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.

Saturday, April 26, 2008

ATROXHITY by CrashTest 15 International Artists' Tribute to Jg Ballard's Atrocity Exhi



Dear all,
 
The new CrashTest project is officially launched.
 
ATROXHITY is a tribute to JG Ballards' Atrocity Exhibition.
 
For more information about this issue please read the attached pdf flyer and visit the website where you will find some goodies, extras, movies, clips, etc: http://crashtext.wordpress.com/atroxhity/ .  This issue can be ordered through me or at Lulu (http://stores.lulu.com/crashtest).
 
Wishing you all a great Sunday.
 
Xavier
Master of CEREbral acriMONY
CRASHTEST / Atroxhity: http://crashtext.wordpress.com/atroxhity/

Amazing works by
Ian C. (special guest)
Rachel Defay-Liautard
Erik Rzepka
Andrés Vaccari
Harold Jaffe
Mario Hinz
Matina Stamatakis
Gary Lain
Jérôme Bertin
David-Baptiste Chirot
L. Herrou / JP Paringaux
MEZ
Rodolphe Bessey
Javier Kronauer
… re-interpreting each chapter contained in JG Ballard's Atrocity Exhibition.




 




"Finitude" Exhibit & Submissions Address Correction from SOS-ART



SOS-ART.COM


Bonjour

Pour le thème "Finitude" l'adresse est: contact@sos-art.com
et non info@...
Merci pour votre attention

L'équipe
Tristan Mory, Eric Cassar, Nicolas Carras

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Hello

For the theme "Finitude" the email adress is: contact@sos-art.com
And not info@...
Thank you for your attention

The team
Tristan Mory, Eric Cassar, Nicolas Carras

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Le thème cutané(e) est en ligne
The theme cutaneous is on line

_1.jpeg

http://www.journaltheme.com/cutanee/lesparticipantsc.html

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Prochain thème / Next theme : Finitude
Dead line : 15 / 05 /08
Adresse / adress: contact@sos-art.com
Ou / or :

Nicolas carras
39 av. Léon Gambetta
92120 Montrouge

Vous pouvez faire suivre ce message/
Forward this message

Merci / Thank you
L'équipe / The team
Tristan Mory, Eric Cassar, Nicolas Carras

www.sos-art.com

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Friday, April 25, 2008

Address Correction for "Finitude" from SOS-ART.COM


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SOS-ART.COM


Bonjour

Pour le thème "Finitude" l'adresse est: contact@sos-art.com
et non info@...
Merci pour votre attention

L'équipe
Tristan Mory, Eric Cassar, Nicolas Carras

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Hello

For the theme "Finitude" the email adress is: contact@sos-art.com
And not info@...
Thank you for your attention

The team
Tristan Mory, Eric Cassar, Nicolas Carras

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Le thème cutané(e) est en ligne
The theme cutaneous is on line

_1.jpeg

http://www.journaltheme.com/cutanee/lesparticipantsc.html

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Prochain thème / Next theme : Finitude
Dead line : 15 / 05 /08
Adresse / adress: contact@sos-art.com
Ou / or :

Nicolas carras
39 av. Léon Gambetta
92120 Montrouge

Vous pouvez faire suivre ce message/
Forward this message

Merci / Thank you
L'équipe / The team
Tristan Mory, Eric Cassar, Nicolas Carras

www.sos-art.com

The Work of Asa Ames: Contours of a Surprising Golden Age - New York Times



link to slide show via this link at article:

http://www.nytimes.com/2008/04/25/arts/design/25ames.html?ref=arts ---
Art Review | Asa Ames
Filling in the Contours of a Surprising Golden Age
By ROBERTA SMITH
Published: April 25, 2008
The little-known American sculptor Asa Ames worked mostly from life, carving and then painting three-dimensional wood portraits. He made either busts or full-length figures, depicting family and friends, and when he died of consumption in 1851, at 27, he left behind 12 or 13 sculptures from the last four or five years of his life. Eight of these works form a stunning little show at the American Folk Art Museum, the first ever devoted to Ames’s work. It has been organized by Stacy C. Hollander, the museum’s senior curator and director of exhibitions.






Collection of John T. Ames
A daguerreotype, the only known photograph of Ames, is full of references to his work and leisure. More Photos »
Multimedia
Slide Show
Asa Ames at the American Folk Art Museum
Enlarge This Image



Boulder History Museum
A sculpture of Susan Ames, the daughter of his brother. More Photos >
Enlarge This Image




Fenimore Art Museum
“Head of a Boy,” a sculpture by Asa Ames.

More Photos >
The art, artifacts and objects produced in America during the first half of the 19th century constitute something of an artistic golden age, but a highly disorganized one that is still yielding surprises. Its legacy is short on towering stone temples or airy frescoes that stay in one place, and long on portable objects made for pleasure, use, profit or a combination of the three. These often anonymous efforts constitute an amazing tribute to the collective spirit, imagination and ingenuity of a time when creativity was widespread, initiative was bottom-up, and per capita participation was high. They also confirm the basic human need for beauty and decoration.
Enterprising self-taught painters of the period like Ammi Philips and Erastus Salisbury Field, who traveled around New England painting portraits for a living, have long been known in the folk-art world and beyond. Similarly determined sculptors are much rarer. Ames is an exception, though much about his life remains a mystery. He was born in 1823 in Evans, N.Y., a small town 20 miles south of Buffalo. His date of birth and death both come from his gravestone. And an 1850 federal census tantalizingly lists his occupation as “sculpturing.” He might have spent time at sea and been apprenticed to a carver of ships’ figureheads or trade figures. Until 25 years ago, Ames’s work, when noticed at all, was probably lumped together with such carvings. But in 1981 the American Folk Art Museum received an anonymous piece as a gift: a wood bust of a young girl whose head has a phrenology chart painted on it. Ms. Hollander ultimately attributed it to Ames. In 1982 Jack T. Ericson, an antiques dealer, culminated 12 years of research on Ames with an article in Antiques magazine. It reproduced the works that could be traced or attributed to him, including the folk art museum’s piece, which is thought to have been made at the end of Ames’s life, when he was ill and living with a doctor who practiced alternative medicine.
One of the show’s standouts was discovered only in 2003, in the basement of the Boulder History Museum in Colorado. Made in December 1849, it is a full-length portrait of Susan Ames, the daughter of his brother Henry G. Ames. Wearing a violet dress, Susan stands staunch and solemn, showing that posing was not much fun. Her eyes are intent but unfocused; she is holding still as best she can by thinking about other things. She has a small Bible or hymnal in her right hand; her left is raised.
The violet of Susan’s dress is boldly accented with a red collar, waist and hem; its gathers are round and regular, almost like the flutes on a Classical column. Her pantaloons are edged in eyelet lace whose holes have been carefully carved, as has the red upholstered footstool she stands on, right down to its brass-colored tacks. The colors and details imbue the entire sculpture with the intensity of Susan’s expression.
Ames’s artistry has a distinct personality. His work is full of signature tics, like his careful carvings of his subjects’ hair or ears. There is also a familial resemblance among the sculptures, and between them and Ames, as shown by the only known photograph of him.
Two of the best pieces in the show are sculptures of robust young men who might be Ames’s brothers or Ames himself. “Head of a Boy” is luxuriant with youth, from its thick, carefully combed hair (back from the brow, but forward on the sides) and flushed cheeks to its fine-looking jacket, tie and shirt. His dark, focused eyes and slightly pursed lips brim with ambition and hope; he seems to be practicing to look like a judge or senator. The slightly fairer subject of “Bust of a Young Man” is even more lifelike; here the pursed lips seem about to speak. He brings to mind the figures of the self-taught sculptor and photographer Morton Bartlett and Charles Ray’s mannequin sculptures.
Ames’s inspirations clearly included the portraits that itinerant painters were making during this period, but translating these wonderfully stiff, often emotionally fraught images into three dimensions gives them an added sense of life. The best of them have the artifice and complexity of 19th-century photographs, with which Ames had at least one close encounter.
The strange, beautiful and overpopulated daguerreotype that this encounter produced testifies to Ames’s ambition. He is in his Sunday best, working intently with a mallet and chisel on a bust of a man. (Its profile, near his knee, suggests a self-portrait.) Three sculptures look on from the upper right: a pudgy baby with a drape of fabric around its middle (it is in the exhibition, without the drape) and the busts of two other children, both in carved, off-the-shoulder togas in keeping with the neo-Classical style of the day.
The busts teeter on a textile-covered stand beneath which, peeking upward, is a young man, who might almost be another sculpture. The carving of a hand (also in the show) and real-looking bass viol visible behind this party of five increase the sense of elaborate stage-managing. Ames was probably ill when this photograph was made, and perhaps he knew that obscurity threatened. Packed with details about his leisure interests as well as his “sculpturing,” with his works doubling as an imagined audience, this carefully constructed image has the same intensity as Ames’s portraits. It is a detailed message in a bottle that he sent into the future, which is now.
“Asa Ames: Occupation Sculpturing” continues through Sept. 14 at the American Folk Art Museum, 45 West 53rd Street, Manhattan; (212) 265-1040, folkartmuseum.org.

