payable to:
>
> Dominion
> P.O. Box 129
> Waterbury Center, VT 05677
> USA
>
> Inquiries and Paypal payments may be directed to our email address:
> dominion@pshift.com
>
>


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From Jewish Voice for Peace: Host an anti-occupation Tu B'Shvat seder on January 21



---------- Forwarded message ----------
From: Hannah S. & Elliott B.T, Jewish Voice for Peace <info@jewishvoiceforpeace.org >
Date: Jan 8, 2008 10:52 AM
Subject: Host an anti-occupation Tu B'Shvat seder on January 21
To: david.chirot@gmail.com


Dear David,

As part of the our Swords Into Ploughshares campaign, Jewish Voice for Peace has created a special Tu B' Shvat seder, designed as a political/cultural event (rather than the Kabbalistic or predominantly religious ritual usually used on this holiday). The seder will mark the launch of our Trees of Reconciliation project through which we will raise funds to plant 3,000 olive trees in the West Bank in 2008.

We have seders planned for the night of January 21st, 2008 in ten North American cities already, and are looking for more people who would like to host, particularly in the UK, Australia, Israel and Palestine. Your event could be large or small,in a rented hall or at your kitchen table with a few friends.

We've created a resource center complete with a backgounder on
JVP's new take on the Tu B'Shvat tradition, a downloadable haggadah, leader's guide, shopping list, and even MP3 files of the songs so you can learn them if they're not familiar.

As we all know, talking about the issues of peace and justice in Palestine can be complicated and difficult, but hosting the event will be fun and easy.  It could also be a way to bring interested people into the movement.

If you're interested in hosting, or know someone who might be, please contact us at trees@jvp.org. You can also go right to the resource center and register online.

Best,

Elliott Bat Tzedek and Hannah Schwarzschild, JVP Philadelphia members and authors of JVP's new Trees of Reconciliation Tu B'Shvat Haggadah.

To unsubscribe, click here.


Monday, January 07, 2008

War with No End, US Campaign Book Club Selection




Date: Mon, 7 Jan 2008 14:42:56 -0500
From: uscampaign@mail.democracyinaction.org
To: davidbchirot@hotmail.com
Subject: War with No End, US Campaign Book Club Selection

War with No End, US Campaign Book Club Selection


The US Campaign to End the Israeli Occupation is pleased to announce the start of a monthly book club.  Each month, we'll select a new book which we think you might be interested in reading. 

The inaugural book for our new Book Club is "War with No End," an important new anthology of essays published by Verso Books in conjunction with United for Peace and Justice and the Stop the War Coalition (UK). 

The book features contributions from two US Campaign Steering Committee members, Judith LeBlanc (Introduction) and Phyllis Bennis ("The Global War on Terror: What It Is, What It's Done to the World").

Other important essays include:

Click here to purchase "War with No End," the US Campaign's January Book Club Selection

* "Come September," by Arundhati Roy

* "Human Shield," by John Berger

* "Songs of Resistance," by Haifa Zangana

* "Weddings and Beheadings," by Hanif Kureishi

* "Down! Up!," by Joe Sacco

* "Mezzaterra," by Ahdaf Soueif

* "Homeland Wars," by Tram Nguyen

* "Not in Our Names," by Sept. 11 Families for Peaceful Tomorrows

* "Building a Booming Economy Based on War with No End: The Lessons of Israel," by Naomi Klein  

You can purchase this book for $15 (plus $2 shipping and handling) by clicking here.

From the book's back cover:

"On October 7th 2001, US-led forces invaded Afghanistan, marking the start of George Bush and Tony Blair's "War on Terror." Six years on, where have the policies of Bush and Blair left us? Bringing together some of the finest contemporary writers, this wide-ranging anthology, from reportage and "faction" to fiction, explores the impact of this "long war" throughout the world, from Palestine to Iraq, Abu Ghraib, the curtailment of civil liberties and manipulation of public opinion. Published in conjunction with Stop the War coalition and United for Peace and Justice, it provides an urgent, necessary reflection on the causes and consequences of the ideological War on Terror."

