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	<title>Ceasefire Magazine &#187; Features</title>
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	<link>http://ceasefiremagazine.co.uk</link>
	<description>Politics, Art and Activism</description>
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		<title>Science &amp; Technology &#8211; Flying without wings in China: the future of train travel</title>
		<link>http://ceasefiremagazine.co.uk/2010/09/science-china-train/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/09/science-china-train/#comments</comments>
		<pubDate>Thu, 09 Sep 2010 18:02:30 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Features]]></category>
		<category><![CDATA[china]]></category>
		<category><![CDATA[flying without wings]]></category>
		<category><![CDATA[future]]></category>
		<category><![CDATA[megalev]]></category>
		<category><![CDATA[Science & Technology]]></category>
		<category><![CDATA[technology]]></category>
		<category><![CDATA[train]]></category>
		<category><![CDATA[travel]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=1887</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/maglev.jpg"><img class="alignleft size-full wp-image-366" title="maglev" src="http://ceasefiremagazine.co.uk/wp-content/uploads/maglev.jpg" alt="" width="618" height="408" /></a><strong> <size=4>In this week's Science &#038; Technology update, Omayr Ghani looks into the future of train travel. In particular, he considers the quasi-futuristic technological advances currently being pioneered in China. As the article shows, we could be entering an age of 'space travel' on earth and, as Ghani argues, the sooner we do the better it would be for us, and for the planet.
</a><strong> <size=4></strong></size>]]></description>
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<dt class="wp-caption-dt"><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/maglev.jpg"><img class="size-full wp-image-1889" title="maglev" src="http://ceasefiremagazine.co.uk/wp-content/uploads/maglev.jpg" alt="" width="641" height="350" /></a></dt>
<h5 style="padding-left: 90px;">Maglev high-speed trains: London to manchester in 55 minutes. (Photo: www.building.co.uk)</h5>
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<p>By <strong>Omayr Ghani</strong></p>
<p>Mention magnet trains and one immediately conjures up images of the Shinkansens (bullet trains) of Japan. However, the majority of these are conventional rail vehicles, and the only commercial high-speed train service to use magnetic levitation (maglev) is China’s Transrapid service from Shanghai&#8217;s Pudong Airport to the city’s expat-dominated apartment complexes on Longyang road. It’s a 30km journey through the centre of town, which takes the Shanghai Transrapid just 7m 20s, at a top speed of 431 km/h (268mph).<br />
The Shinkansens’ dominance has also been eclipsed by foreign competitors. Its 1997 commercial record of 300km/h (186mph) record was smashed by one of China’s CRH trains when the 922km (571m) Guangzhou-Wuhan line travelling at a top speed of 350 km/h (217mph) opened on boxing day of last year. Today, it completes the mammoth journey in less than 3 hours, forcing airlines to slash the prices of flights between the two cities by half.</p>
<p>When Japan’s National Rail was privatised in 1987, many saw that as the end of what promised to be a future of infinite possibilities. This sense of opportunities lost is being highlighted once more by China’s plans to extend its Maglev line from Shanghai to Hangzhou, allowing the 169km (105m) trip to be made in 27 minutes. China is also building 42 more lines of the same specification as the ones of the Guangzhou-Wuhan track, in the hope of connecting all its major cities by rail. China is also working with South Africa on a high speed Johannesburg-Durban line which, assuming it is completed before 2015 (when Morocco&#8217;s plans to unveil its own Tangier-Casablanca line,) will be Africa’s first high-speed-rail line. As ambitious as these developments seem, they pale in comparison to the most recent project, unveiled this month by China: Vacuum Trains.</p>
<p>Whilst Magnetic Levitation trains are able to surpass the top speeds of conventional rail, even at very short distances, through the elimination of wheel resistance, there is another way to increase speeds still further. This is done through the elimination of air by laying Maglev track through a series of vacuum-pumped tubes or tunnels, allowing the trains to move without friction. Though the idea was first conceived by liquid-fuelled-rocket inventor Robert Goddard in the 1910s, his blueprints weren’t discovered until after his death, in 1945. And the technology was not patented until 1999. The first proposed use of this technology, variously dubbed “flying without wings” and “space travel on earth”, was for Switzerland’s Gotthard Base Tunnel in 2005, though the plan fell through due to lack of political support, . as conventional high-speed-rail preferred. China, on the other hand, became interested in the proposal and this month revealed that researchers are currently working on a prototype for a vacuum train (Vactrain) that will be completed and capable of travelling at up to 1000km/h (621mph) speeds in two to three years. Moreover, Vactrains are scheduled to be available for commercial use in China within 10 years.<br />
<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/vactrain.jpg"></a></p>
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<dt class="wp-caption-dt" style="padding-left: 60px;"><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/vactrain.jpg"><img class="size-full wp-image-1908" title="vactrain" src="http://ceasefiremagazine.co.uk/wp-content/uploads/vactrain.jpg" alt="" width="525" height="360" /></a></dt>
<h5 style="padding-left: 60px;">Vacuum Tube Train: A 4,000-mph magnetically levitated train. (Source: Mika Grondahl, www.popsci.com)</h5>
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<p>They have also found that using evacuated tunnels only increases costs by 10-20% per mile, in comparison to the Shanghai Maglev which, despite its short track, obscure route, limited operating hours, experimental nature and cheap tickets, has proved itself not only to be economically viable (with very little government subsidy) but able to expand its line at a third of the cost of the original track. Even if we use the upper estimate of 20%, that would still make Vacuum trains cheaper than conventional high-speed rail. According to figures by project and cost management consultancy Faithful+Gould, Maglev only costs £30m per kilometre of line, as opposed to £60m for High Speed Rail. The reasons for this are Maglev’s narrower track, ability to scale steeper gradients and elevated track that allows land underneath it to continue to be used.</p>
<p>As fast as 621mph may seem, it is not the limit for how fast these trains are able to go. With an increased length of track, which allows more time for acceleration than the prototype being developed, speeds of up to 4000mph can easily be achieved, making Vactrains over 7 times faster than commercial aeroplanes while using 25% as much energy.</p>
<p>Channel Tunnel pioneer Frank Davidson has long advocated the use of this technology for a transatlantic tunnel, supported by its own buoyancy, that would be able to get from London to New York in under an hour. He insisted that such a project requires no further scientific advances but only “getting used to new realities”. However, if we take into account Britain’s corporatist system of rail franchising, erratic investment, uniquely unnecessary levels of oversight and, in the case of the last transport secretary, outright political corruption, such realities are a long way from being understood by the government without a large increase in public awareness and activism in relation to public transport.</p>
<p>Given our increasing reliance on trains for long-distance travel, especially following recent volcanic eruptions, airline strikes, growing concerns about the effects of aviation-related emissions and ever-rising fuel prices, to advocate the use of a form of transport that independent academic reports have found to be “unaffected by any extremes in weather conditions… has low maintenance and operation costs”, causes no direct pollution and is four times as energy efficient as aeroplanes, seems like an intuitive way to ensure the transition from air to track becomes a step forward rather than a regressive lurch. A retired MIT professor of ocean engineering recently stated, in relation to the ultimate step of building a transatlantic Vactrain: “From an engineering point of view there are no serious stumbling blocks.&#8221; Chinese researchers have proved the same from an economic point of view yet the same cannot be said, in this country at least, of the political battle.<br />
It is thus up to us, the public, to fight the political stumbling blocks of corruption and corporatism that are standing in the way. The sooner we do it, the better we’ll serve our communities and the environment.</p>
<p><strong>Omayr Ghani</strong> is <em>Ceasefire</em>&#8217;s Political Editor. He also likes trains, <em>a lot</em>.</p>
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		<title>Modern Times: The Blackout</title>
		<link>http://ceasefiremagazine.co.uk/2010/09/modern-times-the-blackout/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/09/modern-times-the-blackout/#comments</comments>
		<pubDate>Mon, 06 Sep 2010 23:20:50 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Columns]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[Modern Times]]></category>
		<category><![CDATA[addiction]]></category>
		<category><![CDATA[internet]]></category>
		<category><![CDATA[modern times]]></category>
		<category><![CDATA[skinner]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=1688</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/internetaddiciton.jpg"><img class="alignleft size-full wp-image-366" title="internetaddiction" src="http://ceasefiremagazine.co.uk/wp-content/uploads/internetaddiciton.jpg" alt="" width="1236" height="816" /></a><strong> <size=4> Our internet access is now so ubiquitous, our broadband so fast, cheap, consistent and always on, that losing it seems unthikable. Yet this is precisely what happened to Corin Faife. In this week's Modern Times, he discovers our most modern, most invisible addiction. </a><strong> <size=4></strong></size>]]></description>
			<content:encoded><![CDATA[<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/internetaddiciton2.jpg"><img class="alignright size-full wp-image-1689" title="internetaddiciton2" src="http://ceasefiremagazine.co.uk/wp-content/uploads/internetaddiciton2.jpg" alt="" width="300" height="250" /></a>By <strong>Corin Faife</strong></p>
<p>The economist Raj Patel, speaking on the injustices of the global food system, once remarked that soft drinks like Diet Coke are truly symbolic of modern world: whilst some die of starvation, here we have such superabundance that there is a lucrative market for creating food products with zero nutritional value.</p>
<p>The Internet may have found its equivalent in the form of a recently developed piece of software called <a href="http://macfreedom.com/">Freedom</a>. Retailing at a modest ten dollars, Freedom will disable your computer’s internet access for up to eight hours, with no option to unlock save a full system reboot. Our internet access is so ubiquitous, our broadband so fast, cheap, consistent and always on, that we will pay good money for the privilege of being deprived of it.</p>