Wednesday, April 23, 2008

Happy Birthday 23 April William Shakespeare!!! ---ROBERT FISK ON SHAKESPEARE AND WAR



Robert Fisk on Shakespeare and war
Shakespeare could have been writing about Iraq or Afghanistan, his scenes of battle were so prescient. Robert Fisk dissects the Bard's attitude to conflict - and describes how relevant he has found it to be today
Published: 30 March 2007

Poor old Bardolph. The common soldier, the Poor Bloody Infantry, the GI Joe of Agincourt, survives Henry IV, only to end up on the end of a rope after he's avoided filling up the breach at Harfleur with his corpse. Henry V is his undoing - in every sense of the word - when he robs a French church. He must be executed, hanged, "pour encourager les autres". "Bardolph," laments his friend Pistol to Fluellen, "a soldier firm and sound of heart, /...hanged must a' be /A damned death!

"Let gallows gape for dog, let man go free, / And let not hemp his wind-pipe suffocate: / But Exeter hath given the doom of death... / Therefore go speak, the duke will hear thy voice; / And let not Bardolph's vital thread be cut... / Speak, captain, for his life..."

How many such military executions have been recorded in the past 30 years of Middle East history? For theft, for murder, for desertion, for treachery, for a momentary lapse of discipline. Captain Fluellen pleads the profoundly ugly Bardolph's cause - not with great enthusiasm, it has to be said - to Henry himself.

"I / think the duke hath lost never a man, but one that / is like to be executed for robbing a church, one / Bardolph, if your majesty know the man: his face is / all bubukles and whelks, and knobs, and flames o' / fire, and his lips blow at his nose..."

But the priggish Henry, a friend of Bardolph in his princely, drinking days (shades of another, later Prince Harry), will have none of it:

"We would have all such offenders so cut off: and we / give express charge that in our marches through the / country there be nothing compelled from the / villages; nothing taken but paid for; none of the / French upbraided or abused in disdainful language..."

In France, Eisenhower shot post-D-Day rapists in the US army. The SS hanged their deserters even as Berlin fell. I have my notes of a meeting with Fathi Daoud Mouffak, one of Saddam Hussein's military cameramen during the eight-year Iran-Iraq war, a sensitive man, a mere Pistol in the great retreat around Basra where a reservist was accused of desertion by an officer of the Iraqi "Popular Army". He was a very young man, Mouffak was to recall:

"And the reporter from Jumhuriya newspaper tried to save him. He said to the commander: 'This is an Iraqi citizen. He should not die.' But the commander said: 'This is none of your business - stay out of this.' And so it was the young man's fate to be shot by a firing squad... before he was executed, he said he was the father of four children. And he begged to live. 'Who will look after my wife and my children?' he asked. 'I am a Muslim. Please think of Allah - for Saddam, for God, please help me... I am not a conscript, I am a reservist. I did not run away from the battle - my battalion was destroyed.' But the commander shot him personally - in the head and in the chest."

My own father, 2nd Lieutenant Bill Fisk of the 12th Battalion, the King's Liverpool Regiment, a soldier of the 1914-18 war, was ordered to command a firing party, to execute a 19-year old Australian soldier, Gunner Frank Wills of the Royal Field Artillery, who had murdered a military policeman in Paris. Bill refused to carry out this instruction, only to be put on a court martial charge for refusing to obey an order. Someone else dispatched Bill Fisk's Bardolph. "I ask the Court to take into consideration my youth and to give me a chance of leading an upright and straightforward life in the future," Wills wrote in his miserable plea for mercy. British officers turned it down, arguing that an example should be made of Wills to prevent further indiscipline. The war had long been over when he was shot at dawn at Le Havre. Bill served in the Third Battle of the Somme in 1918 and I never pass the moment when Shakespeare's French king asks if Henry's army "hath passed the river Somme" without drawing in my breath. Did some faint moment of Renaissance prescience touch the dramatist in 1599?

I am still to be convinced that Shakespeare saw war in service in the army of Elizabeth. "Say'st thou me so?" Pistol asks of a cringing French prisoner who does not speak English. "Come hither, boy, ask me this slave in French / What is his name." I heard an almost identical quotation in Baghdad, shorn of its 16th-century English, when a US Marine confronted an Iraqi soldier-demonstrator in 2003. "Shut the fuck up," he screamed at the Iraqi. Then he turned to his translator. "What the fuck's he saying?" At the siege of Harfleur, the soldier Boy wishes he was far from battle - "Would I were in an alehouse in London! I would give / all my fame for a pot of ale, and safety" - and Henry's walk through his camp in disguise on the eve of Agincourt evokes some truly modern reflections on battle. The soldier Bates suggests to him that if the king had come on his own to Agincourt, he would be safely ransomed "and a many poor men's lives saved".

The equally distressed soldier Williams argues that if the English cause is doubtful: "...the king himself hath / a heavy reckoning to make, when all those legs, and / arms, and heads, chopped off in a battle, shall join / together at the latter day, and cry all 'We died at / such a place'; some swearing, some crying for a / surgeon; some upon their wives, left poor behind / them; some upon the debts they owe; some upon their / children rawly left..."