Purchase this book and browse the US Campaign's other merchandise by clicking here.

Thank you for your support and happy reading!

US Campaign to End the Israeli Occupation

DONATE | SUBSCRIBE | UNSUBSCRIBE

­



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FW: DAY OF ACTION: January 11th is the 6th anniversary of the first transfer of detainees to Guantá




Date: Mon, 7 Jan 2008 16:27:50 -0500
From: Peaceact@mail.democracyinaction.org
To: davidbchirot@hotmail.com
Subject: DAY OF ACTION: January 11th is the 6th anniversary of the first transfer of detainees to Guantánamo Bay.




Dear David,



Mark your calendar. This January 11th is the 6th anniversary of the first transfer of detainees to Guantánamo Bay. To mark the occasion we are taking part in a worldwide protest denouncing torture and unlawful detentions.  The largest protest will be in Washington but nation-wide Peace Action affiliates will mark this day with their own actions.  Find out about the local events happening that day near you, here.


Orange jumpsuits provided...

An AI protester stands outside the US Supreme Court to mark the 5th anniversary of
Guantanamo Bay detentions. Join us January 11th on the National Mall.

At U.S. embassies and other prominent locations in Great Britain, the Netherlands, Spain, Ireland, Greece and right here in Washington DC, activists will rise up against the failed interrogation regime at Guantánamo.


Join us on the National Mall in Washington, DC on January 11th.
WHEN: Friday, January 11th at 11am
WHERE:
National Mall at 12 St NW (Smithsonian Metro)

WHAT:
Protest. Arrive early so you can suit up in an orange jumpsuit and join the visual count of current detainees.

Join peace and justice activists all over the world and across our nation to call for the closure of Guantánamo Bay, we cannot relent until justice prevails.

Counter terror with justice at home and abroad.
Sincerely,


Kevin M. Martin
Executive Director
Peace Action



 

Click here to subscribe to the Action Alert Network

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Take Action

Join us in Washington

Find a January 11th Event Near You.


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Check out the Peace Action Presidential Voter Guide '08

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Abismos de pasion/Wuthering Heights

Los Olvidados ° Luis Buñuel 01

jorge luis borges

DOCUMENTARY BIOGRAPHY JORGE LUIS BORGES

William S Burroughs

The Quiet War






09:06 , 01.06.08
Landlords
Photo: Shai Rosenzweig Mass displacement? Bedouins (Illustration) Photo: Shai Rosenzweig
Israel's quiet war

Bedouin lands in south confiscated to make room for more Jewish communities
Fred Schlomka

While Ehud Olmert and Mahmoud Abbas were wheeling and dealing at Annapolis, several Israeli government ministries and security agencies were deploying their combined resources in a massive operation aimed at Israel's southern Negev Desert. While the eyes of the world are on the West Bank and Gaza, Israel is in the middle of a campaign to complete the displacement of Palestinian Arabs who are also Israeli citizens.

 

The indigenous Bedouin are the target, and their lands are required by the state in order to complete the implementation a master plan for the Negev. The plan relegates the Bedouin to ghetto enclaves while allocating huge swathes of territory for Jewish suburban development and agricultural communities. The Negev is the final frontier inside Israel, the last tract of largely undeveloped land in the state. Israel has virtually completed the dismemberment of Palestinian lands in the center and north of the country, and now is consolidating the "Jewish redemption" of the southern desert.