<p>For me this is more than a hypothetical musing, because this weekend the unthinkable happened: I lost my internet access. Or more precisely, my broadband connection was recalled by a friend in whose name it has always been registered, and the modem transferred from my house to his. I didn’t lose the internet – it was taken from me.</p>
<p>In the grand scheme of things, nothing to lose sleep over. I’d love to say that I felt liberated, intoxicated even; that I began reading an obscure novel, listened to a few jazz vinyls, then wrote this column on my 1950s typewriter. In truth, what I felt was a full, blind panic. A house without an internet connection, surely, is as glaringly incomplete as a house without a fridge, or shower, or cooking hob; it might keep the rain out, but you damn sure couldn’t call it home. How would I read the news, listen to music, catch up on TV? What about my Yahoo!Mail? What about Facebook?</p>
<p>Needless to say, a day later and the world was still turning. My panic slowly ebbed away, replaced with a niggling anxiety. Like a smoker quitting cigarettes I found my mind constantly slipping away to daydream about checking my inbox or Facebook profile, not out of conviction that I was missing anything important but just to relieve the pressure of curiosity that had built up. Not because I thought someone would have sent me a message, but because they might have. It brought to mind the findings of the psychologist B.F. Skinner who, after many years (and many rats) of research into habit and addiction, found that the most powerful way to reinforce a behaviour is by giving rewards intermittently rather than consistently. It’s why gambling can be such a difficult addiction to quit, despite the fact that most gamblers admit they lose more than they win in the long run. And what are we in the age of wifi and smartphones but Skinnerian rats, pawing away at ‘refresh’ in the hope of the solitary hit – the long awaited friend request or touching personal email that gives a big enough payout to keep us sifting through the crap 24/7.</p>
<p>The Freedom programme is like rehab-lite for internet addicts: it begins with surrender to an outside agency, accepting that we have a problem too big to overcome with free choice, and that we’d be better off if someone cut us off from whatever was screwing us up in the first place. Sure enough, the further I get into my involuntary blackout, the more my social networking tics seem to die out – and I’ve just sat down for three hours of solid writing where normally my browser would have swept me away on any number of tangents. The longer I go without internet, I wager, the less I will truly miss it. But that said, my housemate swears he’s going to get us reconnected as soon as he finds out which is the cheapest internet provider.</p>
<p>Shame he can’t just Google it.</p>
<p><strong>Corin Faife</strong> is a writer and activist. His &#8216;<em>Modern Times&#8217;</em> column appears every Tuesday.</p>
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		<title>Devil&#8217;s Advocate: In defence of Tesco</title>
		<link>http://ceasefiremagazine.co.uk/2010/09/devils-advocate-in-defence-of-tesco/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/09/devils-advocate-in-defence-of-tesco/#comments</comments>
		<pubDate>Thu, 02 Sep 2010 21:17:08 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Columns]]></category>
		<category><![CDATA[Devil's Advocate]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[competition]]></category>
		<category><![CDATA[devil's advocate]]></category>
		<category><![CDATA[economics]]></category>
		<category><![CDATA[omer ali]]></category>
		<category><![CDATA[supermarket]]></category>
		<category><![CDATA[tesco]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=1505</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/ilovetesco.jpg"><img class="alignleft size-full wp-image-200" title="ilovetesco" src="http://ceasefiremagazine.co.uk/wp-content/uploads/ilovetesco.jpg" alt="" width="618" height="408" /></a><strong> <size=4> In yesterday's 'Domestic Extremist' column, Mikhail goldman launched a vigorous attack on the increasingly ubiquitous dominance of the Tesco "empire". In this week's Devil's Advocate column, Omer Ali offers a thoughtful and solid attempt at counter-argument. For all their charmlessness, he argues, Supermarkets are in fact better for (almost) everyone, including the environment. </a><strong> <size=4></strong></size>]]></description>
			<content:encoded><![CDATA[<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/ilovetesco.jpg"><img class="alignright size-full wp-image-1512" title="ilovetesco" src="http://ceasefiremagazine.co.uk/wp-content/uploads/ilovetesco.jpg" alt="" width="641" height="402" /></a></p>
<p>By <strong>Omer Ali</strong></p>
<p>In his <a href="http://ceasefiremagazine.co.uk/2010/09/diary-of-a-domestic-extremist-the-new-empires/">most recent piece</a>, my fellow columnist, Mikhail &#8220;Domestic Extremist&#8221; Goldman, decries the growth of supermarkets at the expense of independent retailers. In this article, I argue that, despite a deficit of charm, supermarkets are in fact better for everyone (except, arguably, for the displaced shopkeepers that is).</p>
<p>To begin with, the convenience of large retailers must not be overlooked. Indeed, supermarket shopping is neither work nor leisure but rather a necessity that one would rather not do, but must. By housing an extensive selection of goods in one place, large retailers substantially decrease the amount of time spent shopping. Furthermore, since many sites of supermarkets are located out of town, congestion in city centers is reduced. The online shopping facilities offered by more and more supermarkets are the epitome of convenience. Saving shoppers the journeys to their stores and back, these new facilities likely reduce carbon emissions as well. Further, to the benefit of the consumer, supermarkets drive down the cost of the goods they sell. They do this in three ways:</p>
<p>1) Through their ability to take advantage of economies of scale: because of their size, supermarkets can use fixed investments more fruitfully. For example, a forklift truck is more productive in a larger warehouse than a smaller one where it is likely to be under-utilized. The large distribution networks, as well as the enhanced logistics of these supermarkets, substantially reduce the transport cost per item. Precisely because these organizations are profit-driven, their operations brook no waste.</p>
<p>2) Supermarkets have more bargaining power with suppliers than do smaller retailers. This was mentioned as a disadvantage in <a href="http://ceasefiremagazine.co.uk/2010/09/diary-of-a-domestic-extremist-the-new-empires/">my erstwhile colleague&#8217;s column</a> but is in fact <em>an advantage</em>. By being able to choose freely between suppliers of non-branded goods, those who sell their products at the lowest price get selected. This is obviously beneficial for consumers who pay a lower price, but I will argue later that it is also beneficial for society as a whole.</p>
<p>3) Big retailers compete against one another, hence depressing prices. Consider the case where there is a fruit seller, a butcher, and a canned food seller in a town. Each has a monopoly over their product segment, and therefore charges higher prices than they would have, had there been another competitor. Now consider the case of three supermarkets. The overlap in their products range induces competition, which puts a downward pressure on prices. Despite Tesco’s perceived market dominance, it is not a monopoly. Instead, the industry is characterized by oligopolistic competition, where a few large players compete against one another for market share. This, combined with the ease of entry into the industry (foreign firms like Aldi and Lidl have been making steady progress into the UK market) means that competition is rife.</p>
<p>The majority of the products sold by large retailers such as Tesco are foodstuffs and, as has been amply shown in countless surveys and studies, the poorer a household is, the larger portion of its budget is devoted to food. Higher food prices would therefore affect poorer households disproportionately, a point to bear in mind when contemplating the aesthetic appeal of a rustic independent retailer, whose prices would inevitably be higher than those of a large one.</p>
<p>Although the benefits outlined above concerned consumers, suppliers also benefit from contracting with large retailers. In their absence, producers are limited to marketing their products in their immediate surroundings. If they do manage to secure contracts with other independent retailers farther afield, they are likely to be contracts for small quantities, since single shops are unlikely to order in bulk. As such, overhead costs (transport, administration etc) are likely to cut into the producer’s profit, or increase the price of their goods. Large retailers allow producers access to a market that they would otherwise have little or no chance of reaching. This is especially true for producers in developing countries.</p>
<p>The exploitation of producers, a real enough issue, is however unconnected with the type of retail outlet. It is the underlying contracting arrangements that matter. The Kenyan flower export industry is a case in point.</p>
<p>The delivery of flowers is an exigent business; flower growers in Kenya enjoy regular access to the European market. Producers deliver large quantities of fresh flowers, which are shipped to Amsterdam. From this central depot, the flowers are then distributed to small shops across Europe. What determines whether or not the Kenyan producers are exploited is the underlying contractual arrangements and not the type of retail outlets at the end of the supply chain.</p>
<p>Having said that, producers can only get to enjoy all the benefits I&#8217;ve enumerated provided that they are selected by the retailer. This would of course depend on their price relative to that of other producers. Taking efficiency as criteria, society would want exactly those producers with the lowest price to be selected by the retailer. That is the producer that has found the most cost-effective way of producing a particular good. Provided that there are no externalities (see explanation below) in the production process (a heroic assumption), and that a regulatory floor is established (such as a minimum wage, health and safety regulations and quality-control standards for example), this producer would be the one that can produce the good using the least amount of resources</p>
<p>The assumption that there be no externalities in the production process is important. A firm has &#8216;externalities&#8217; when some commodities or services used in the production process are not accounted for in the price paid by the consumer. For example, when the production of a plant pollutes a publicly-owned lake at no cost, it has a negative externality on the community. This effect is &#8216;external&#8217; because it is not accounted for by the firm. When deciding how much of the good to produce, the cost of polluting the lake is not factored in, and the firm ends up producing more than it would have, had it paid for the use of the clean water from the lake. If all costs are taken into account, i.e. if there are no externalities, then the producer with the least costly good is also the one that would be the most environmentally friendly in this case.</p>