This bloody accounting would be familiar to any combat soldier, but Shakespeare could have heard these stories from the English who had been fighting on the Continent in the 16th century. I've seen those chopped-off legs and arms and heads on the battlefields of the Middle East, in southern Iraq in 1991 when the eviscerated corpses of Iraqi soldiers and refugee women and children were lying across the desert, their limbs afterwards torn apart by ravenous dogs. And I've talked to Serb soldiers who fought Bosnian Muslims in the battle for the Bihac pocket, men who were so short of water that they drank their own urine.

Similarly, Shakespeare's censorious Caesar Augustus contemplates Antony's pre-Cleopatran courage: "...When thou once / Wast beaten from Modena, / ...at thy heel / Did famine follow, whom thou fought'st against / ...with patience more / Than savages could suffer: thou didst drink / The stale of horses and the gilded puddle / Which beasts would cough at..."

Yet Wilfred Owen's poetry on the "pity of war" - his description, say, of the gassed soldier coughing his life away, the blood gargling "from the froth-corrupted lungs" - has much greater immediacy.

True, death was ever present in the life of any Tudor man or woman; the Plague that sometimes closed down the Globe Theatre, the hecatomb of child mortality, the overflowing, pestilent graveyards, united all mankind in the proximity of death. Understand death and you understand war, which is primarily about the extinction of human life rather than victory or defeat. And despite constant repetition, Hamlet's soliloquy over poor Yorick's skull remains a deeply disturbing contemplation of death:

"My gorge rises at / it. Here hung those lips that I have kissed I know / not how oft. Where be your gibes now? your / gambols? your songs? your flashes of merriment / that were wont to set the table on a roar? Not one / now, to mock your own grinning? Quite chapfall'n?"

And here is Omar Khayyam's contemplation of a king's skull at Tus - near the modern-day Iranian city of Mashad - written more than 400 years before * * Shakespeare's Hamlet stood in the churchyard at Elsinore:

"I saw a bird alighted on the city walls of Tus / Grasping in its claws Kaika'us's head: / It was saying to that head, 'Shame! Shame! / Where now the sound of the bells and the boom of the drum?'"

The swiftness with which disease struck the living in previous centuries was truly murderous. And I have my own testimony at how quickly violent death can approach. Assaulted by a crowd of Afghans in a Pakistani border village in 2001 - their families had just been slaughtered in an American B-52 air raid on Kandahar - an ever-growing crowd of young men were banging stones on to my head, smashing my glasses into my face, cutting my skin open until I could smell my own blood. And, just for a moment, I caught sight of myself in the laminated side of a parked bus. I was crimson with blood, my face was bright red with the stuff and it was slopping down my shirt and on to my bag and my trousers and shoes; I was all gore from head to foot. And I distinctly remember, at that very moment - I suppose it was a subconscious attempt to give meaning to my own self-disgust - the fearful ravings of the insane Lady Macbeth as she contemplates the stabbing of King Duncan: "...who would have thought the old man / to have had so much blood in him?"

Shakespeare would certainly have witnessed pain and suffering in daily London life. Executions were in public, not filmed secretly on mobile telephones. But who cannot contemplate Saddam's hanging - the old monster showing nobility as his Shi'ite executioners tell him he is going "to hell" - without remembering "that most disloyal traitor", the condemned Thane of Cawdor in Macbeth, of whom Malcolm was to remark that "nothing in his life / Became him like the leaving it." Indeed, Saddam's last response to his tormentors - "to the hell that is Iraq?" - was truly Shakespearean.

How eerily does Saddam's shade haunt our modern reading of Shakespeare. "Hang those that talk of fear!" must have echoed through many a Saddamite palace, where "mouth-honour" had long ago become the custom, where - as the casualties grew through the long years of his eight-year conflict with Iran - a Ba'athist leader might be excused the Macbethian thought that he was "in blood / Stepp'd in so far, that, should I wade no more, / Returning were as tedious as go o'er". The Iraqi dictator tried to draw loose inspiration from the Epic of Gilgamesh in his own feeble literary endeavours, an infantile novel which - if David Damrosch is right - was the work of an Iraqi writer subsequently murdered by Saddam. Perhaps Auden best captures the nature of the beast:

"Perfection, of a kind, was what he was after, / And the poetry he invented was easy to understand; / He knew human folly like the back of his hand, / And was greatly interested in armies and fleets..."

In an age when we are supposed to believe in the "War on Terror", we may quarry our way through Shakespeare's folios in search of Osama bin Laden and George W Bush with all the enthusiasm of the mass murderer who prowls through Christian and Islamic scriptures in search of excuses for ethnic cleansing. Indeed, smiting the Hittites, Canaanites and Jebusites is not much different from smiting the Bosnians or the Rwandans or the Arabs or, indeed, the modern-day Israelis. And it's not difficult to find a parallel with Bush's disasters in Afghanistan and Iraq - and his apparent desire to erase these defeats with yet a new military adventure in Iran - in Henry IV's deathbed advice to his son, the future Henry V:

"...Therefore, my Harry, / Be it thy course to busy giddy minds / With foreign quarrels; that action, hence borne out / May waste the memory of the former days."

The wasteland and anarchy of Iraq in the aftermath of our illegal 2003 invasion is reflected in so many of Shakespeare's plays that one can move effortlessly between the tragedies and the histories to read of present-day civil war Baghdad. Here's the father, for example, on discovering that he has killed his own child in Henry VI, Part III:

"O, pity, God, this miserable age! / What stratagems, how fell, how butcherly, / Erroneous, mutinous and unnatural, / This deadly quarrel daily doth beget!"

Our treachery towards the Shi'ites and Kurds of Iraq in 1991 - when we encouraged them to rise up against Saddam and then allowed the butcher of Baghdad to destroy them - was set against the genuine cries for freedom that those doomed people uttered in the days before their betrayal. "...waving our red weapons o'er our heads," as Brutus cried seconds after Julius Caesar's murder, "Let's all cry, 'Peace, freedom, and liberty'."

My own experience of war has changed my feelings towards many of Shakespeare's characters. The good guys in Shakespeare's plays have become ever less attractive, ever more portentous, ever more sinister as the years go by. Henry V seems more than ever a butcher. "Now, herald, are the dead number'd?" he asks.

"This note doth tell me of ten thousand French / That in the field lie slain: of princes, in this number, / And nobles bearing banners, there lie dead / One hundred twenty six: added to these / Of knights, esquires, and gallant gentlemen, / Eight thousand and four hundred..."

Henry is doing "body counts". When the herald presents another list - this time of the English dead, Henry reads off the names of Edward, Duke of York, the Earl of Suffolk, Sir Richard Kikely, Davy Gam, Esquire: "None else of name: and, of all other men, / but five and twenty... O God, thy arm was here... / Was ever known so great and little loss, / On one part and on th'other?"

This is pure Gulf War Part One, when General Norman Schwarzkopf was gloating at the disparate casualty figures - while claiming, of course, that he was "not in the business of body counts" - while General Peter de la Billière was telling Britons to celebrate victory by ringing their church bells.

