Michel Chossudovsky: America’s “War on Terrorism”

Global Research, 2nd ed. 2005     Amazon.com

Book Description:

In this new and expanded edition of Michel Chossudovsky’s 2002 best seller, the author blows away the smokescreen put up by the mainstream media, that 9/11 was an attack on America by “Islamic terrorists”. The expanded edition, which includes twelve new chapters focuses on the use of 9/11 as a pretext for the invasion and illegal occupation of Iraq, the militarisation of justice and law enforcement and the repeal of democracy. According to Chossudovsky, the “war on terrorism” is a complete fabrication based on the illusion that one man, Osama bin Laden, outwitted the $40 billion-a-year American intelligence apparatus. The “war on terrorism” is a war of conquest. Globalisation is the final march to the “New World Order”, dominated by Wall Street and the U.S. military-industrial complex. September 11, 2001 provides a justification for waging a war without borders. Washington’s agenda consists in extending the frontiers of the American Empire to facilitate complete U.S. corporate control, while installing within America the institutions of the Homeland Security State. Chossudovsky peels back layers of rhetoric to reveal a complex web of deceit aimed at luring the American people and the rest of the world into accepting a military solution which threatens the future of humanity.
About the Author:
Award winning writer Michel Chossudovsky is Professor of Economics at the University of Ottawa and Director of the Center for Research on Globalization which hosts the critically acclaimed website: http://www.globalresearch.ca/. He is also a contributor to the Encyclopaedia Britannica. His writings have been translated into more than twenty languages.
JOB’s Comment:
Chossudovsky is in my view an author in the same category as F. William Engdahl. The overall picture they present seems correct, but they sometimes go too far and are too onesided. There is of course some real Islamic terrorism. And this is not just blowback terrorism, but also terrorism inspired by real fundamentalist fanaticism. The “New World Order” is as far as I can see not just a matter of an American empire, of U.S. corporate control, although it is certainly to a considerable extent dominated by Wall Street. The goal is new, wholly supra- and ultimately postnational governance. The American military is being used, but the “military-industrial complex” is hardly specifically American any longer inasmuch as the infrastructure is being dismantled and the industry is outsourced. The use of the American military serves globalist purposes also in the sense that it weakens America. Chossudovsky seems to me an important scholar of the radical left. But his ideology leads to some inconsistencies and other weaknesses in his understanding and analyses. In other respects he is clearly beginning to see through problematic aspects of the left, as he discovers that in reality most of it supports – albeit sometimes indirectly – so much of what he criticizes and thought they were against too. But he should go much deeper in that analysis. Chossudovsky also writes for – or at least used to write for – Le Monde diplomatique.

Michael Haag: Vintage Alexandria

Photographs of the City, 1860-1960

American University in Cairo Press, 2008     Amazon.com

Book Description:

This is an intriguing collection of archival photographs that reveals the forgotten heart of a great cosmopolitan city. Using vintage photographs from the second half of the nineteenth century and first half of the twentieth, many of them from private family albums, this book brings to life the world of that vanished Alexandria, a vibrant, stylish, and cosmopolitan city, the largest port in the Mediterranean, that was the prosperous gateway between Egypt and the world. Seen here in the setting of their homes and gardens, and on the city’s streets and beaches, the faces of those forgotten Alexandrians come to life: the Greeks, Italians, Jews, and all those others from around the Mediterranean whose energy and expertise helped modernize and develop Egypt, and who planted their family roots in the city. This was the luxuriant and evocative city celebrated by Constantine Cavafy, E. M. Forster, and Lawrence Durrell, and they too are included in these pages along with photographs of scenes and people that were familiar to them. Vintage Alexandria traces the development and growth of the city, follows its story through the dramatic events of two world wars, and above all provides a background to the city’s place in twentieth-century cultural history, through the eyes of Alexandria’s cosmopolitan citizens themselves.
About the Author:
Michael Haag is a writer and photographer based in London. He has photographed and written Alexandria Illustrated (AUC Press, 2004) and Cairo Illustrated (AUC Press, 2006), and he is the author of Alexandria: City of Memory.