 

Ownership
JNF bill challenged by Arab proprietary database  / Sharon Roffe-Ofir
MK Hanna Swaid forms database for Arab-owned land as part of sector's fight against JNF bill. Arab public asked to submit ownership papers for inquiry regarding land in northern Israel
Full story

These Bedouin lands are coveted by the Jewish National Fund (JNF) which has published plans to move large numbers of Jews to the Negev. To make way for new JNF communities, the "unrecognized" villages of A-Tir, Um Al-Hiran, and Twail Abu Jarwal were destroyed during 2007 in military-style operations involving large forces of police and soldiers, displacing hundreds of families. The Interior ministry has also sent airborne crop dusters to poison the Bedouin fields with broad-spectrum herbicides. The feared Green Patrol, a paramilitary unit of the Ministry of Agriculture, conducts these operations.

 

There are over 150,000 Bedouin in the Negev desert, with well-established territorial rights dating back to the Ottoman Era. However, immediately after the founding of the state in 1948, the government began to confiscate land and move the Bedouin to ever decreasing areas, while allocating state resources for the development of new Jewish-only towns and agricultural settlements. Although the Bedouin were eventually granted citizenship of Israel, they were under military rule until 1966.

 

The cost might be high

Through legislation and various legal mechanisms the state has decreed the Bedouin to be squatters on their own land and thus the courts support the demolition of homes and expulsion of the inhabitants. The JNF, through its "Blueprint Negev" plan, intends to create 25 new towns in the Negev over the coming years, bringing 250,000 new Jewish residents to the region according to its website. The JNF is also planting forests on Bedouin land, such as the Ambassador Forest on the lands of the Elokbi Tribe north of Be'er Sheva.

 

Such measures would never be taken against Jewish citizens of Israel, who enjoy the right to live almost anywhere in the country in relative luxury, while the Bedouin are relegated to a pitiful remnant of their patrimony. This institutional racism is supported by tax-deductible donations from the USA.

The Bedouin have a long and proud tradition as a people. During the first decades of the state, they gave allegiance to Israel, sent their sons to the army and expected the respect they deserve. They received none. Instead the state as continued its mission to serve only the interests of Jewish citizens, and as a result few Bedouin serve in the IDF today. The cost might be high. Bedouin leaders have warned that the anger simmering under the surface may erupt, and Israel may face a Bedouin uprising, an Intifada within the state. Perhaps it's time for the State of Israel to become a democracy for the benefit of all its citizens, before it's too late.

 

Fred Schlomka is an Israeli businessman and a board member of the Israeli Committee Against House Demolitions (ICAHD). He is a 2003 Fellow of the Echoing Green Foundation and the founder of Mosaic Communities in Israel.

 




 

Sunday, January 06, 2008

PERFORMANCE DE REYES TARRAGONA PXP/TDS








Date: Sun, 6 Jan 2008 21:42:01 +0100
From: cesar@boek861.com
To: tgnapau@tarragona.tinet.org
Subject: PERFORMANCE DE REYES TARRAGONA PXP/TDS

http://boek861.com
http://www.tinet.cat/~tgnapau/
Son siete años los que lleva el colectivo TARRAGONA PATRIMONI DE LA PAU /PARAULAS PER LA PAU creando el primer domingo de cada mes un espacio de arte y paz en la Plaza del Ayuntamiento de Tarragona. Desde su inicio ha colaborado con ellos el Taller del Sol y de nuevo en el 2008 y en el día de reyes se ha cumplido la tradición.En esta ocasión recreando el papel de NOEL GENARO
1
Genaro llaga con todo su atresso a la Plaza del Ayuntamiento
1
Josep Maria Yago coordinador de PARAULAS PER LA PAU entrevista a Genaro sobre la situación mundial
1
Genaro hace los regalos navideños
1
...//...que sorpresivamente nos ofrecen malabaristas, payasos, músicos y hasta un militar que sufre una metamorfosis increible a lo largo de la jornada
1
El grupo de malabaristas Kabuki nos demostró lo maravillosos que sería un mundo en paz
1
...y Alba Suanes nos colocó en el paraiso con su flauta travesera y su interpretación fantástica de LA SINFONIA DEL NUEVO MUNDO
1
También estuvo presente Manuel Calvarro desde Huelva que con su poema burro nº 635.842 dedicado a los reyes magos nos puso a todos la piel de gallina recordando a otros niños, a otros mundos y la importancia de disfrutar de lo que tenemos sin olvidar a los que nada tienen.
1
Finalmente Noel Genaro se despidió y se retiró muy emocionado por todo lo que había visto y había vivido.