Shakespeare can still be used to remind ourselves of an earlier, "safer" (if nonexistent) world, a reassurance of our own ultimate survival. It was not by chance that Olivier's Henry V was filmed during the Second World War. The Bastard's final promise in King John is simple enough:

"Come the three corners of the world in arms, / And we shall shock them: nought shall make us rue, / If England to itself do rest but true."

But the true believers - the Osamas and Bushes - probably lie outside the history plays. The mad King Lear - betrayed by two of his daughters just as bin Laden felt he was betrayed by the Saudi royal family when they rejected his offer to free Kuwait from Iraqi occupation without American military assistance - shouts that he will:

"...do such things, / What they are yet, I know not, but they shall be / The terrors of the earth!"

Lear, of course, was written in the immediate aftermath of the Gunpowder Plot, a "terrorist" conspiracy with potential September 11 consequences. Similarly, the saintly Prospero in The Tempest contains both the self-righteousness and ruthlessness of bin Laden and the covert racism of Bush. When he sends Ariel to wreck the usurping King Alonso's ship on his island, the airy spirit returns with an account of his success which - despite his subsequent saving of lives - is of near-Twin Towers dimensions:

"Now in the waist, the deck, in every cabin, / I flam'd amazement, sometime I'ld divide / And burn in many places... / Not a soul / But felt a fever of the mad, and play'd / Some tricks of desperation; all but mariners / Plung'd in the foaming brine, and quit the vessel; / Then all afire with me the King's son Ferdinand / With hair up-staring (then like reeds, not hair) / Was the first man that leap'd; cried Hell is empty, / And all the devils are here."

In almost the same year, John Donne was using equally terrifying imagery, of a "fired ship" from which "by no way / But drowning, could be rescued from the flame, / Some men leap'd forth..."

Prospero's cruelty towards Caliban becomes more frightening each time I read of it, not least because The Tempest is one of four Shakespeare plays in which Muslims appear and because Caliban is himself an Arab, born of an Algerian mother.

"This damned Witch Sycorax / For mischiefs manifold, and sorceries terrible / To enter human hearing, from Argier / Thou know'st was banish'd..." Prospero tells us. "This blue-ey'd hag, was hither brought with child... / A freckl'd whelp, hag-born... not honour'd with / A human shape."

Caliban is the "terrorist" on the island, first innocently nurtured by Prospero and then condemned to slavery after trying to rape Prospero's daughter, the colonial slave who turns against the fruits of civilisation that were offered him.

"You taught me language, and my profit on't / Is, I know how to curse: the red plague rid you / For learning me your language."

Yet Caliban must "obey" Prospero because "his art is of such power". Prospero may not have F-18s or bunker-busters, but Caliban is able to play out a familiar Western narrative; he teams up with the bad guys, offering his help to Trinculo - "I'll show you the best springs; I'll pluck thee berries; / I'll fish for thee..." - making the essential linkage between evil and terror that Bush vainly tried to claim between al-Qa'ida and Saddam. Caliban is an animal, unworthy of pity, not honoured with a "human shape". Compare this with a recent article in the newspaper USA Today, in which a former American military officer, Ralph Peters - arguing that Washington should withdraw from Iraq because its people are no longer worthy of our Western sacrifice - refers to "the comprehensive inability of the Arab world to progress in any sphere of organised human endeavour". Prospero, of course, prevails and Caliban survives to grovel to his colonial master:

"How fine my master is! I am afraid / He will chastise me / ...I'll be wise hereafter, / And seek for grace..." The war of terror has been won!

Shakespeare lived at a time when the largely Muslim Ottoman empire - then at its zenith of power - remained an existential if not a real threat for Europeans. The history plays are replete with these fears, albeit that they are also a product of propaganda on behalf of Elizabeth and, later, James. In Henry IV: Part I, the king is to set out on the Crusades:

"As far as to the sepulchre of Christ... / Forthwith a power of English shall we levy, / Whose arms were moulded in their mothers' womb / To chase these pagans in those holy fields / Over whose acres walked those blessed feet."

Rhetoric is no one's prerogative - compare King Henry V's pre-Agincourt speech with Saddam's prelude to the "Mother of All Battles" where Prospero-like purity is espoused for the Arab "side". This is Saddam: "Standing at one side of this confrontation are peoples and sincere leaders and rulers, and on the other are those who stole the rights of God and the tyrants who were renounced by God after they renounced all that was right, honourable, decent and solemn and strayed from the path of God until... they became obsessed by the devil from head to toe."

Similar sentiments are espoused by Tamberlaine in Marlowe's play. Tamberlaine is the archetypal Muslim conqueror, the "scourge of God" who found it passing brave to be a king, and ride in triumph through Persepolis.

But Othello remains the most obvious, tragic narrative of our Middle Eastern fears. He is a Muslim in the service of Venice - close neighbour to the Ottoman empire - and is sent to Cyprus to battle the Turkish fleet. He is a mercenary whose self-hatred contaminates the play and eventually leads to his own death. Racially abused by both Iago and Roderigo, he lives in a world where there are men whose heads supposedly hang beneath their shoulders, where he is black - most Arabs are not black, although Olivier faithfully followed this notion - and where, just before killing himself, he refers to his terrible stabbing of Desdemona as the work of a "base Indian" who:

"...threw a pearl away / Richer than all his tribe, of one whose subdued eyes, / ...Drop tears as fast as the Arabian trees / ...Set you down this; / And say besides, that in Aleppo once, / Where a malignant and a turbaned Turk / Beat a Venetian and traduced the state, / I took by the throat the circumcised dog / And smote him, thus."

That, I fear, is the dagger that we now feel in all our hearts.

Robert Fisk will be in conversation with Joan Bakewell and Tim Pigott-Smith for the Royal Shakespeare Company on 'Shakespeare and War' at the Courtyard Theatre in Stratford-upon-Avon on Sunday at 1pm. His latest book 'The Great War for Civilisation: the Conquest of the Middle East' is published by Fourth Estate/HarperCollins

__._,_.___

Jorge Respero: Invitation to exhibition in Roermond, The Netherlands









From: jrestrepo@zamorano.edu
Date: Tue, 22 Apr 2008 15:10:24 -0600
Subject: Invitation to exhibition in Roermond, The Netherlands

 Exhibit invitation Roermond, The Netherlands.jpg

Tuesday, April 22, 2008

Signs in the Streets of Rain ---for Angela










for Angela




Breaking the Silence: "Our Reign of Terror"--Former Israeli Soldiers Describe Abuses, Torture and War Crimes in Hebron

Our Reign Of Terror
In shocking testimonies that reveal abductions, beatings and torture, Israeli soldiers confess the horror they have visited on Hebron