Modernitetens olika subjekt

Descartes’ själ kan inte längre nå insikt om en tidlös immateriell ordning genom kontemplation av kosmos’ yttre ordning. Materians mekanistiska värld blir blott utsträckning. Detta är väsentligt för Taylors resonemang kring Descartes “disengagement”. Descartes’ dualism kan förefalla strängare än Platons, påpekar han, men samtidigt har Descartes’ själ på ett annat sätt än Platons ett “behov” av det kroppsliga, såtillvida som själen för Descartes bekräftar sin immateriella natur genom att objektivera det kroppsliga, inte genom att vända sig från det och absorberas i det översinnliga. [Sources of the Self, 146; Taylors ensidiga, till det översinnliga relaterade exterioritet hos Platon skapar här fortfarande vissa oklarheter.]

I analogi med Webers inomvärldsliga asketism talar Taylor därför om en “inomvärldslig befrielse” av själen hos Descartes – samtidigt som han erkänner att Descartes inte förnekar ett själens inträdande i ett okroppsligt tillstånd efter döden. [Ibid.] Väsentlig – om väl än kanske något ensidig – är också Taylors uppfattning att “[the] modern theme of the dignity of the human person” har sin upprinnelse i den rationella kontroll som människan/själen genom denna “disengagement”, och den nya vetenskap hon utvecklar på basis av den, exercerar över såväl sina egna passioner som omvärlden, och som skänker henne en ny självaktning som rationell varelse. [Ibid. 149-55.]

Heidegger påtalade den anmärkningsvärda tomheten eller åtminstone obestämdheten i detta jag, detta själv som Descartes identifierat med den tänkande, andliga substansen. Det beskrivs negativt genom sin kontrastställning till materian, men vi förblir svävande i oklarhet om vad som positivt kännetecknar det. Dupré: “He never progresses much beyond showing that consciousness exists as an irreducible mode of being and hence that it must be attributed to a different substance.” [Passage to Modernity, 118.]

Man vill gärna tillägga att detta som han dock visar inte är någonting oväsentligt: i förhållande till den senare “radikala upplysningens” materialistiska reduktionism är det tvärtom i själva verket helt avgörande. Det är heller inte i sig oförenligt med bestämningarna av själen sådan den tidigare uppfattats. Men Duprés poäng är likafullt här den viktiga: detta medvetande, oklart förstått som blott medvetande utan positiva bestämningar, denna “disconcerting emptiness of the foundational self”, som Dupré uppfattar det, “announces its primarily functional future in modern thought”. Även när “själen” i sig erhåller en mer precis förståelse i termer av bevetenvaro, upphävs dettas betydelse genom att den samtidigt enrolleras som blott funktion i den sekulära vetenskapens uppbyggnad. Och detta blir möjligt därför att den precisare förståelsen av själen i så hög grad förblir teoretisk, och inte, i den framväxande sekulära kulturen, motsvaras av någon dess djupare själverfarenhet eller något “förverkligande” av den i sig. I den mån det uppfattas och på det sätt det uppfattas blir bevetenvaron skild från andligheten.

Här är också fråga om en utveckling av Duns Scotus’ och Cusanus’ ansatser. “Mind is what defines (and soon will constitute) the real in ideal categories and controls it through praxis. The modern self possesses little content of its own, and this poverty contrasts with Augustine’s conception of the soul, which to him was the richest of all concepts.” [Ibid. 118.] Dupré drar nu som många andra, och senast, mutatis mutandis, Michael Allen Gillespie, som väntat utvecklingslinjen fram till “its final conclusion in Fichte’s conception of the self as a creative act”. [Ibid.] Det är ett korrekt observerat fullföljande, som vi ska få anledning att bekräfta.

Tomheten i det moderna subjektet var ett huvudtema redan i Webers analys av rationaliseringsprocessen, och det är idag lätt att se att ett av modernitetens centrala problem är det gradvisa uttunnandet av den “mänskliga” identiteten på detta plan, vi må kalla det jag, själ, själv, subjekt eller ibland t.o.m. person, i de fall detta senare begrepp i hög grad förstås i termer av de förra i denna moderna mening. Den från det kroppsliga lösgjorda eller från början fristående identiteten reduceras till sina funktioner och förlorar inte bara sitt andliga innehåll utan ofta nog, fastän ännu ej hos Descartes, själva sin varastatus. Och detta gäller som vi redan sett stundom också Gud i den mån Gudsföreställningen kvarhålles i denna utvecklingslinje.