<p>By virtue of their mere size, large retailers are important for the economy. The largest four retailers in the UK, Tesco, Asda, Sainsbury’s and Morrison’s, collectively employ more than half a million people. Although some independent retailers <em>do</em> lose out when faced with competition from these behemoths, the economy on the whole gains. Researchers at the Catholic University of Chile found that the net effect created by the entrance of a large retailer into a local market in Chile increases employment by about 300 jobs. This total effect accounts for the jobs created by the retailer itself, those created by other parts of the production chain, and also takes into account the job losses due to small retailers exiting the market or downsizing. Some of the negative impact such restructuring has on extant small retailers is dampened when some join the operation by contracting for the big retailers rather than competing.</p>
<p>We must remember, however, that these are companies whose very <em>raison d’etre</em> is the pursuit of profit. This is not, whatever Marx or Bakunin say, intrinsically bad; in a competitive environment where externalities are absent, the incentives provided by profit maximization actually <em>promote</em> social welfare. In their pursuit of profits, large retailers will cut costs and increase revenue by all means available to them. There are however several ways to avoid undesirable outcomes such as the transgression of workers’ and animals’ rights, degradation of the environment and the compromising of consumer health. The first such method is regulation. In the UK for example, although retailers as well as other companies would like to pay some of their employees even lower wages, the law establishing a ‘minimum wage’ stops this from happening. Similarly, legislation regulating consumer health is extensive and transgressions are harshly punished.</p>
<p>Apart from regulation, which is heavy handed, consumers wield enormous power over retailers. They can reward good behaviour (and punish the bad)  by appropriately switching their custom. Although less incisive and tangible than regulation, the effects of consumer pressure are real. In the recent past, companies producing cosmetics have had to respond to consumer demands for higher ethical standards; in the UK, energy companies faced pressure from consumers over their prices in 2008; even Apple has had to contend with consumers&#8217; discontent with its iPhone 4. If an issue is of particular importance to consumers, shifts in demand &#8216;incentivise&#8217; companies to respond accordingly. Retailers only exist because of consumers’ demand for them. Analogously, one must have to face the fact that UK consumers, as a whole, might not value the presence of independent retailers as much as <em>the Domestic Extremist</em> would like to see (or believe).</p>
<p>Independent retailers, however, are part of the heritage and culture of town centers throughout the UK and the world. They have, understandably, a sentimental value. This qualifies them to be categorized as ‘cultural goods’. By making this category, a case can be made for their protection (similar to languages that are on the brink of disappearance but that have some claim to nationalistic or cultural significance). the current Secretary General of the European Research Council, Andreu Mas-Colell, argues that it makes sense to preserve these retailers as representations of a bygone age but not to actively promote their expansion, which would be working against the current of consumer demand and the market. So in the same way that steam locomotives still operate as tourist attractions, a number of small independent shops could be supported to remain open in the face of increasing pressure from larger retailers.</p>
<p>It seems that rather than arguing against large retailers, the Domestic Extremist’s argument should be for more stringent regulation coupled with a policy of preserving some retailers as cultural icons. Large retailers are commercially successful because they are ever more efficient at satisfying consumer needs. The numerous occasions of a planned boycott campaign floundering in the face of a Tesco store opening its doors is a testament to the irresistible hunger for their services. It does not make sense to strive to stifle the development of a concept that is clearly wanted. The intense competition and hunt for profits, however, is likely to engender newer ways of cutting costs and regulation should thus be introduced to establish some minimum standards, whether in employee rights, environmental standards or health and safety.</p>
<p>Like any other activity, retailing evolves. The early 20th century saw self-service replace the much slower process of shopping that involved customers asking for products, while a store assistant scurried about behind the counter gathering them. This new method of shopping saves time and money for both customers and shopkeepers. It is an improvement and hence has persisted. Similarly, large retailers save time and money for customers and are proving to be more profitable than smaller operations. My guess is that they’ll continue to exist and, in the same way we can’t imagine dictating our shopping list to a hapless clerk, future generations will be unable to picture doing their weekly shop at an independent retailer. The Domestic extremist might not like it, but his call to arms, though clearly well-intentioned, is doomed to fail.</p>
<p><strong>Omer Ali</strong> is an economist based at the University of Warwick and writes on economics, politics and world affairs. He is a former editor of the Voice Magazine. His &#8220;Devil’s Advocate” column appears every other Thursday.</p>
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		<title>Formed a band? Made a record? Now what?</title>
		<link>http://ceasefiremagazine.co.uk/2010/08/formed-a-band-made-a-record-now-what/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/08/formed-a-band-made-a-record-now-what/#comments</comments>
		<pubDate>Sun, 29 Aug 2010 22:54:32 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Features]]></category>
		<category><![CDATA[Ideas]]></category>
		<category><![CDATA[DIY]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[online music]]></category>
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		<category><![CDATA[records on ribs]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=1338</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/band2.jpg"><img class="alignleft size-full wp-image-366" title="band" src="http://ceasefiremagazine.co.uk/wp-content/uploads/band2.jpg" alt="" width="1236" height="816" /></a><strong> <size=4> Every starting band knows the situation: you record something, spend more than you can afford on getting a few hundred professionally-printed copies made, and then you spend ages wait for sales that never come. As someone who's seen it all before, Alex Andrews shares top 5 tips on how to sell your record the clever way.</a><strong> <size=4></strong></size>]]></description>
			<content:encoded><![CDATA[<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/band2.jpg"><img class="alignright size-full wp-image-1343" style="border: 5px solid white;" title="band2" src="http://ceasefiremagazine.co.uk/wp-content/uploads/band2.jpg" alt="" width="614" height="460" /></a>By <strong>Alex Andrews</strong></p>
<p>Every starting band knows the situation: you record something (major dollar, even with&#8217; mates rates&#8217;), you get 300 professionally printed copies at large outlay. The vast majority of these will end up at the bottom of your wardrobe, or in a spare room in boxes, unsold for years, despite your best efforts. These unsold copies are plainly overstocking, which as any retailer will tell you, is one route to never making any money.</p>
<p>For those who want some useful guidance, these are my top 5 tips on how to get your record out there:</p>
<p><strong>1. Give Your Music Away For Free</strong></p>
<p>Let&#8217;s face it, splashing out on those CDs betrays a failure to understand the basic ideas of <a href="http://www.businesslink.gov.uk/bdotg/action/detail?r.s=sc&amp;r.l1=1073858805&amp;r.lc=en&amp;r.l3=1074039371&amp;r.l2=1073859143&amp;type=RESOURCES&amp;itemId=1073792658">stock control</a> and the disadvantages of too much stock. Overall, it is a huge outlay which confers, unlike spending money on a decent recording of your music which might lead to many opportunities (gigs, more records), no real benefit to your band other than the pleasing sensation of having a &#8216;real record&#8217;. If you are releasing something off your own back and get signed for it, the first thing the record company will likely do is get you back in the studio again to re-record everything (ultimately, at <a href="http://musicians.about.com/od/beingamusician/f/recordingcosts.htm">your own cost</a> &#8211; again!), your self-released stuff going in the bin all the same.</p>
<p>The reason why these CDs don&#8217;t sell is simple: people have no idea what your band sound like and aren&#8217;t going to buy something they haven&#8217;t listened to. More accurately, they will rarely buy something without press coverage confirming it is worth buying &#8211; to state the obvious, big record companies don&#8217;t spend thousands on marketing their music because stuff sells on its merits, they do so because stuff doesn&#8217;t sell until people have been told it is worth buying.</p>
<p>With zero marketing budget and no access to the press, letting your free music market itself is your best option in reaching people. If you are already streaming most of your recorded material on, say, MySpace, is it really that much of a mental leap to allow, say, low quality downloads of your music gratis? Yes, this means whole tracks, or (remembering that you made this beautiful consistent record you wanted people to appreciate) whole records.</p>
<p>What seems like a loss is in fact of enormous benefit &#8211; both in getting people out to your gigs and making them aware of your work, with no additional cost added to that of recording. As far as my own label, <a href="http://recordsonribs.com/">Records on Ribs</a>, goes, we would never have had the funds to make the 100,000+ records people have already downloaded for free from us (or, indeed, have sold this many). Yet, in terms of &#8216;reach&#8217;, our artists have now been listened to by many, many more ears than have listened to those CDs you are eventually going to be flogging for next to nothing in desperation. <a href="http://recordsonribs.com/artists/alltheempiresoftheworld/">All The Empires of The World</a>, our brilliant but largely unknown doom contingent, have had 17,571 downloads over two records. Even if they had invested hundreds of pounds on 600 CD versions, most of those would still be unsold today, cluttering the bottom of a wardrobe.</p>
<p><strong>2. Go DIY With The Physical Releases</strong></p>
<p>At the same time as offering downloads of your music, you probably want to offer a physical product as well, because people do still like this a lot. Rather than outlaying hundreds of pounds on boring jewel cases, go DIY and make a limited edition, made-to-order, run of your release. This is called, in business studies parlance, <a href="http://en.wikipedia.org/wiki/Just-in-time_%28business%29">just in time production</a> and by making sure your wardrobe is not burdened, it prevents overstocking. Set either an arbitrary or a costed definition of how &#8216;limited&#8217; the edition is going to be. Then offer it for pre-order (probably with some incentives for early purchasers), then available for general sale. From that point on, simply make them after, not before, they are ordered, in a &#8216;one in, one out&#8217; methodology.</p>