By Donald Macintyre in Jerusalem
Saturday, 19 April 2008
The dark-haired 22-year-old in black T-shirt, blue jeans and red Crocs is understandably hesitant as he sits at a picnic table in the incongruous setting of a beauty spot somewhere in Israel. We know his name and if we used it he would face a criminal investigation and a probable prison sentence.
The birds are singing as he describes in detail some of what he did and saw others do as an enlisted soldier in Hebron. And they are certainly criminal: the incidents in which Palestinian vehicles are stopped for no good reason, the windows smashed and the occupants beaten up for talking back - for saying, for example, they are on the way to hospital; the theft of tobacco from a Palestinian shopkeeper who is then beaten “to a pulp” when he complains; the throwing of stun grenades through the windows of mosques as people prayed. And worse.
The young man left the army only at the end of last year, and his decision to speak is part of a concerted effort to expose the moral price paid by young Israeli conscripts in what is probably the most problematic posting there is in the occupied territories. Not least because Hebron is the only Palestinian city whose centre is directly controlled by the military, 24/7, to protect the notably hardline Jewish settlers there. He says firmly that he now regrets what repeatedly took place during his tour of duty.
But his frequent, if nervous, grins and giggles occasionally show just a hint of the bravado he might have displayed if boasting of his exploits to his mates in a bar. Repeatedly he turns to the older former soldier who has persuaded him to speak to us, and says as if seeking reassurance: “You know how it is in Hebron.”
The older ex-soldier is Yehuda Shaul, who does indeed “know how it is in Hebron”, having served in the city in a combat unit at the peak of the intifada, and is a founder of Shovrim Shtika, or Breaking the Silence, which will publish tomorrow the disturbing testimonies of 39 Israelis - including this young man - who served in the army in Hebron between 2005 and 2007. They cover a range of experiences, from anger and powerlessness in the face of often violent abuse of Arabs by hardline Jewish settlers, through petty harassment by soldiers, to soldiers beating up Palestinian residents without provocation, looting homes and shops, and opening fire on unarmed demonstrators.
The maltreatment of civilians under occupation is common to many armies in the world - including Britain’s, from Northern Ireland to Iraq.
But, paradoxically, few if any countries apart from Israel have an NGO like Breaking the Silence, which seeks - through the experiences of the soldiers themselves - as its website puts it “to force Israeli society to address the reality which it created” in the occupied territories.
The Israeli public was given an unflattering glimpse of military life in Hebron this year when a young lieutenant in the Kfir Brigade called Yaakov Gigi was given a 15-month jail sentence for taking five soldiers with him to hijack a Palestinian taxi, conduct what the Israeli media called a “rampage” in which one of the soldiers shot and wounded a Palestinian civilian who just happened to be in the wrong place, and then tried to lie his way out of it.
In a confessional interview with the Israeli Channel Two investigative programme Uvda, Gigi, who had previously been in many ways a model soldier, talked of “losing the human condition” in Hebron. Asked what he meant, he replied: “To lose the human condition is to become an animal.”The Israeli military did not prosecute the soldier who had fired on the Palestinian, as opposed to Gigi. But the military insists “that the events that occurred within the Kfir Brigade are highly unusual”.
But as the 22-year-old soldier, also in the Kfir Brigade, confirms in his testimony to Breaking the Silence, it seems that the event may not have been exceptional. Certainly, our interview tells us, he was “many times” in groups that commandeered taxis, seated the driver in the back, and told him to direct them to places “where they hate the Jews” in order to “make a balagan” - Hebrew for “big mess”.
Then there is the inter- clan Palestinian fight: “We were told to go over there and find out what was happening. Our [platoon] commander was a bit screwed in the head. So anyway, we would locate houses, and he’d tell us: ‘OK, anyone you see armed with stones or whatever, I don’t care what - shoot.’ Everyone would think it’s the clan fight…” Did the company commander know? “No one knew. Platoon’s private initiative, these actions.”
Did you hit them? “Sure, not just them. Anyone who came close … Particularly legs and arms. Some people also sustained abdominal hits … I think at some point they realised it was soldiers, but they were not sure. Because they could not believe soldiers would do this, you know.”
Or using a 10-year-old child to locate and punish a 15-year-old stone-thrower: “So we got hold of just some Palestinian kid nearby, we knew that he knew who it had been. Let’s say we beat him a little, to put it mildly, until he told us. You know, the way it goes when your mind’s already screwed up, and you have no more patience for Hebron and Arabs and Jews there.
“The kid was really scared, realising we were on to him. We had a commander with us who was a bit of a fanatic. We gave the boy over to this commander, and he really beat the shit out of him … He showed him all kinds of holes in the ground along the way, asking him: ‘Is it here you want to die? Or here?’ The kid goes, ‘No, no!’
“Anyway, the kid was stood up, and couldn’t stay standing on his own two feet. He was already crying … And the commander continues, ‘Don’t pretend’ and kicks him some more. And then [name withheld], who always had a hard time with such things, went in, caught the squad commander and said, ‘Don’t touch him any more, that’s it.’ The commander goes, ‘You’ve become a leftie, what?’ And he answers, ‘No, I just don’t want to see such things.’
“We were right next to this, but did nothing. We were indifferent, you know. OK. Only after the fact you start thinking. Not right away. We were doing such things every day … It had become a habit…
“And the parents saw it. The commander ordered [the mother], ‘Don’t get any closer.’ He cocked his weapon, already had a bullet inside. She was frightened. He put his weapon literally inside the kid’s mouth. ‘Anyone gets close, I kill him. Don’t bug me. I kill. I have no mercy.’ So the father … got hold of the mother and said, ‘Calm down, let them be, so they’ll leave him alone.’”
Not every soldier serving in Hebron becomes an “animal”. Iftach Arbel, 23, from an upper-middle class, left-of-centre home in Herzylia, served in Hebron as a commander just before the withdrawal from Gaza, when he thinks the army wanted to show it could be tough with settlers, too. And many of the testimonies, including Mr Arbel’s, describe how the settlers educate children as young as four to throw stones at Palestinians, attack their homes and even steal their possessions. To Mr Arbel, the Hebron settlers are “pure evil” and the only solution is “to remove the settlers”.
He believes it would be possible even within these constraints to treat Palestinians better. He adds: “We did night activity. Choose a house at random, on the aerial photo, so as to practise combat routine and all, which is instructive for the soldiers, I mean, I’m all for it. But then at midnight you wake someone up and turn his whole house upside down with everyone sleeping on the mattresses and all.”
But Mr Arbel says that most soldiers are some way between his own extreme and that of the most violent. From just two of his fellow testifiers, you can see what he means.
As one said: “We did all kinds of experiments to see who could do the best split in Abu Snena. We would put [Palestinians] against the wall, make like we were checking them, and ask them to spread their legs. Spread, spread, spread, it was a game to see who could do it best. Or we would check who can hold his breath for longest.
“Choke them. One guy would come, make like he was checking them, and suddenly start yelling like they said something and choke them … Block their airways; you have to press the adams apple. It’s not pleasant. Look at the watch as you’re doing it, until he passes out. The one who takes longest to faint wins.”
And theft as well as violence. “There’s this car accessory shop there. Every time, soldiers would take a tape-disc player, other stuff. This guy, if you go ask him, will tell you plenty of things that soldiers did to him.
“A whole scroll-full … They would raid his shop regularly. ‘Listen, if you tell on us, we’ll confiscate your whole store, we’ll break everything.’ You know, he was afraid to tell. He was already making deals, ‘Listen guys, you’re damaging me financially.’ I personally never took a thing, but I’m telling you, people used to take speakers from him, whole sound systems.
“He’d go, ‘Please, give me 500 shekels, I’m losing money here.’ ‘Listen, if you go on - we’ll pick up your whole shop.’ ‘OK, OK, take it, but listen, don’t take more than 10 systems a month.’ Something like this.
“‘I’m already going bankrupt.’ He was so miserable. Guys in our unit used to sell these things back home, make deals with people. People are so stupid.”
The military said that Israeli Defence Forces soldiers operate according to “a strict set of moral guidelines” and that their expected adherence to them only “increases wherever and whenever IDF soldiers come in contact with civilians”. It added that “if evidence supporting the allegations is uncovered, steps are taken to hold those involved to the level of highest judicial severity”. It also said: “The Military Advocate General has issued a number of indictments against soldiers due to allegations of criminal behaviour … Soldiers found guilty were punished severely by the Military Court, in proportion to the committed offence.” It had not by last night quantified such indictments.
In its introduction to the testimonies, Breaking the Silence says: “The soldiers’ determination to fulfil their mission yields tragic results: the proper-normative becomes despicable, the inconceivable becomes routine … [The] testimonies are to illustrate the manner in which they are swept into the brutal reality reigning on the ground, a reality whereby the lives of many thousands of Palestinian families are at the questionable mercy of youths. Hebron turns a focused, flagrant lens at the reality to which Israel’s young representatives are constantly sent.”
A force for justice
Breaking the Silence was formed four years ago by a group of ex-soldiers, most of whom had served in Israel Defence Forces combat units in Hebron. Many of the soldiers do reserve duty in the military each year. It has collected some 500 testimonies from former soldiers who served in the West Bank and Gaza. Its first public exposure was with an exhibition of photographs by soldiers serving in Hebron and the organisation also runs regular tours of Hebron for Israeli students and diplomats. It receives funding from groups as diverse as the Jewish philanthropic Moriah Fund, the New Israel Fund, the British embassy in Tel Aviv and the EU.
Source: independent.co.uk