Men en fullständig teckning av förståelsen av det moderna självet kan naturligtvis inte förbise att den rent profanhumanistiska och materialistiska moderniteten – och för all del också ett stort antal mellanformer på väg mot denna – helt enkelt, och delvis i den kristna ortodoxins och allmänbibliska exoreligionens efterföljd, överför den väsentliga mänskliga identiteten till just det kroppsliga som Descartes’ jag enligt Taylors beskrivning lösgör sig från. Vi har redan sett denna tendens framför allt hos Montaigne. Och utvecklingen skulle här snart, i denna idéhistoriska linje, accelerera när insikten om den historiska och temporala dimensionens betydelse för den mänskliga identiteten och bildningsprocessen stod allt klarare.

Vad vi i denna linje alltmer har att göra med är helt enkelt vad vi, förenklande men, insisterar jag, tydliggörande, kallat “kroppspersonligheten”, i en oändlig mängd olika varianter från de mest sofistikerade och förfinade till de grövsta materialistisk-reduktionistiska. Här uppstår inte ens längre det problem Dupré urskiljer i det moderna självets innehållsliga och ontologiska förflyktigande till ren, tom form, procedur, funktion. Subjektet i alla dess hittillsvarande varianter blir helt enkelt överspelat. “Already for Marx”, skriver Dupré själv, “the idea of a subject was a meaningless remnant of romanticism.” [Ibid. 119.] Ty hela det innehåll, alla de bestämningar, hela den rikedom, allt det som gått förlorat på det andliga planet, tycker man sig ju här finna ersatt på det kroppsligt-materiella. Människan är restlöst materia bland alla annan materia som flyter omkring i ett objektivt rum och en objektiv tid.

Men den analys som således Dupré som en av de senaste presterat antyder redan genom hänvisningen till de historiska vittnesbörden det otillräckliga i att ersätta den andliga uttunningen genom att helt enkelt förlägga identiteten till det kroppsliga – den rena profanhumanistiska materialismen som alternativ. Det är ju en “lösning” på ett problem som man inte ens uppfattar. Analysen – och kritiken – är tungt vägande inte bara gentemot den ensidiga formellt-procedurala idealismen, utan även mot det rent sekulära prisgivandet av den traditionella själens innehållsliga subjektivitet till förmån för en rent profanhumanistisk kroppsidentitet, och mot den åtföljande alternativa historieskrivning som Dupré endast antyder.

Dupré fortsätter emellertid sin framställning av subjektets tidigare utveckling inom den förkantianska rationalismens ram:

“In one sense the idea of self-making through self-expression may be traced back to early humanism. Yet the humanists mediated the self’s expressive power through its integration with nature and through its intrinsic dependence on a transcendent reality. The self of rationalist philosophy, however, serves a foundational purpose: the existence of the world and of God have to be established and defined by the thinking subject. In becoming pure project, the modern self has become severed from those sources that once provided its content.” [Ibid.]

Dupré talar här inte om vad självet är i sig, utan om vad det är i och genom naturen och Gud. Vi finner tre nivåer: självet-naturen, självet självt, självet-transcendensen. Duprés analys förblir den riktiga för flera av den senare idealismens huvudströmningar. Men även andra riktningar än den centrala som isolerar självet självt som tom procedural formalitet, och den som ersätter detta själv med ren, “subjektslös” kroppsmaterialitet finns. I den moderna panteismen i dess olika varianter finner vi en reaktion mot denna det abstrakta självets isolering, och en alltöverskuggande strävan till identifikation med och absorption i allnaturen. Men detta är ofta en produkt av den nya subjektsförståelsen i form av en reaktion mot den, och tanken på det radikala självskapandet är inte heller främmande i den moderna panteismen, om det än här blir av annat slag.