ASI QUE AMIGOS, CREO QUE ESTE ES UN BUEN EJEMPLO QUE NOS DICE QUE LA CREATIVIDAD Y EL ARTE PUEDE SER UN BUEN ANTIDOTO PARA COMBATIR LAS GUERRAS, EL HAMBRE Y LAS INJUSTICIAS.

En su galería de imagenes del Boek 861  podras ver 37 fotografías de este encuentro emotivo. Un abrazo a todos
http://boek861.com
http://www.tinet.cat/~tgnapau/


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Borges and the Forseeable Future--Borges as precusor of the Internet



Sophie Basouls/Sygma-Corbis

Jorge Luis Borges in 1977.


Books
Borges and the Foreseeable Future



By NOAM COHEN
Published: January 6, 2008

THE Argentine writer Jorge Luis Borges might seem an unlikely candidate for Man Who Discovered the Internet. A fusty sort who from the 1930s through the 1950s spent much of his time as a chief librarian, Borges (1899-1986) valued printed books as artifacts and not just for the words they contained. He frequently set his stories in a pretechnological past and was easily enthralled by the authority of ancient texts.


Sophie Basouls/Sygma-Corbis

Jorge Luis Borges in 1977.


Gordon Bell





Senator George Allen of Virginia on YouTube.

Yet a growing number of contemporary commentators — whether literature professors or cultural critics like Umberto Eco — have concluded that Borges uniquely, bizarrely, prefigured the World Wide Web. One recent book, “Borges 2.0: From Text to Virtual Worlds” by Perla Sassón-Henry, explores the connections between the decentralized Internet of YouTube, blogs and Wikipedia — the so-called Internet 2.0 — and Borges’s stories, which “make the reader an active participant.” Ms. Sassón-Henry, an associate professor in the language studies department of the United States Naval Academy, describes Borges as “from the Old World with a futuristic vision.” Another work, a collection of essays on the topic from Bucknell University Press, has the provocative title “Cy-Borges” and is expected to appear this year.

Among the scores of Borges stories, a core group — including “Funes the Memorious,” “The Library of Babel” and “Tlön, Uqbar, Orbis Tertius” — first appeared in the United States as “Labyrinths” in the early 1960s. With their infinite libraries and unforgetting men, collaborative encyclopedias and virtual worlds conjured up from the printed page and portals that watch over the entire planet, these stories (along with a few others like “The Aleph”) have become a canon for those at the intersection of new technology and literature.

New Directions, the publisher of “Labyrinths,” reissued the collection in May, for the first time in more than 40 years. In a sign of the changing times it includes an introduction from William Gibson, the cyberpunk author. (The original, by contrast, came with a preface from André Maurois of the Académie Française.)

By 1955 Borges had lost his sight yet was appointed director of the National Library of Argentina. Assessing his predicament (the digital age predicament) of having access to so much information and so few ways to process it, Borges wrote in “Poem of the Gifts,” “No one should read self-pity or reproach into this statement of the majesty of God, who with such splendid irony granted me books and blindness at one touch.”

What follows are excerpts from prophetic Borges short stories — translated by Andrew Hurley in “Borges: Collected Fictions” (Penguin Books) — and examples of those prophesies fulfilled.

