[Symphony, ARTER, December 2012]
“To kill, like to die, is to seek an escape from being, to go where freedom and negation operate. Horror is the event of being which returns in the heart of this negation, as though nothing had happened.”–Emmanuel Levinas
by Rajkamal Kahlon
On May 24, 2011, Israeli Prime Minister Benjamin Netanyahu addressed the United States Congress. In his speech he declared that, “you [the US] don't need to send American troops to Israel. We defend ourselves.” Yet, in his more recent United Nations speech, he seemed to push the US to, yes, ironically protect Israel from a potentially nuclear Iran. Of course, American soldiers would not fight from Israeli soil, but rather from the Persian Gulf. What is the difference?
It is way past the time to sit back and take a deep breath and rethink this reflexive rush to military solutions to foreign policy conundrums.
Former Bush Administration official Elliott Abrams has taken to the pages of Foreign Policy to offer a defense of the Neoconservative policies that were a hallmark of the Bush-era world view, and to link them with the ongoing Arab Spring movement (note: author/pundit Niall Ferguson was also pushing this argument on Sunday's episode of “Fareed Zakaria GPS”). It is an odd defense on the part of Abrams, since he basically boils neoconservativism down to a couple of pro-de
This posts builds on "Iraq's Starving Artists," an essay and review I wrote for The Mantle that highlights and reviews the work of 27 Iraqi artists living as refugees in Syria. In this post, I take a more intimate approach to the subject at hand. Below you will find a slideshow of some of the work on display in the exhibition Artists in Exile: Forgotten Iraqi Refugees in Syria as well as a short video of some of the art work.
If you need proof of how truly confusing the situation is in Libya, look no further than last Saturday's coverage of the conflict on CNN where one of their reporters, Reza Sayah presented the story of a Benghazi man identified as Al Mehdi Zeu who died fighting against the troops of Moammar Gadhafi. Al Mehdi's story was framed in a heroic manner, with the 49-year old oil company worker described as a man who sacrificed himself so that Libya's rebels might score a key victory.