Artpool Hungary: Robert Watts Flux Med Exhibition Online

A beautiful exhibition at Artpool in Budapest: ROBERT WATTS FLUX MED. Robert watts' big size silkscreen prints from 1987 and the photos documenting Robert Watts in work are a donation to Artpool by Francesco Conz and Archivio F. Conz. TAKE A LOOK: www.artpool.hu/Fluxus/Watts

From Patrizio Peterlini
with many thanks to him

Documents Describe Murder and Torture of Prisoners in U.S. Custody

Documents Describe Murder And Torture Of Prisoners In U.S. Custody

Newly Released Government Documents Show Special Forces Used Illegal Interrogation Techniques In Afghanistan

By ACLU
17/04/08 "ACLU" -- -NEW YORK – The American Civil Liberties Union obtained documents today from the Department of Defense confirming the military’s use of unlawful interrogation methods on detainees held in U.S. custody in Afghanistan. The documents from the military’s Criminal Investigation Division (CID), obtained as a result of the ACLU’s Freedom of Information Act (FOIA) lawsuit, include the first on-the-ground reports of torture in Gardez, Afghanistan to be publicly released.
“These documents make it clear that the military was using unlawful interrogation techniques in Afghanistan,” said Amrit Singh, an attorney with the ACLU. “Rather than putting a stop to these systemic abuses, senior officials appear to have turned a blind eye to them.”
Special Operations officers in Gardez admitted to using what are known as Survival, Evasion, Resistance and Escape (SERE) techniques, which for decades American service members experienced as training to prepare for the brutal treatment they might face if captured.
Today’s documents reveal charges that Special Forces beat, burned, and doused eight prisoners with cold water before sending them into freezing weather conditions. One of the eight prisoners, Jamal Naseer, died in U.S. custody in March 2003. In late 2004, the military opened a criminal investigation into charges of torture at Gardez. Despite numerous witness statements describing the evidence of torture, the military’s investigation concluded that the charges of torture were unsupported. It also concluded that Naseer’s death was the result of a “stomach ailment,” even though no autopsy had been conducted in his case. Documents uncovered today also refer to sodomy committed by prison guards; the victims’ identities are redacted.
“These documents raise serious questions about the adequacy of the military’s investigations into prisoner abuse,” added Singh.
The ACLU also obtained today a file today related to the death of Muhammad Al Kanan, a prisoner held at Camp Bucca in Iraq. The file reveals that British doctors refused to issue a death certificate for fear of being sued for malpractice:
www.aclu.org/pdfs/safefree/20080416/CID_ROI_Bucca.pdf
In October 2003, the ACLU – along with the Center for Constitutional Rights, Physicians for Human Rights, Veterans for Common Sense, and Veterans for Peace – filed a request under the Freedom of Information Act for records concerning the treatment of prisoners in U.S. custody abroad. To date, more than 100,000 pages of government documents have been released in response to the ACLU's FOIA lawsuit.
Attorneys in the FOIA case are Lawrence S. Lustberg and Melanca D. Clark of the New Jersey-based law firm Gibbons, P.C.; Jameel Jaffer, Singh and Judy Rabinovitz of the ACLU; Arthur Eisenberg and Beth Haroules of the New York Civil Liberties Union; and Shayana Kadidal and Michael Ratner of the Center for Constitutional Rights.
In addition, many of the FOIA documents are also located and summarized in a recently published book by Jaffer and Singh, Administration of Torture. More information is available online at:
www.aclu.org/administrationoftorture
The documents received in the ACLU’s FOIA litigation are online at:
www.aclu.org/torturefoia
All of today’s documents are available at:
www.aclu.org/safefree/torture/34922res20080416.html

GAMM maciunas’ fluxus street theatre / david-baptiste chirot

G A M M M
literature / criticism / installation(s) / research






maciunas’ fluxus street theatre / david-baptiste chirot
Published by gammm April 16th, 2008 in art


david-baptiste chirot
________________________________________

From SOS-ART: La p'tite maison / Mixtep by Jerome Pergolesi


inqmag.jpg

 
O

 
Download

In your noisy home

Some very good sound 

Mixtep by Mister

Jerome Pergolesi

covermixset.jpg

Playlist (55′05)



1 Simon Gris – Donnons du talent à vos déchets (maison17)


2 Aymeric de Tapol – Schuttle 440 (maison13)


3 Francçois-Emmanuel Fodéré - Pocsek ido (maison16)


4 Ben Alard – sncf (maison15)


5 Nicolas Carras – Un truc 03 (maison21)


6 Tzii – Solitude cuivrée (maison20)


7 Jérôme Pergolesi – Eole5 – (maison05)


8 Robinsonhotel - live Helsinki /MUU gallery (maison03)


9 D'incise – Dépenser moins pour travailler moins (maison20)


10 Barbadrupe – En marche de près au loin (maison15)


11 Phroq Shinkansen 3 vibrations (maison15)


12 Julia Drouhin – Tuktuk (maison13)


13 Aachn – Le vol de titi (maison14)


14 A de Tapol, J Pergolesi, F Martig – rue des Veaux9 (maison04)


15 Verte Couverture – Cowboy dance (maison18)



LA P'TITE MAISON


Cabinet de curiosités sonores
www.laptitemaison.com










Information Clearing House - Video of Life in Baghdad




Video: final footage of Reuters journalist killed in Gaza - Times Online

Even though he was with a marked TV car, this journalist was killed along with two civilians.
The same journalist had already survived another attack in which he was also in a marked car.
It's doubtful that the killers are illiterate . . . so--