<p>If you have a band then you already have a &#8216;crew&#8217; who can be used if orders become too overwhelming (a &#8217;supply shock&#8217;). Personalisation, artistic flair and attention to detail can create things of real artistic value, but which entail little financial cost (though potentially time-consuming). Modern printers make this very easy. The release of <a href="http://recordsonribs.com/artists/lesetoiles/toleaveamark">Les Étoiles - To Leave A Mark</a>swiftly sold all of its 70-copies run, and those who bought it thought the packaging really improved the listening experience &#8211; it was a carefully wrapped package containing photographs, lyric sheets and <a href="http://codepoetics.com/poetix/2009/09/05/old-haunts/">a meditation on the album</a> and its themes by author <a href="http://www.amazon.co.uk/Cold-World-Aesthetics-Dejection-Dysphoria/dp/1846942179">Dominic Fox</a>. Many wrote<a href="http://commonfolkmeadow.wordpress.com/2009/10/09/les-etoiles-to-leave-a-mark/">beautiful reviews</a> of it as a result, scanning in the photos to illustrate their thoughts!</p>
<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/band.jpg"></a></p>
<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/band.jpg"><img class="alignright size-full wp-image-1344" style="border: 5px solid white;" title="band" src="http://ceasefiremagazine.co.uk/wp-content/uploads/band.jpg" alt="" width="358" height="266" /></a></p>
<p><strong>3. Use Free Online Tools And Use Them Well</strong></p>
<p>We all know (probably) that bands should have an online presence in the shape of a<a href="http://facebook.com">Facebook page</a>, <a href="http://myspace.com">MySpace</a> and, these days, a<a href="http://twitter.com">Twitter</a> feed and a <a href="http://last.fm">Last.fm</a>. The most important thing here is to actually be activeon them, responding to other people who are interested in your music and generally being personable. But there are even better tools out there for bands.</p>
<p>At the moment, <a href="http://bandcamp.com">bandcamp.com</a> is by far and away the best outlet through which bands can allow downloads, allow purchases of their music (physical/digital) and do almost everything a band would require without the need for a record company at any stage. <a href="http://aws.amazon.com/s3/">Amazon S3</a> alongside <a href="http://aws.amazon.com/cloudfront/">Cloudfront</a> is a significantly better way of hosting your music, at low cost, than the mess of the likes of <a href="http://www.mediafire.com/">Mediafire</a>. <a href="http://soundcloud.com/">Soundcloud</a> (whichDrowned in Sound uses) is excellent. <a href="http://wordpress.com">Wordpress.com</a> makes it easy to have a blog. For creating a database of contacts, an absolute must for any band, <a href="http://highrisehq.com/">Highrise from 37Signals</a> is invaluable (grab their <a href="https://signup.37signals.com/highrise/Free/signup/new?source=google-highrise&amp;__utma=1.1947329345.1268142097.1268142097.1268142097.1&amp;__utmb=110748700.2.10.1268165243&amp;__utmc=110748700&amp;__utmx=-&amp;__utmz=1.1268142097.1.1.utmcsr=google|utmccn=%28organic%29|utmcmd=organic|utmctr=highrise&amp;__utmv=-&amp;__utmk=131117967">free plan</a>). Not only can it record the basic details of contact you have made, it can also record what you said to them last, and even do so by recording the e-mails you are sending by copying a certain e-mail address into the bcc line.</p>
<p><strong>4. Contact The Right People To Get Reviews</strong></p>
<p>Sending unsolicited copies of your music either to reviewers or record companies is a huge waste of time and money, and always has been. Only send out copies to reviewers you know, or who you have made contact with and have expressed a liking for your music or an interest in reviewing it.</p>
<p>Instead, contact the bloggers who might like your stuff and give them free copies of your music even, if you can afford it, &#8216;proper&#8217; versions before general release, and ask them to review it (but don&#8217;t pester them like a rabid PR man).</p>
<p>In tracking down blogs, the usual suspects, <a href="http://hypem.com/) and [Elbo.ws](http://elbo.ws/">HypeMachine</a>, are useful, but do call in any favours from friends. Also, track down users who have been vocal about liking music, whether on last.fm or Facebook, anybody! Record all of this (in your brand new Highrise account) diligently and always (always!) follow up leads (but never pester!).</p>
<p>While the online platform is amazing, keep in mind that sometimes getting someone on the phone or seeing them face to face, though much more embarrassing than dropping an e-mail, might be the better way to getting things done.</p>
<p><strong>5. Build Networks With Other Bands</strong></p>
<p>When you are in a band you do this intuitively anyway &#8211; find bands from the same geographical area who are doing similar things to you (though maybe not the same genre) and set up your own support structures &#8211; club nights, gigs, events, record launches that mutually support one another.</p>
<p>When &#8220;offline&#8221;, be creative in using these structures &#8211; get a band to DJ at your gig, set up a collective gig-loyalty scheme, bake cakes, pool resources. Manage these kind of things online &#8211; for instance, by using a private forum for local bands to swap tips, link websites and MySpaces to one another, promote each others&#8217; gigs,  and share webhosting costs (<a href="http://dreamhost.com">Dreamhost</a> allows unlimited hosting of domains for very little &#8211; split between four bands this would be trivial), not forgetting cross-promotion of records and events.</p>
<p>Also, it would be quite helpful if the music you make is any good.</p>
<p><strong>Alex Andrews</strong> is a freelance journalist, academic and activist living in Canterbury, UK. His main interests are neoliberalism, economics and the interaction of politics and religion. He is also involved in a number of music projects and is a founding member of <a href="http://recordsonribs.com/">Records on Ribs</a></p>
<p><strong>Records on Ribs</strong><em> </em>is an independent record label which gives away all its music for free download under a Creative Commons license, as well a providing beautifully made and fairly priced physical releases. (<a href="http://recordsonribs.com/">http://recordsonribs.com</a>)</p>
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		<title>Film Review: The Infidel</title>
		<link>http://ceasefiremagazine.co.uk/2010/08/review-the-infidel/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/08/review-the-infidel/#comments</comments>
		<pubDate>Sat, 28 Aug 2010 17:23:26 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Features]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Arvind Ethan David]]></category>
		<category><![CDATA[david baddiel]]></category>
		<category><![CDATA[film review]]></category>
		<category><![CDATA[omid jalili]]></category>
		<category><![CDATA[the infidel]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=1312</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/infidel3.jpg"><img class="alignleft size-full wp-image-366" title="infidel" src="http://ceasefiremagazine.co.uk/wp-content/uploads/infidel3.jpg" alt="" width="1236" height="816" /></a><strong> <size=4> The Infidel is a comedy whose subject matter includes Muslims, Jews, cultural identity, religious intolerance, clerical hypocrisy, political islamism, violent extremism, anti-semitism, media mendacity and plain old-fashioned racism. Upon its release on DVD earlier this month, Hicham Yezza reviews it. </a><strong> <size=4></strong></size>
]]></description>
			<content:encoded><![CDATA[<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/infidel2.jpg"><img class="alignright size-large wp-image-1316" style="border: 5px solid white;" title="infidel2" src="http://ceasefiremagazine.co.uk/wp-content/uploads/infidel2-1024x890.jpg" alt="" width="614" height="534" /></a>By <strong>Hich Yezza</strong></p>
<p>The most interesting thing to have happened to <em>The Infidel</em>, a comedy whose subject matter includes Muslims, Jews, cultural identity, religious intolerance, clerical hypocrisy, political islamism, violent extremism, anti-semitism, media mendacity and plain old-fashioned racism, is how little fuss it has generated from those quarters that, we&#8217;re told, are hypersensitive to &#8220;offensive&#8221; material. (The second most interesting thing to have happened to it, incidentally, is that screening rights were bought by a host of Middle Eastern countries, with the one notable exception of Israel).</p>
<p>In one regard, this seeming lack of a response could be viewed as a major failure of the project,  as the result of a bland, safe handling of the themes. On the other hand, it might be interpreted as the sign of a perfectly executed comic turn: where every potential bump on the road is flawlessly redeemed by its own humourous coating.</p>
<p>But which interpretation is closer to the truth?</p>
<p>The Infidel in question is Mahmud Nasir (Omid Djalili), a  businessman from the East End who, though hardly the most observant of Muslims, nonetheless shares a solid attachment to his faith, or so he&#8217;d like to think. He may not be that devout in his daily actions, but he is a true Muslim &#8220;in [his] heart&#8221;, as he puts it to his son Rashid (Amit Shah).</p>
<p>The plot is powered by two dramatic set-ups: first, Mahmud learns that his son wants to marry Uzma (Soraya Radford), which is fine by him, except for the fact that Uzma&#8217;s father is Arshad El Masri (Yigal Naor), a virulent loudmouth preacher clearly (and, in my view, rather lazily) modelled on the Abu Hamza/Omar Bakri model.<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/infidel.jpg"><img class="alignright size-large wp-image-1317" style="border: 5px solid white;" title="infidel" src="http://ceasefiremagazine.co.uk/wp-content/uploads/infidel-1024x581.jpg" alt="" width="614" height="349" /></a></p>
<p>At the same time Mahmud discovers, after his mother&#8217;s recent death, that he was in fact adopted, which is also fine, except that his original birth name turns out to be Solly Shimshillewitz, meaning he, Mahmud the Muslim everyman, is actually Jewish.</p>
<p>Now, as a premise for a political/cultural comedy, David Baddiel, who wrote the script, has come up with something potentially very interesting. The number of angles and issues to explore is limitless, the obvious one being what a sense of fixed inalienable identity actually means. The question of course is: how do you set the dramatic clockwork in motion without spending your time looking over your shoulder for potential political/cultural <em>faux pas</em>?</p>
<p>The solution opted for by Badiel, who is Jewish, is to actually make a film about Jewishness that happens to feature a sprinkling of mostly polite, rather clichéd vignettes on Muslims. In itself, this choice is fine; indeed, it is indirectly responsible for the film&#8217;s best performance, that of Richard Shiff (of <em>The West Wing</em>) who plays Lenny Goldberg, Mahmud&#8217;s American-Jewish neighbour. Lenny, upon learning Mahmud&#8217;s &#8220;real&#8221; identity turns from cantankerous nemesis to cultural mentor in all things Jewish (and in the process gives Baddiel free rein to indulge in lots of Woody Allen-tinged misanthropic angst).</p>