Infinite Encyclopedia

THEN “Who, singular or plural, invented Tlön? The plural is, I suppose, inevitable, since the hypothesis of a single inventor — some infinite Leibniz working in obscurity and self-effacement — has been unanimously discarded. It is conjectured that this ‘brave new world’ is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebrists, moralists, painters, geometers, ... guided and directed by some shadowy man of genius. There are many men adept in those diverse disciplines, but few capable of imagination — fewer still capable of subordinating imagination to a rigorous and systematic plan. The plan is so vast that the contribution of each writer is infinitesimal.” “Tlön, Uqbar, Orbis Tertius” (1940)

NOW Wikipedia, the online encyclopedia project that began in 2001, now has a total of more than nine million articles in more 250 languages. There are more than 75,000 “active contributors,” many of whom remain anonymous. As it grows and becomes ever more influential, its operating logic remains a mystery. A favored saying among Wikipedia’s contributors is: “The problem with Wikipedia is that it only works in practice. In theory, it can never work.”

Life Is Like A Blog

THEN “Two or three times he had reconstructed an entire day; he had never once erred or faltered, but each reconstruction had itself taken an entire day. ‘I, myself, alone, have more memories than all mankind since the world began,’ he said to me. ... And again, toward dawn: My memory, sir, is like a garbage heap.” “Funes” (1942)

Now The path from diary to blog to the frequently updated “microblog” has now descended to “life-logging.” Not content merely to record their thoughts or even daily activities, life-loggers record and preserve everything they see, hear, say and read during the day. The world-recognized early adopter is Gordon Bell, a 73-year-old computer programmer who wears an audio recorder as well as a tiny camera that snaps a picture every 60 seconds. A 2006 profile in Fast Company described Mr. Bell as at one time being “worried about filling up his hard-drive space too quickly.” He adds a gigabyte of information a month and figures that an average 72-year-old person would require one to three terabytes, “a hefty amount of storage.”

Nothing Is Forgotten

THEN “I was struck by the thought that every word I spoke, every expression of my face or motion of my hand would endure in his implacable memory; I was rendered clumsy by the fear of making pointless gestures.” “Funes” (1942)

Now There once was a time when a poet could assert that “the revolution will not be televised.” But today, of course, even a politician’s informal meet-and-greet will be recorded for posterity. Senator George Allen of Virginia learned this in 2006 when a tape of him calling his opponent’s videographer a “macaca,” a racially tinged epithet, spread like a virus across the state and, soon, the world. He lost his re-election bid.

Universal Library

THEN “From those incontrovertible premises, the librarian deduced that the Library is ‘total’ ... that is, all that is able to be expressed, in every language. ... When it was announced that the Library contained all books, the first reaction was unbounded joy. All men felt themselves the possessors of an intact and secret treasure. There was no personal problem, no world problem, whose eloquent solution did not exist.” “The Library of Babel” (1941)

Now In announcing that an ambitious international project to digitize universities’ book collections had passed the 1.5 million mark, one of its organizers, Raj Reddy, a computer science professor at Carnegie Mellon University, proclaimed in November: “This project brings us closer to the ideal of the Universal Library: making all published works available to anyone, anytime, in any language.” To others, the Internet itself is the Universal Library, where readers can search for recipes, medical treatments, barroom trivia or perhaps even Google themselves.

Sabbah's Blog: Silence Day for Fouad Alfarhan





Sabbah's Blog

Link to Sabbah's Blog

Silence Day for Fouad Alfarhan

Posted: 05 Jan 2008 10:17 AM CST

Free Fouad Alfarhan


Today is a 'Blog Silence Day' to protest the imprisonment of Fouad Alfarhan.

Fouad Alfarhan is a Saudi blogger who uses his blog, alfarhan.org, to promote political reform and greater freedom of expression in Saudi Arabia. He was forced to stop blogging at the beginning of 2007 after being harassed by government officials, but then resumed writing in July 2007. He was arrested without charge on Tuesday, December 11,2007, in Jeddah, Saudi Arabia.

To learn more about the campaign to free Fouad, please visit the Free Fouad Blog, which has content in both Arabic and English.

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