Viktigare är att moderniteten också uppvisar försök att förstå “självet självt”, d.v.s. självet på vad som uttryckligen var eller åtminstone i väsentliga avseenden kan jämföras med “själspersonlighetens” plan men nu allt klarare börjar förstås som medvetandets, i innehållsbestämda termer. “Intrinsic dependence” betydde för Augustinus inte att själen saknade en egen innehållsbestämd självständighet i den nödvändigt dualistiska relationen med Gud. Redan i Duprés formulering om “the self’s expressive power”, och, strax innan, i formuleringen “self-making through self-expression” ligger en antydan om något annat än blott procedur och tom form och självskapelse ur intet, eller, mer exakt, ur annat: ett själv som visserligen formar och bildar sig, men som i detta också uttrycker något, inifrån och utåt, något som det såtillvida i någon mening redan måste vara. Här måste därför finnas åtminstone en innehållsbestämning, kanske rentav en rikedom. Dupré anför Nietzsches ord om att

“modern man has ‘a small soul’. It seems an amazing charge to make after four centuries of unparalleled self-emancipation, and yet a justified one. In the course of assuming control of everything else the self has, as Kierkegaard put it, lost sight of its own identity. Separated from that totality which once nurtured it and largely deprived of the interiority which once defined it, it has become an indigent self.” [Ibid.]

Hur viktig denna sanning än är, kvarstår att den inte är hela sanningen ens rörande de filosofiska uttrycken för den moderna förståelsen av självet på detta plan. Man kan tycka att det omedelbara intryck man får av konsten, dikten, och musiken, under renässansen och under deras senare utveckling, fram till romantiken och nyklassicismen vid tiden för den kantianska och idealistiska “kulminationen” av den utveckling Dupré tecknar, heller inte enbart ger ett intryck av att bakom dessa skulle ligga “a small soul”, “an indigent self”. Det må vara hursomhelst med detta; det viktiga här är att det även i den senare idealismen förekommer strömningar som vill förstå självet på ett ideellt plan, närmast jämförbart med aspekter av det vaga traditionella tänkandet kring själen, i innehållsbestämda termer. Vi kan där se hur antikens djupmetafysiska temata rörande förhållandet mellan denna ideella identitet och den temporärt-fenomenella “mänskliga” identiteten återkommer, och varieras snarare än ersätts av den specifikt nytida utvecklingen på detta område som vi nu diskuterar, liksom under inflytande av den framträngande historicistiska bildningsdimensionen. Självskapandet i tiden kunde också vara ett självfinnande, ett frambringande och manifesterande, för oss uppfattat som beläget i tiden, av den tidlösa väsenskärnan – vi har kanske redan sett en partiell, humanistisk-sekulär version av detta framskymta hos de renässanspersonligheter vi kastat en blick på.

Men inte heller det starkare argumentet rörande lösgörandet från det intrinsikala beroendet av den transcendenta verkligheten håller som tillräcklig modernitetsanalys. Descartes själv genomgick i detta avseende i viss mån en utveckling, som också låter hans hela filosofi ses i ett kompletterande ljus, ja t.o.m. den sene Fichte genomgick åtminstone i någon mån en utveckling som påminner om Descartes’.

Med partiella föregångare i romantiken har i det oändliga, inte minst sedan Heidegger, den cartesianska subjektsimperialismens tematik varierats i kritiska framställningar, även från ganska olika håll. Descartes’ reduktion av Gud till garant för människans kunskap, Descartes’ metafysik som blott grundval för människans egoistiska exploatering, o.s.v. – dessa ansatser är förvisso uppenbara i synnerhet i Descartes’ tidiga verk. Men de är, som ändå en lång rad forskare under det senaste halvseklet framhållit, inte hela sanningen. Och Keith Ward är ett exempel på en samtida filosof och teolog som ofta fått anledning att reagera mot den dominerande, ensidiga förståelsen av Descartes och hans subjektsförståelse. Descartes’ tänkande jag är ju ännu inte ens Kants eller Fichtes transcendentala subjekt/jag, utan både ett substantiellt-själsligt subjekt, och, i vissa av hans verk, ett individuellt sådant. Det tänkande jaget är en distinkt substantiell varaart mellan Gud – båda substansernas grund – och den utsträckta materian. Dess instrumentellt objektiverande förhållningssätt till materian förenas hos Descartes med dess mer eller mindre augustinska grund i Gud. Såtillvida måste väl i någon mån även den andligt-traditionalistiska kritik som Lindbom representerar modifieras.

Loreen: Euphoria

Today I have been informed that we (Sweden) won the Eurovision Song Contest. I have only occasionally heard songs from this contest over the years. I remember no more than two or three good ones, although there must have been more which I would need to listen to again. I have definitely noticed – and fortunately often forgotten – a considerably greater number of truly horrible ones, in the last few decades not seldom so embarrassing as to be almost unbelievable.