<p>In terms of plot evolution, twists and dénouement, the Infidel follows a well-trodden, well-tested formula. In terms of the humour, some jokes work better than others. The comic  routines of public speaking misshaps, mistaken identity, incongruous juxtapositions (omid jalili in tights anyone?) and straighforward slapstick all get a look in. Often enough, the influence on Baddiel  of the great American Jewish comedy tradition, from Lenny Bruce to Larry David, is very evident, generally to the film&#8217;s benefit.<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/infidel3.jpg"><img class="alignright size-large wp-image-1318" style="border: 5px solid white;" title="infidel3" src="http://ceasefiremagazine.co.uk/wp-content/uploads/infidel3-1024x651.jpg" alt="" width="614" height="391" /></a></p>
<p>Should you see it? If you&#8217;re hoping for a subversive, stinging take on the 21st century&#8217;s obsession with demonising Muslims, then this is not the film for you. If you&#8217;re more in search of a lighthearted, boisterous comedy played out on a faintly &#8220;cultural&#8221; canvass, then this should keep you happy.</p>
<p>Of course, to judge this film on its politics (or lack of them) would be to miss the point.  As its producer, Arvind Ethan David, told <em>Ceasefire </em>in an interview a few days ago (to be published in the Autumn print issue), the lack of a major negative brouhaha over the movie&#8217;s potentially incendiary topics was clearly indicative, in his eyes, of the fact that the audience understood this was  a movie that aimed primarily to entertain (and is handsomely returning the favour, the <em>Infidel</em> DVD is currently riding high in the Amazon comedy charts).</p>
<p>Those wanting an irreverent satire on the West&#8217;s relationship with Islam, (and who felt Chris Morris&#8217; &#8216;Four Lions&#8217; didn&#8217;t totally hit the spot either) will have to wait a bit longer. As David explained in that same interview, <em>The Infidel</em>&#8217;s guiding mission was to &#8220;entertain&#8221;, and in this regard, it is indeed, a well-made, light-hearted and, often enough, a very funny film indeed.</p>
<address>The Infidel(2010)</address>
<address>Cert (UK): 15</address>
<address>Runtime: 105 mins</address>
<address>Director: Josh Appignanesi</address>
<p><span style="font-style: normal; font-size: 12.96px;"><strong>Hich Yezza</strong> is the editor of <em>Ceasefire </em>Magazine. His interview with Arvind Ethan David, producer of The Infidel will be published soon.</span></p>
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		<title>Book review &#8211; Kosovo: The Path to Contested Statehood in the Balkans</title>
		<link>http://ceasefiremagazine.co.uk/2010/08/book-review-kosovo-the-path-to-contested-statehood-in-the-balkans/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/08/book-review-kosovo-the-path-to-contested-statehood-in-the-balkans/#comments</comments>
		<pubDate>Wed, 25 Aug 2010 22:23:07 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Features]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[albania]]></category>
		<category><![CDATA[independence]]></category>
		<category><![CDATA[kla]]></category>
		<category><![CDATA[kosovo]]></category>
		<category><![CDATA[nato]]></category>
		<category><![CDATA[yugoslavia]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=1235</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/kosovo.jpg"><img class="alignleft size-full wp-image-366" title="kosovo" src="http://ceasefiremagazine.co.uk/wp-content/uploads/kosovo.jpg" alt="" width="1236" height="816" /></a><strong> <size=4> Kosovo's quest for independence throughout a turbulent 20th century is the subject of a book that aims to disentangle myths from realities. Omayr Ghani, Ceasefire's Political Editor, is impressed at the scholarship but sceptical of the analysis.</a><strong> <size=4></strong></size>]]></description>
			<content:encoded><![CDATA[<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/kosovo.jpg"><img class="alignright size-full wp-image-1236" title="kosovo" src="http://ceasefiremagazine.co.uk/wp-content/uploads/kosovo.jpg" alt="" width="254" height="389" /></a></p>
<address></address>
<address><strong>Kosovo:  The  Path  to  Contested  Statehood  in  the  Balkans </strong></address>
<address> by  James  Ker-Lindsay</address>
<address>July  2009</address>
<address>I.  B.  Tauris  &amp;  Company,  Limited </address>
<address>Hardcover,  272pp</address>
<p>By <strong>Omayr Ghani</strong></p>
<p>In  late  August  of  this  year  twenty-six  EULEX  (European  Union  Law  and  Order  Mission  in  Kosovo)  vehicles  were  overturned,  not  by  Serbs  angry  at  the  EU’s  perceived  complicity  in the annexation  of  twenty  percent  of  their  country,  but  by  a  Kosovar  Albanian  protest  group  called  Vetevendosje  (Self-Determination). This was done as part  of  their  continuing  campaign  for  independence,  something  many  assumed  to  have  been  granted  with  the  withdrawal  of  UN  troops  and  the  Kosovar  Government’s  declaration  of  independence  of  17  February  2008.  Meanwhile,  an  EU  report  published  in October 2009 found  that the declaration (still  only  recognized  by  53  countries, 28%  of  the  total  membership  of  the  UN),  to  be  illegal.</p>
<p>To  better  understand  how  the  EU  has  ended  up  in  this  situation  (a  situation  the author calls,  along  with  a  great  many  diplomats  quoted  in  the  book,  “a  mess”)  Ker-Lindsay  takes  the  reader  through  ninety-six  years  of  Kosovar  Albanian  history;  briefly  describing  the  evolving  nature  of  Kosovo’s  status  from  the  First  Balkan  war  of  1912  to  the  build-up  towards  the  NATO  bombing  campaign of the late 90s and  then,  in  meticulous  detail,  describing  the  negotiations  between  the  involved  parties  from  the  end  of  the military campaign  to  Kosovo’s  aforementioned  declaration  of  independence  in  2008.</p>
<p>The  formation  of  Yugoslavia  after  the  Second  World  War  and  its  official  position  as a nation of  “South  Slavs”  (a  group  Albanians  were  deemed  not  to  belong  to) led  to  a  curious  status-quo  in  which  Albanians,  despite  being  the  most  culturally  distinct  ethnic  group  of  its  size  in  Yugoslavia,  were  the  only  group  of  its  size  not  to  be  recognized  as  a  nationality.  Years  of  demonstrations,  however,  led  to  Kosovo  (a  region  in  the  Yugoslav  Republic  of  Serbia  where  most  Albanians  lived)  being  recognized  as  a  province  in  1974,  giving  its Kosovar  Albanian inhabitants many  rights  and  privileges they had  not  previously  enjoyed  but  crucially  not  the  right  to  self-determination.  It  is  this  ambiguous  status,  argues  Ker-Lindsay,  that  the  “international  community  (the  US  and  EU)”  “kept  off  the  agenda”  in  a  desire  to  “Keep  Milosevic  engaged”  in  the  face  of  a  non-violent  Kosovar  resistance,  which  gave  rise  to a “mysterious  new  guerrilla  group”,  the  KLA  (Kosovar  Liberation  Army),  which  in  turn  led  to  a  severe  backlash  against  Kosovar  Albanians  (and  “the  discovery  of  the  bodies  of  45  Albanians”  in  Racak  in  January  1999)  that,  Ker-Lindsay  claims,  ultimately  led  to  the  NATO  bombing  campaign itself,  as  the  “international  community”  realised  “that  this [violence] might  spread  to  neighbouring  Macedonia”.</p>
<p>However,  the  idea  that  the  US  kept  Kosovo  off  the  agenda  until  a  severe  backlash  against  Kosovar  Albanians  flies  in  the  face  of  widespread  acknowledgment  from  American  Intelligence  officers  that  they had helped  to  train  the  KLA  as  early  as  1996  and  that  they  “wanted  war  in  Kosovo”. Ker-Lindsay,  nevertheless,  does  duly  note  that  the  KLA  continued  their  attacks  against  Serbia  to  provoke  a  heavy-handed  response  so  Western  leaders  could  “act decisively” on  their  behalf.  The  claim  that  NATO  acted  on  a  realisation  that  the  instability  might  spread  to  Macedonia;  related  to  a  claim  made  in  the  introduction  that  NATO  acted  “to  bring  the  conflict  in  Kosovo under  control”  as  they  were  “Embarrassed  by  their  failure  to  prevent  death  and  destruction  in  Bosnia” clearly contradicts  Strobe  Talbott’s  (Deputy  Secretary  of  State  at  the  time  and  one  of  the  chief  planners  of  the  war)  declaration  that  “It  was  Yugoslavia’s  resistance  to  the  broader  trends  of  political  and  economic  reform-not  the  plight  of  Kosovo  Albanians-that  best  explains  NATO’s  war”.</p>
<p>The  book  is  at  its  best,  however,  when  detailing  and  analysing,  the  drawn-out,  and  ultimately  inconclusive,  status  talks  involving  the  US,  EU  states  and  Kosovo  on  the  one  hand  and  Russia  and  Serbia on the other.  Ker-Lindsay  reveals  how  these  arguments  almost  led  to  a  complete  breakdown  of US-Russian  relations,  with  Russia  threatening  at  one  point  “to  pull  out  of  the  Treaty  on  Conventional  Armed  Forces  in  Europe” as  well  as  using  the  Kosovo  “Precedent”  to  justify  supporting  the  independence  of  South  Ossetia  and  Abkhazia  (similar arguments were also used by Bosnian Serbs in relation to Republika Srpska).  All  the  while,  the  UN  force  deployed  to  keep  the  peace  in  Kosovo  was  now  being  targeted  by  Kosovar  Albanians  impatient  with  the  time  it  was  taking  to  reach  a  deal  to  secure  their  future.</p>
<p>The  threat  of  a  further  escalation  in  violence  resulted  in  further  talks  being  called  off  by  the  US  and  EU,  without a compromise being reached and  with  Kosovo  eventually  unilaterally declaring  independence  and  EULUX  replacing  UN  forces.  The  future  of  Kosovo, as  Ker-Lindsay  finishes  the  book,  “has  yet  to  be  resolved  conclusively”. Recent  events  show that  resolution  could  still  prove elusive.</p>
<p><strong>Omayr Ghani</strong>, a writer and activist, is Ceasefire Magazine&#8217;s Political Editor.</p>
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		<title>Arts &amp; Culture: Redo Pakistan</title>
		<link>http://ceasefiremagazine.co.uk/2010/08/arts-culture-redo-pakistan/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/08/arts-culture-redo-pakistan/#comments</comments>
		<pubDate>Sat, 21 Aug 2010 11:09:52 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Features]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[artist]]></category>
		<category><![CDATA[exhibition]]></category>
		<category><![CDATA[pakistan]]></category>
		<category><![CDATA[redo pakistan]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=1047</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/redopakistan.jpg"><img class="alignleft size-full wp-image-200" title="Redo Pakistan" src="http://ceasefiremagazine.co.uk/wp-content/uploads/redopakistan.jpg" alt="" width="618" height="408" /></a><strong> <size=4> With Pakistan now a major item on the news agenda – instability, violence, and recently, of course, the devastating floods – what hope is there for Pakistani artists? Can they hope to address the situation of the country in a way that could possibly make a difference? Is the contemporary art world just too Eurocentric to let them in? 