To see the video:
http://www.timesonline.co.uk/tol/news/world/middle_east/article3764160.ece ---
From Times Online
April 17, 2008
Video: final footage of Reuters journalist killed in Gaza


David Byers
(Warning: the video footage above contains images of a graphic nature)
The editor-in-chief of Reuters demanded that Israel launches a "thorough and immediate investigation" into the killing of one of its cameramen in the Gaza Strip yesterday (David Byers writes).
Footage of Fadel Shana, 23, being killed by a tank shell in the Gaza Strip has been released by the news agency, which said that the cameraman was hit despite clear markings that showed him to be a journalist.
After medical examinations of Shana's body, Reuters said that Israel had used a controversial type of tank shell which scatters metal darts, or flechettes, around the surrounding area after exploding, risking civilian casualties. Israel refused to comment on the report, but stated that the weapons were not illegal.
Related Links
• Cameraman among 22 killed in Gaza attacks
• Arabs and Jews make drama out of a crisis
Footage released by Reuters shows Mr Shana filming a tank positioned a few hundred yards away in the distance, over the Israeli border.
The film shows a tank firing its shell, which explodes causing the picture to go blank as the camera is thrown from Mr Shana's hand.
It then cuts away to a film made by another cameraman positioned nearby, which shows the devastation left by the shell, including two youths who had been passing the scene lying dead in the road.
Mr Shana, who was from Gaza and had covered the conflict between Israel and the Palestinians for the last three years, died instantly. He had been covering events in Gaza for Reuters on a day of intense violence when 16 other Palestinians and three Israeli soldiers were also killed.
In a highly unusual appeal to camera after the footage of his death, David Schlesinger, editor-in-chief of Reuters News, appealed for Israel to launch an investigation into the incident.
"It is clear to me that we need a thorough and immediate investigation by the Israeli defence forces into what happened," he said.
"This is a tragic incident and one that clearly shows the risks that journalists take every day, all over the world, but all organisations, governments included, have an obligation to let professionals do their job without fear of death."
He added: "The markings on Fadel Shana’s vehicle showed clearly and unambiguously that he was a professional journalist doing his duty. We and the military must work together urgently to understand why this tragedy took place and how similar incidents can be avoided in the future."
Reuters said that an X-ray conducted at Gaza City's Shifa Hospital last night had found numerous metal darts had wounded him, landing in his chest and legs, which the organisation said showed that flechettes had been used.
Asked about the weaponry used, an Israeli army spokeswoman said: "The Israel Defence Forces do not, as a rule, comment on the weapons they use. But its weapons are legal under international law.
"Flechettes are legal under international law and a petition filed in the Supreme Court against their use was rejected."
The petition, filed in 2003 jointly by Israel’s Physicians for Human Rights and the Palestinian Centre for Human Rights, claimed that the weapon should be classified as one which causes excessive injury under United Nations rules. The Israeli Supreme Court turned the request down.
The spokeswoman added: “We wish to express sorrow for the death of the Palestinian cameraman. It should be emphasised that the area in which the cameraman was hurt is an area in which ongoing fighting against armed, extreme and dangerous terrorist organisations occurs on a daily basis.
“The presence of media, photographers and other uninvolved individuals in areas of warfare is extremely dangerous and poses a threat to their lives.”
Several hundred people, including local journalists, attended Mr Shana’s funeral procession early today. His body was draped in a Palestinian flag and his shattered camera and flak jacket were borne aloft on a separate stretcher.
Israeli forces have been fighting running battles with militants from a range of Islamist splinter groups in Gaza over the last few months, with a particular upsurge since the Islamist Hamas took control of the territory in a military coup last summer.

It's Earth Day! Tell the Senate to Clean Up Their Act.




Date: Tue, 22 Apr 2008 10:49:04 -0400
From: Peaceact@mail.democracyinaction.org
To: davidbchirot@hotmail.com
Subject: It's Earth Day! Tell the Senate to Clean Up Their Act.




Dear David,

 Nuclear weapons, from development to disposal and every stage between, create serious strains on the environment and human health.  Radioactive fallout from now banned atmospheric tests is linked to more than two million cancer deaths, according to the International Peace Bureau.  The proposed $16 billion for new nuclear weapons in FY09 only augments this problem.

That same $16 billion could be used to provide 16,517,899 homes with renewable electric power. Our tax dollars should be spent cleaning up waste from our past, not further polluting our future.  This was the message that Katherine Fuchs, of the national staff, and local Peace Action members brought to the halls of Congress last week.  Follow-up on their visits to your Senators by sending an Earth Day Greeting TODAY.

Speaking with Senator Russ Feingold's staff, our delegation was inspired by his commitment to a nuclear free future.  We will continue to work with Senator Feingold on funding international non-proliferation initiatives that begin with the U.S. stockpile.

Peace Action's delegation found a surprising ally in Republican Senator George Voinovich.  We learned that Voinovich opposes the domestic component of the Global Nuclear Energy Partnership (GNEP).  GNEP is a plan to proliferate nuclear power plants in the U.S. and around the world, further subsidizing the nuclear industry and creating more toxic waste sites around the globe.  What could have been a frustrating lobby visit turned into a productive meeting of minds.


Some of our Senate allies on nuclear issues are circulating a letter we should support.  It asks for support of a real accelerated nuclear clean-up program and the funding necessary to sustain it.  All told, the Department of Energy Estimates it will cost $225 billion to cleanup the nuclear material already in our environment.  Our Senators need to know we support nuclear clean-up and sustainable energy - not new nuclear weapons.