Elsewhere I have discussed and formulated my views both about the various genres of popular music and about the phenomenon of rating and grading of songs of the kind with which we have to do in the ESC, and I will not repeat it here, except for the basic point that when I write about these things, I intend it to be a matter of consistent application of the same aesthetics and criteria I use in the case of other music and indeed other art forms: this area should not be neglected, the paucity of real criticism leaves it to deteriorate further into a cultural wilderness.

I have now studied this year’s winner on YouTube. I don’t know anything about those who wrote the song, ‘Euphoria’ (Thomas G:son and Peter Boström). I had never heard or even heard about the singer, Loreen. And so I was surprised and impressed by her performance in the opening and first part of the song. The presence, emotion, warmth, and soul in the first lines seemed to promise something extraordinary, almost sublime, within the parameters of the genre. “Why, why can’t this moment last forevermore? / Tonight, tonight eternity’s an open door / Noah, don’t ever stop doing the things you dooah / Don’t go, in every breath I take I’m breathing you”.

But it is unfortunate that all or most of the songs are now in English, and that also for other reasons they now seem for the most part not to express anything of the cultural distinctiveness of the participant countries (not that they always have to do so: in this case the singer has Moroccan origins and would probably be very good if she did something Moroccan). The contest is in this respect becoming a true symbolic expression of what the European Union is unfortunately about.

But for now, I have to disregard this. The romantic theme of love felt to open towards a level or dimension of the spiritual is not extraordinary, but Loreen’s opening is passable and it could certainly be developed lyrically in harmony with the mood she and the song conveys and really incarnates in this first verse. These qualities persist also when she begins the chorus – “Euphoria / Forever till the end of time” – for the first time. This was surprising; I didn’t think Eurovision performances were of this quality any longer.

The problem is that the song doesn’t go anywhere from this point. The predictable beat machines then start beating their monotonous beat. I shouldn’t be too categorical about them. I think they have sometimes “worked” in a sense in the past, in some Euro disco and Euro dance, for instance, where they could under favourable compositional and melodic conditions contribute to a certain cold beauty. But by now their use is generally much too undistinguished. It should be acknowledged that the way they here stop abruptly after the chorus and at the beginning of each verse, to be followed by what is almost a brief silence, is interesting and sets the song apart from many others. Yet they still tend to kill the potential magic of Loreen’s personal style. The lyrics, of the chorus as well as the following verses, do not develop the song’s theme on a sufficient level of quality, and their content is not matched by any further musical progression.

Loreen sings about how she and her lover, Noah, are “going up up up up up up”, that their euphoric love is “an everlasting piece of art”, that they “sail into infinity”, that they are “higher and higher and higher” and “reaching for divinity”. But the music doesn’t go higher. The “up up up up up up” part is really weak, both in terms of lyrics and melody. The whole chorus is mediocre. One cannot lyrically express euphoria by simply repeating the word. The idea of focusing the whole chorus on this feeling alone, the passionate singing of the mere word for it, is misconceived, much too simple. And again, musically there is nothing in the song beyond what was there in the first verse and chorus – and was much better there, before the commonplace, mechanical beat.

A third compositional moment with a true transcendent lift-off of the kind the opening made us expect is missing – or, if that would make the song too complex for Eurovision, at least a better chorus containing this. Instead, all that is added is the trite beat. When it stops for the second and the short third verse (it is not a problem that the verses are somewhat amorphous and asymmetrical), one hopes the song will recover, as it were, but unfortunately the performance is then suddenly weaker in another decisive respect: it is difficult to hear most of the words Loreen sings.

The performance also, like almost all Eurovision songs in recent times as I understand it, relies much too heavily on dance and movement. This is simply an empty, spectacularist substitute for quality songwriting and musical talent. But at least Loreen’s sitting down on the floor (or podium) during the second and third verse is fine, genuinely expressive, feminine, intimate, and would have been even more so if the words could be heard and were better crafted. The qualities of the beginning could have been further developed.

The choreography of the chorus tends to confirm, however, that its expressiveness is of a different kind, much too much of the common vulgar histrionics of strong passion or sublime emotion without lyrical, musical and emotional basis or credibility. This is certainly not the pits of a Whitney Houston (I am sorry to have to express myself like this about the recently departed singer). But it is also quite far from, for instance, Céline Dion’s two good songs, ‘Pour que tu m’aimes encore’ and ‘Je sais pas’.