Musab Younis, Ceasefire deputy editor, speaks to the curators of an innovative new art project, ‘Redo Pakistan’, which has issued a call to artists to ‘Declare War Against the Present Time.’ 
</a><strong> <size=4></strong></size>]]></description>
			<content:encoded><![CDATA[<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/redopakistan.jpg"><img style="border: 10px solid white;" title="redopakistan" src="http://ceasefiremagazine.co.uk/wp-content/uploads/redopakistan.jpg" alt="" width="602" height="402" /></a></p>
<p><strong> </strong></p>
<p>By<strong> Hamja Ahsan</strong> and <strong>Fatima Hussain</strong></p>
<p>With Pakistan now a major item on the news agenda – instability, violence, and recently, of course, the devastating floods – what hope is there for Pakistani artists? Can they hope to address the situation of the country in a way that could possibly make a difference? Is the contemporary art world just too Eurocentric to let them in?</p>
<p>This week, Ceasefire deputy editor Musab Younis caught up with Fatima Hussain and Hamja Ahsan, the curators of an innovative new transnational art project: ‘Redo Pakistan’. Its second issue is launching at the Aicon Gallery in London on Tuesday, 24 August 2010, kicking off a <a href="www.otherasias.com">series of events</a> in London and the Midlands. The launch will include fundraising for the victims of the recent floods in Pakistan. You can also donate to the DEC, which is coordinating Britain’s relief effort, <a href="http://www.dec.org.uk/">here</a>.</p>
<p><strong>1. What is REDO PAK?</strong></p>
<p><strong>FH:</strong> Redo Pakistan is a nomadic art project that delves into the contested histories and futures of South Asia. It was initiated early last year, when a call was sent out asking: “What if Pakistan were to be restored and stabilized geographically, politically and intellectually? What would a Pakistan, reconstructed now, look like?”</p>
<p>The exhibit started life at the Shanakht festival in Karachi (Pakistan’s largest contemporary arts festival) the first time round. It was ransacked by Pakistan People Party activists due to a disagreement over a photograph displayed at the festival depicting Benazir Bhutto sitting on the lap of general Zia. The next stop Redo Pakistan made was in Lahore. This time, the works had all been translated into a newspaper to be handed out to the audience in a gallery space. We choose a form that was transient, urgent, and publicly inviting.</p>
<p>Redo Pakistan is now a yearly publication that activates further chain of events. This time the call sent out was “Declaration of WAR against the Present Time” (the subtitle of the poetry compilation, Zarb-e-Kaleem by [Muhammad] Allama Iqbal). We are interested in the very contemporary formations of curatorial practice. This declaration is being done through publications, newspapers, talks, performances and film screenings: it is like a production chain.</p>
<p>At our last stop earlier this year, the project was curated at The Guild Gallery, New York in a show called Structures Within an Intervention. We had planned a launch in Pakistan on the August 14. The events have been delayed because of the recent floods.</p>
<p>Redo Pakistan has a <a href="www.otherasias.com">launch</a> planned for London between 24 August and 12 September.</p>
<p><strong>2. Is the contemporary art world Eurocentric?</strong></p>
<p><strong>HA:</strong> I bought Fatima Making Myself Visible by Rasheed Araeen as a present from London to Pakistan, and I think a lot of the observations and grievances from the Black Arts movement 25 years ago are still pertinent. Many of the observations Eddie Chambers made about the politics of exclusion you can still see at an institution like the South London gallery (despite the multi-million pound makeover) where – despite being in an majority Afro-Caribbean settlement area – the only regular black person one sees is the aging security guard.</p>
<p>Then there is what I call the Vyner Street Fashionist problem: the ultra-cliqueness of advanced, indie-club, indentikit, hipster, skinny jeans communities. That makes me sick. Sure, there has been the huge regional survey shows like Indian Superhighway and an economic boom of the dominant Asian economies. But one sees new hierarchies of exclusion. Is power really being redistributed? Who is the head and who is the body?</p>
<p>Eminent international curators like Okwui Enwezor do not change the situation of a wall of exclusion in local settings and exchanges in majority Black and Asian diaspora settlement areas such as in Peckham, Tower Hamlets, Deptford etc. I also think the fact that RAQ’s media collective has done 1,000 public commissions in the last year is no good thing – it shows the laziness and complacency of white institutional power.</p>
<p>The theoretical parameters of art practice are very much Eurocentric and art world bookshops like Koening are very much structurally racist. You see huge coffee table books on Oriental carpets and African masks downstairs in the basement, and upstairs all the Deleuze-o-babble and Zizek&#8217;s provincial material Marxist bitch-fighting. Even postcolonial studies, as it was institutionalized in Britain through Robert J. C. Young, is too much a detour of French Theory.</p>
<p>That’s why we invoke <a href="http://en.wikipedia.org/wiki/Muhammad_Iqbal">Muhammad Iqbal</a> against this grain. His central important to twentieth century history I still feel isn’t recognized in the West (for example with regard to the Iranian Islamic republic, which calls itself the republic of Iqbal, the formation of modern South Asia, and so on.) These are the wider structural problems of the knowledge-power nexus.</p>
<p><strong>3. REDO PAK is explicitly political, but can art from Pakistan ever avoid politics? Should it try?</strong></p>
<p><strong>HA:</strong> Before we get into politics with a big P, there are all sorts of institutional obstacles one has to deal with. The Bhavan centre, for example, invited us, let us go ahead with an Arts Council application, and gave us a contract and dates knowing Fatima was flying from another country. Then they ejected us with little explanation other than that we are “political”.</p>
<p>Another institution would not let us have Islamic Relief do a collection for the Pakistani floods, which was nonsensical considering the institution endorsed the Disasters and Emergency Committee, which is a coalition of several charities including Islamic Relief.</p>
<p>I think the activist community has a very instrumental and didactic understanding of art practice. One hears the same lame lecture on Banksy at Marxism and the same hasty local-library trashpit of an exhibition.</p>
<p>Redo Pakistan operates in some realm between fiction, imagination, and document, not related to any particular present as such. It expands a possibility and an opening, or at least aspires too.</p>
<p><strong>FH: </strong>Well, ‘politics’ is a funny word. The word ‘polis’ means ‘city’. Politics could be a way of dealing with the city through language, culture, dialogues, etc. We feel art can never avoid politics just as it can never avoid the city.</p>
<p>Redo Pakistan however, is not dealing with ‘political issues’ as such. It comes from the need to address the problems within the art of the region, including culture, language, built architecture, history, and colonialism and its influences.</p>
<p>Art from Pakistan has never been able to avoid these questions. Now that Pakistan is the recent focus in the world media due to natural disasters, unstable governance and strained borders, it has become even more difficult for the artist to avoid politics of any kind. These are the questions the artist faces every day.</p>
<p><strong>4. What&#8217;s your opinion of the state of the contemporary arts in Pakistan?</strong></p>
<p><strong>HA:</strong> There seems to be forms of embassy representation too. It is often instrumentalised as a form of diplomacy: Salima Hashmi doing her show Hanging Fire for the Asia Society, for example.</p>
<p><strong>FH:</strong> Contemporary art in Pakistan is very blatantly dealing with the politics and with the current scenario of the country. There seems to be some sort of urgent necessity that is driving the arts today. Artists are taking a lot from their ‘city’ to deal with the “image of Pakistan” in the broader world. For us, what is lacking is the immediacy of this art where it chooses the audience.</p>
<p>The art (mostly) has failed to connect with the real. It seems to be still floating within the art institutions, the elite, and the whitewashed gallery spaces. It somehow fails to take up the social responsibility it has towards the art itself, the audience and the politics.</p>
<p><strong>Hamja Ahsan</strong> and <strong>Fatima Hussain</strong> have been working together on transnational arts projects since October 2008 as Other Asias.</p>
<p>www.otherasias.com</p>
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		<title>Decoding Reality: The Universe as Quantum Information</title>
		<link>http://ceasefiremagazine.co.uk/2010/08/book-review-decoding-reality-the-universe-as-quantum-information/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/08/book-review-decoding-reality-the-universe-as-quantum-information/#comments</comments>
		<pubDate>Fri, 20 Aug 2010 22:35:50 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Books]]></category>
		<category><![CDATA[Features]]></category>
		<category><![CDATA[Reviews]]></category>
		<category><![CDATA[Science & Technology]]></category>
		<category><![CDATA[decoding reality]]></category>
		<category><![CDATA[information theory]]></category>
		<category><![CDATA[quantum physics]]></category>
		<category><![CDATA[verdal]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=984</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/matrix.jpg"><img class="alignleft size-full wp-image-200" title="Decoding Reality" src="http://ceasefiremagazine.co.uk/wp-content/uploads/matrix.jpg" alt="" width="618" height="408" /></a><strong> <size=4> What is reality? Is the universe, ultimately, no more than bits of information? 