Sincerely,
Paul Kawika Martin
Peace Action



 

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Japanese New Music Festival 2008

le 23 avril 2008 - Bruxelles





JAPANESE NEW MUSIC FESTIVAL 2008
le mercredi 23 avril 2008 à 20 H
Magasin 4
4 Rue du Magasin
Bruxelles / Belgique
Tarif : 10 €
Plus d’infos
ACID MOTHERS TEMPLE SWR (Kawabata/Tsuyama/Yoshida)
Acid Mothers Temple have rapidly become acclaimed as the greatest, most extreme trip psychedelic group in the world. Releases have appeared on labels around the world at an amazing pace, and the magnificence of their live performances is already being whispered of as legendary.
SWR is the AMT Family’s most powerful battle-formation yet. featuring Tsuyama and Kawabata from the original AMT and Yoshida from Ruins. their crushingly acute freakout sound will pulverize the world’s legions of wannabe psych groups.
RUINS ALONE (Yoshida Tatsuya solo)
Yoshida is one of the most innovative drummer/composer/improviser in Japan’s new music scene. pioneer of Drum & Bass duo RUINS was founded by Yoshida in ’85 . Tunes are complicated and mysterious, and songs are sung in the language of their own invention.
It’s high-tension, wild, heavy, speedy, acute, and powerful tremendous ensemble never sounds like they are only two players. now RUINS had no bassist and currently he has been playing as RUINS ALONE. playing RUINS songs with sampling bass.
AKATEN (Tsuyama/Yoshida)
Formed in 1995 with the motto of "irresponsibleness" and "perfunctoriness." They easily free themselves from the spell of the traditional seriousness of the art. Using daily commodities like scissors, toothbrush, zipper, camera, and plastic bottle as percussions, and shouting their brand names over and over as the "songs," the show is performed under the concept of low cost and maximum sound effect. AKATEN is the experimental convenience store punk band that provides the sound images of cheap and simple daily lives.
Zubi Zuva X (JAP)
Eccentric poly-rhythmic a cappella ensemble. It covers from Gregorian chant to ethnic music, to do-wop to hardcore screaming, heavily using irregular rhythms and polyrhythm. All sorts of ideas and aberrant musicality overturn the image of a cappella. their totally meaningless lyrics and desperate performances throw the audiences into the abyss of the laughter and admiration. it makes the concept of "singing ability"nonsense.
Zoffy (JAP)
Formed in 1998. Zoffy’s music hints both at the members’ deep musical knowledge via their improvised performances of troubadour music and European trad, and also at their deep love for rock via their destructivist covers of classic rock songs, that no longer sounds like anything but ZOFFY.
TSUYAMA ATSUSHI (JAP)
Tsuyama is best known for his monster bass in Acid Mothers Temple, but he also has amazing technique of guitar and vocal. his He has travelled around the world and accumulated the traditional styles of guitars/vocals in europe and asia. he adds his own interpretations and lyrical sense to create a beautiful but odd "fake traditional" musical world. recently he developed a new figure called "prog.rock > blues-ization plan". he dismantle the masterpiece of progressive rock, and restructure it as an impromptu blues.
KAWABATA MAKOTO (JAP)
Kawabata Makoto is best known for his speed-demon noise-fuzz guitar in Acid Mothers Temple, but he is also widely active as an unparalleled drone guitarist. Drawing upon a huge reservoir of original techniques including metal glissando and bow-work that can summon up the sound of a string ensemble or orchestra, his work in this area cannot be simply categorized as minimal, drone or experimental. You’ll find it hard to believe that a single guitar can create sonic worlds of such meditative and elegant depth.

"Speech Acts" Postcard Dudley House Exhibition Curated by Cynthia Torres and Rita Bannerjee





These images are also used for a poster, the cover of Dudley Review and more will be inside the journal.

My deepest thanks to the Curators, Cynthia Torres and Rita Bannerjee
who have done such beautiful and professional work in all aspects of the exhibition

and also to Peter Ciccariello for his generosity in sharing
events informations with me

Jewish Voice for Peace: Support Jimmy Carter: US Needs to Talk to Hamas



---------- Forwarded message ----------
From: Sydney Levy, Jewish Voice for Peace <info@jewishvoiceforpeace.org>
Date: Thu, Apr 17, 2008 at 4:46 PM
Subject: Support Jimmy Carter: US Needs to Talk to Hamas
To: david.chirot@gmail.com


Ask the presidential candidates to support Jimmy Carter's peace-making initiative.

Sign the petition now!

Dear David,

Former President Jimmy Carter, predictably, is being denounced for meeting with the exiled leader of Hamas in Syria on Friday.

Carter's critics are wrong. Talking to Hamas, which won the January 2006 Palestinian legislative elections, is a necessary part of creating peace. As Carter himself said, "There's no doubt in anyone's mind that, if Israel is ever going to find peace with justice concerning the relationship with their next-door neighbors, that Hamas will have to be included in the process."

Please sign our petition -- co-sponsored by A Just Foreign Policy -- to Barack Obama, Hillary Clinton, and John McCain asking them to support former President Carter and support talks with Hamas:

http://salsa.democracyinaction.org/o/301/t/1849/petition.jsp?petition_KEY=1175

Jimmy Carter knows that, according to Haaretz, 64% of Israelis have said they want their government to talk with Hamas about a cease-fire.[A] He knows that after Hamas won the January 2006 elections, it was willing to declare a ceasefire and allow President Abbas to negotiate with Israel on behalf of all Palestinians.[B] 

Jimmy Carter knows that the blockade of Gaza being carried out by Israel, the U.S., and Egypt has actually strengthened Hamas in Gaza,[C] as 90 percent of Gaza's factories have closed and many former employees are now working for Hamas. 

Jimmy Carter knows that Efraim Halevy, former head of Israel's Mossad, has called for Israel to negotiate with Hamas.[D] He knows that before the Annapolis conference, a bipartisan group of U.S. foreign-policy experts, including former national security advisers Zbigniew Brzezinski and Brent Scowcroft, sent a letter to President Bush and Secretary Rice saying that "genuine dialogue" with Hamas is "far preferable to its isolation."[E] 

Indeed, he knows that the U.S. has encouraged Egypt to talk to Hamas about negotiating a cease-fire.[F] How can it be a scandal for Jimmy Carter to talk to Hamas, but not for Egypt to talk to Hamas at U.S. direction? 

If the United States truly wants a settlement between Israel and the Palestinians - as opposed to just pretending that it wants one - it must deal with Hamas. 

Please sign the petition now.

http://salsa.democracyinaction.org/o/301/t/1849/petition.jsp?petition_KEY=1175

Sincerely,

Sydney, Cecilie, Rachel, Rebecca, and Jean
Jewish Voice for Peace

References: 

[A]. "Poll: Most Israelis back direct talks with Hamas on Shalit," Yossi Verter, Haaretz, February 27, 2008

http://www.haaretz.com/hasen/spages/958473.html 

[B]. "Carter Defends Plan to Meet Hamas Despite Israel Criticism," Agence France Press, April 13, 2008

http://www.commondreams.org/archive/2008/04/13/8260/ 

[C]. "Gaza's Unemployed Have Handouts or Hamas," Griff Witte, Washington Post, April 13, 2008

http://www.washingtonpost.com/wp-dyn/content/article/2008/04/12/AR2008041201969.html 

[D]. "Ex-Mossad chief wants Israel to talk to Hamas," Michel Hoebink, Radio Netherlands Worldwide, February 21, 2008

http://www.radionetherlands.nl/currentaffairs/080221-israel-mossad 

[E]. "Bipartisan Foreign Policy Leaders on Annapolis Conference," Daniel Levy, Prospects for Peace, October 10, 2007

http://www.prospectsforpeace.com/2007/10/bipartisan_foreign_policy_lead.html 

[F]. "Brushoff for Carter Over Plans for Hamas Meeting," Griff Witte, Washington Post, April 15, 2008

http://www.washingtonpost.com/wp-dyn/content/article/2008/04/14/AR2008041402654.html 



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