With these weaknesses, ‘Euphoria’ cannot be said to be a particularly good song. Nonetheless, I will now try to find out more about Loreen and what she has done before. The promise of the beginning of this song may be hard to forget. For a little while, Loreen’s whole appearance seemed to point beyond the aggressive vulgarity of the event. To say “I love you Bakuuuu” after the song seemed misplaced, and detracted from the overall effect. (Perhaps all Eurovision singers do such things nowadays?) But the way she looked at the audience just before that made me think again about the beginning, and feel, despite the disappointment, that Loreen might have genuine artistic talent and could now go on to do other and greater things. There was, one hopes, more than cheap and crude entertainment in those eyes.

Idealism as Alternative Modernity, 3

Idealism as Alternative Modernity, 1

Idealism as Alternative Modernity, 2

While the continuity of its Schellingian and Hegelian versions with the esoteric tradition is today obvious, and other continuities stressed by Muirhead and others are certainly not unimportant, modern idealism in the German post-Kantian and the Anglo-American line is often, perhaps even generally, of a different kind, and introduced new and other elements. In my paper at the Idealism Today conference at Oxford in 2005, ’Idealism and the Renewal of Humanistic Philosophy’, I defended what I find to be the general truths in those lines of idealism. When I speak of idealism as alternative modernity, I have in mind primarily those truths, but I am strongly inclined to emphasize a need for a broader concept of idealism for this purpose too, an idealism reinforced, as it were, by the ”Berkeleyan”, esoteric, Platonic, and Vedantic elements that were decisive for my own early intellectual formation.

In most of those forms, idealism represents, and ever since antiquity in the case of some of them, an alternative to certain historically context-specific exoteric developments of Christian orthodoxy. Because of this, it often tended to become intrinsically and constitutively a part modernity, and both its rationalist, scientific, Enlightenment variation and its romantic one (as I have defined those terms in several publications). Scholars sometimes rightly focus on Hegelianism in the context of the question of the so-called legitimacy of modernity, but their interpretations of both Hegelianism and modernity for the most part seem, as in the case of Robert Pippin, unduly reductive. What is at stake, I suggest, is in reality much broader metaphysical and spiritual concerns.

Although it is perhaps partly because of my ”reinforced” idealism that I have never been able to see the various attempted refutations of idealism in the twentieth century as even very noteworthy, let alone convincing, I insist, as in my Oxford paper, that there are central insights of modern, specifically German idealism and its variations in the Anglo-American “empire of idealism” which are still very much valid, relevant, and indeed simply true, and not just of historical interest. The historical scholarship that dominates the presentations at these conferences help transmit that legacy even as most participants are not themselves thoroughgoing idealists, as it were.

Anglo-American idealism scholars long tended, and quite naturally, to focus on the attack of the analytical philosophers, and to a much lesser extent on the attack of phenomenologists, existentialists, and neo-Thomists. But no less important, I think, is to take a closer look at the efforts of, by now, generations of liberal political philosophers and Marxist historians of various stripes to try to isolate an admissible idealist prehistory of their own liberalism and Marxism and dismiss other important elements of idealism as exclusively part and parcel of the German so-called Sonderweg. Many of the latter elements, as characteristically analysed in works such as Fritz Ringer’s influential The Decline of the German Mandarins, entered into Anglo-American idealism too, even as the latter significantly modified them in accordance with the differences in their cultural traditions and mentalities. Much greater discernment is required for the understanding of idealism – in all its worldview ramifications, not just in philosophy but for the understanding of culture, history, politics, and religion – in Germany and in other European countries.

This is so not least in view of the factual historical course taken by modernity. Did idealism in my broader sense produce the modernity that, in time, turned against it? In my paper at the International Conference on Anglo-American Idealism in Pyrgos, Greece, in 2003, I explored this problem, and argued that, largely because of the opposition to the mentioned developments of Christian exotericism, the broader idealism (before the specific modern versions were developed) often turned into what I called a ”pantheistic revolution” which, because of its inner dynamic, generated the problematically one-sided versions of rationalism and romanticism which have come to determine the shape and substance of the main form of modernity.