Physics, and Quantum Theory in particular, have grappled with the fundamental structure of nature's basic building blocks for decades, but the answers remain elusive. Quantum physicist and Ceasefire columnist Sebastian Meznaric takes a look at a new book on the topic and finds it full of intriguing and original insights.   </a><strong> <size=4></strong></size>]]></description>
			<content:encoded><![CDATA[<div class="wp-caption alignnone" style="width: 310px"><img title="decodingrealityauthor" src="http://ceasefiremagazine.co.uk/wp-content/uploads/decodingrealityauthor.jpg" alt="" width="300" height="199" /><p class="wp-caption-text">Vlatko Vedral</p></div>
<p>by <strong>Sebastian Meznaric</strong></p>
<p>What is information and how do we quantify it? Can we, through genetics, use the concept of information to describe living organisms? How about the stock market and social changes? <em>Decoding reality</em> makes a compelling case that the answer to all of the above is yes, and goes even further by introducing the reader to quantum mechanics in the context of the Information Theory. In addition, it deals with many of the philosophical implications of modern physics, such as the question of whether nature is fundamentally unpredictable and random (also known as the determinism question), whether something can come from nothing and, indeed, if nothing can again arise from something. As such, the book deals with many topics and so in this review I will address some of them in more detail, namely: Information Theory, Quantum Mechanics and determinism.</p>
<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/decodingrealityauthor.jpg"></a></p>
<p>Information theory is a branch of mathematics that deals with quantifying information. So how does one go about quantifying a concept that appears vague and ambiguous at best? Imagine the toss of a fair coin, where the probability of it landing on heads or tails is exactly equal. Then one bit of information is defined to be exactly the amount that you learn if I tell you that the coin will land on either heads or tails. On the other hand, if one knows with certainty and in advance that the coin is going to land on heads, then learning about the future outcome from someone else imparts exactly zero bits of information. In between the two extremes, the amount of information one gains depends on the probabilities one assigns in advance to the different outcomes.</p>
<p>But of course, one might argue, reality cannot be described simply as a collection of coin tosses. The events in the real universe often have multiple possible outcomes, sometimes infinitely many. And the outcomes themselves might not even have equal probabilities of occurrence. The book informs the reader, in a simple to grasp way, about how information about such events might be quantified and further postulates that reality as a whole can be described using such quantities.<br />
<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/decodingreality.jpg"><img title="decodingreality" src="http://ceasefiremagazine.co.uk/wp-content/uploads/decodingreality.jpg" alt="" width="179" height="247" /></a></p>
<p>Notice that the concept of uncertainty is essential to the above discussion. Indeed, if one knows with certainty everything that is going to occur, then one has effectively &#8216;decoded&#8217; the universe. However, the modern physical theory of Quantum Mechanics has a few surprises for us here. In fact, the standard interpretation of quantum mechanics tells us that it is in fact impossible to predict all future events with certainty. Imagine a spinning atom. In our everyday understanding of the world, the atom can spin either to the left or to the right. However, this is not so in quantum mechanics &#8211; the atom can exist in a state whereby it spins both to the left and to the right at the same time!</p>
<p>This concept seemed so incredible and counter-intuitive to the physicists at the dawn of quantum mechanics that many rejected the idea outright. However, experiments have been conducted that demonstrate that such states indeed do exist and are, in fact, very common in the world of things as small as atoms.</p>
<p>Now imagine one has a device that is capable of finding out only whether the atom is spinning to the right or to the left. It is not capable of measuring anything in between. According to the standard interpretation of quantum mechanics, it is impossible to predict whether the device will find the atom spinning to the right or to the left. The only thing that we may predict are the probabilities of either one or the other. Furthermore, the act of measurement will disturb the atom in a way that will force it to spin either to the left or to the right immediately after the measurement.</p>
<p>Does it then follow that the world can never be decoded, and that our future is unknowable? Well, another group of physicists believes that it is in fact possible to predict whether the device will find the atom spinning to the left or to the right. Their crucial argument lies in the idea that quantum mechanics does not only apply to things as small as atoms but also to large things, like footballs, cars and indeed everything. Now, when the atom is undisturbed by large measurement devices, its state changes in a way that is completely predictable. It then stands to reason that if the entire universe is governed by quantum mechanics then so are the devices which we use to measure the way the atoms spin. And since the universe cannot be disturbed by anything external to itself, it is then entirely predictable. These two viewpoints have been argued over for many decades so that the problem has even been given its own name &#8211; <em>the measurement problem</em> &#8211; and the final resolution of the argument has not yet been achieved.</p>
<p>However, determinism is not important merely as a philosophical issue. On a daily basis, many bankers attempt to predict stock market fluctuations in order to stay ahead of the competition. Their calculations lead them to a probability that the price of the stock will go up or down by tomorrow and by how much. The information theory can then tell us what is an optimal portfolio based on these probabilities.</p>
<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/matrix.jpg"></a>Equally, information theory can be used in biology. Our genetic code (DNA) is composed of a sequence of bases &#8211; adenine (A), cytosine (C), guanine (G) and thymine (T). A group of three bases forms an amino acid which means that our DNA can encode 43 = 64 amino acids.<br />
However, only 20 of these possibilities are found in living organisms. In other words, there are more than three times as many symbols (amino acids) than we need to encode. In other words, nature has implemented a natural redundancy so that, in case an error is made in some of the bases, the DNA is still usable. Information theorists have developed a very similar error-toleration system for computers and, in fact, such systems are still a topic of active research in quantum computation.</p>
<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/matrix.jpg"><img class="aligncenter size-full wp-image-988" title="matrix" src="http://ceasefiremagazine.co.uk/wp-content/uploads/matrix.jpg" alt="" width="300" height="225" /></a>Vedral illustrates many more other uses of information theory and provides an introduction to the subject that is both illuminating and useful. But the core of the book is undoubtedly dedicated to the Quantum Physics side, where the strange and non-intuitive ways of nature reveal themselves in all their glory. The questions of determinism and the workings of nature are most likely among the deepest questions that humans have considered. Their answers, as illusive as they may have been, may just now be coming into the realm of modern scientific understanding and this book provides a thought-provoking, and timely, introduction.</p>
<p><em>Decoding Reality by Vlatko Vedral</em></p>
<p><em>Oxford University Press</em></p>
<p><em>£16.99</em></p>
<p><strong>Sebastian Meznaric </strong>is a theoretical physicist and doctoral reseracher at the University of Oxford. His areas of interests include the study of information theory in quantum mechanics. He is also a keen observer of politics and current affairs.</p>
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		<title>Culture Fix: Robert Chrisgau, doyen of US music critics, retires</title>
		<link>http://ceasefiremagazine.co.uk/2010/08/culture-fix-robert-chrisgau-the-doyen-of-us-music-critics-retires/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/08/culture-fix-robert-chrisgau-the-doyen-of-us-music-critics-retires/#comments</comments>
		<pubDate>Sat, 14 Aug 2010 23:13:01 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Features]]></category>
		<category><![CDATA[Profiles]]></category>
		<category><![CDATA[christgau]]></category>
		<category><![CDATA[consumer guide]]></category>
		<category><![CDATA[culture fix]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[robert]]></category>
		<category><![CDATA[village voice]]></category>

		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=732</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/robertchristgau.jpg"><img class="alignleft size-full wp-image-366" title="Raoul" src="http://ceasefiremagazine.co.uk/wp-content/uploads/robertchristgau.jpg" alt="" width="1236" height="816" /></a><strong> <size=4> After more than 40 years at the top of the music journalism game, Robert Christgau, formerly of the Village Voice and legendary author of the 'Consumer guide' series has this month announced his retirement from writing his weekly column. To mark this end of an era, academic and writer Donal Mac an Eala writes a moving tribute to a unique, encylopedically rich voice in music and cultural criticism.   </a><strong> <size=4></strong></size>]]></description>
			<content:encoded><![CDATA[<p style="text-align: center;"><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/robertchristgau.jpg"><img class="aligncenter size-large wp-image-734" title="robertchristgau" src="http://ceasefiremagazine.co.uk/wp-content/uploads/robertchristgau-956x1024.jpg" alt="" width="344" height="368" /></a><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/robertchristgau2.jpg"></a></p>
<p>By <strong>Donal Mac an Eala</strong></p>
<p>Once a Village Voice <a href="http://en.wikipedia.org/wiki/Robert_Christgau"><span style="text-decoration: underline;"><span style="color: #0000ff;">music critic</span></span></a>, he has been, in the last two years or so, working with MSN which, a month or so ago, has finally discontinued his reviews. However, he is still writing, for example he does an essay for Barnes and Noble each month and works with NPR.</p>
<p>It was his <em>Consumer Guide</em> which has definied the art of self-reflectivity in music criticism: His pithy reviews of albums (and on occasions songs) have built up and up into a body of work that spans a period of more than 40 years.</p>
<p>And it’s no overstatement to suggest that he has been one of the defining influences on my own musical taste, not to say that my taste shadowed his – not for him metal, or the more esoteric byways of dance, and not for me that in-depth knowledge of soul [definitely my loss] or roots or African music, but it was an influence nonetheless.</p>
<p>He’s been a presence in my musical life since I was 16 when the school library in Greendale Community School [Kilbarrack] gave a group of us money to purchase new books for it. One of those purchased was <em>Christgau’s Consumer Guide of the 1970s</em>. Eventually having had it out on permanent loan I was forced to get a copy of my own.</p>
<p>It’s a hefty book, and that original edition has an illustration of a set of headphones with a lightning streak running between them, but somehow that’s a muted image and therefore nowhere near as flashy as that might suggest.</p>
<p>It’s chastening to think that when I first read that book, in 1981, Zeppelin had broken up barely a year before, Joy Division likewise, the Rolling Stones were arguably in the earlier stages of their career (I joke, sort of), the charts were groaning under the weight of new wave and post-punk. In other words, that entire musical universe of the 1970s was so recent that the vinyl was still soft – so to speak, even if we pretended to have no interest in anything prior to 1977 (or more realistically Ska or the New wave of British Heavy Metal). And here, here was a book which took it all seriously (bar metal, always a blind spot of Christgau’s), which threw in Funkadelic and Steely Dan and the Beatles and said… it’s all valid but what’s good is good, what’s bad is bad. A useful lesson to learn.</p>
<p>Each little review was an often perfect synthesis of critique, wit and knowledge in a couple of hundred words or less, and the overall whole recognising that music was a spectrum. Another useful lesson to learn.</p>
<p>And that first Consumer Guide, despite the fact it took decades for me to hear even a quarter of its contents, pointed to the fact that there was so much out there and that even if it was in styles and genres that I might not like now, perhaps, just perhaps, I would someday</p>
<p>And that, too, was a hugely useful lesson to learn.</p>
<p>And he wasn’t even middle aged when the first book came out. Okay he was about 37… old enough in those days. He was married, over 30 and therefore effectively middle aged… and yet, oddly, so was Ian Curtis’s voice. Sure, so was almost everyone making music at that point in time. They were old, whether 21 or 31 or, God forbid, 41 (and the remarkable longevity of the current era – and that’s not necessarily a criticism – was still some way off). They were bloody well older than 16.</p>
<p><img title="robertchristgau2" src="http://ceasefiremagazine.co.uk/wp-content/uploads/robertchristgau2.jpg" alt="" width="298" height="281" /></p>
<p>Revelatory about punk, but also noting that punk wasn’t a one-off, that it, too, had roots, and that there had been other movements before, that <em>that</em> too was part of a continuity. I also think he has had – and one hopes will continue to have – a real ability to lock in, through words, that almost mystical aspect of music, that near synesthetic quality it has where it infuses and reflects those stray moments in life.</p>
<p>Some quotes perhaps will demonstrate his efficacy with words…</p>
<address><strong>The O’Jays Family Reunion </strong></address>
<address><strong>[Philadelphia International, 1975]<br />
</strong>In which Jesse Jackson (or is it Reverend Ike) goes disco, proving that the words do too matter. The self-serving, pseudopolitical pap Kenny Gamble sets his boys to declaiming here underlines the way the overripeness of this vocal and production style can go mushy, which it does. Even the working-class party anthem &#8220;Livin’ for the Weekend&#8221; is ruined by the rest of the side–some play-her-like-a-violin soft-core, and the unspeakable (would it were unsingable) &#8220;I Love Music.&#8221; Moral: the rich and the superrich shit–the nouveau riche can fuck you over too. C</address>
<address><strong><strong><strong></strong></strong></strong></address>
<address><strong>Boston Third Stage </strong></address>
<address><strong>[MCA, 1986]<br />
</strong>Never again can us wiseasses call it corporate rock without thinking twice. Whatever possessed Tom Scholz to spend seven years perfecting this apparently unoccupied articulation of an art-metal thought extinct years ago, it wasn’t megaplatinum ambition. He’s more like the Archbishop of Latter-Day Arena Rock, perfecting majestic guitar sounds and angelic vocals for hockey-rink cathedrals the world over–and also, since he’s patently reluctant to venture from his studio retreat, elegiac melodies suitable to a radio ministry. If he seems more hobbyist than artist, more Trekkie than Blind Boy Grunt, that’s no reason to get snobbish. And no reason to listen, either. C</address>
<address><strong></strong></address>
<address><strong>Never Mind the Bollocks, Here’s the Sex Pistols</strong></address>
<address><strong>[Warner Bros., 1977]<br />
</strong>Get this straight: no matter what the chicmongers want to believe, to call this band dangerous is more than a suave existentialist compliment. They mean no good. It won’t do to pass off Rotten’s hatred and disgust as role-playing–the gusto of the performance is too convincing. Which is why this is such an impressive record. The forbidden ideas from which Rotten makes songs take on undeniable truth value, whether one is sympathetic (&#8220;Holidays in the Sun&#8221; is a hysterically frightening vision of global economics) or filled with loathing (&#8220;Bodies,&#8221; an indictment from which Rotten doesn’t altogether exclude himself, is effectively anti-abortion, anti-woman, and anti-sex). These ideas must be dealt with, and can be expected to affect the way fans think and behave. The chief limitation on their power is the music, which can get heavy occasionally, but the only real question is how many American kids might feel the way Rotten does, and where he and they will go next. I wonder–but I also worry. A</address>
<p>And this spot-on precis of the vastly overrated &#8216;Them Crooked Vultures&#8217;, from his last column…</p>
<address><strong>Them Crooked Vultures: ‘Them Crooked Vultures’</strong></address>
<address><strong>(DGC/Interscope)<br />
Grade: B MINUS</strong></address>
<address>In his demure way, macho formalist Josh Homme has emerged as a post-Nirvana rock auteur to rival Jack White himself. Signature project taking a break? No prob. He’ll just hire the supposed musical glue of the heaviest aggregation of all time, wave his magic bushwhacker and turn Nirvana’s most successful member back into the drummer we wish he’d remained, and pound out what any blindfolded stoner with girlfriend problems would yell in your face was another Queens of the Stone Age album, and later for effing Eagles of Death Metal. Homme sees the humor in his formalism even if his fans don’t, and the all-star rhythm section does add fluidity. But in the end this is hard-rawk nirvana with a small &#8220;n&#8221; — a world of unusually hot sex and skull-busting drugs young guys with girlfriend problems will wish was so. I mean, that is one hell of a market share.</address>
<p>He also writes somewhat longer pieces, take this <a href="http://www.robertchristgau.com/xg/bk-aow/eagles.php"><span style="text-decoration: underline;"><span style="color: #0000ff;">one</span></span></a> on The Eagles which is notable for… well, look, people should read it for themselves.</p>
<p>The other aspect of this was that it was US-based, with that curious view of music from this side of the Atlantic that is reflective of the prism that is US music and media. I loved that slightly alien quality and still do. In a way, in this digital period, that dynamic has buckled somewhat. If I go to emusic I can find material from obscure indie or dance bands from Canada, or Germany or wherever. And of course it’s all available now.</p>
<p>I still treasure the first <em>Consumer Guide</em>, it’s on the bookshelves in the front room (those shelves winnowed down in recent years with many other newer books transferred to the attic) because it has genuinely become a part of my life. I was reading it as recently as the weekend, flicking through idly, fascinated by his thoughts on Prince or Springsteen or Bob Seeger, or whoever.</p>
<p>The next book from the 1980s was, on some levels, more and yet less fascinating because it paralleled my own musical experience more closely, but also pointed out the gaps. The 1990s one perhaps a little less so again, most likely because my own tastes tended to solidify and, also, that I was more familiar with their contents. As it happened though, and perhaps tellingly, I only purchased them in the early 2000s in a secondhand bookshop in New York. None more appropriate!</p>
<p>I hope that he continues to write because his is a voice that music needs now more than ever as it fragments yet further .</p>
<p>He’s quoted on a recent Slate Magazine Culture Gabfest podcast that discussed his retirement as saying that his Consumer Guide elaborates on…</p>
<address style="text-align: center;">‘My life theory of why popular music is the greatest of the arts’…</address>
<p style="text-align: left;">Sounds about right to me <img title="icon_wink" src="http://ceasefiremagazine.co.uk/wp-content/uploads/icon_wink.gif" alt="" width="15" height="15" /></p>
<p><strong>Donal Mac an Eala</strong> works in politics, lectures in various aspects of contemporary culture and is a writer and blogger. He is also a contributor to the <a href="http://cedarlounge.wordpress.com/2010/08/14/robert-christgau-has-retired/">Cedar Lounge Revolution</a></p>
<p><em>[A version of this article also appears on the </em><a href="http://cedarlounge.wordpress.com/2010/08/14/robert-christgau-has-retired/"><em>Cedar Lounge Revolution</em></a><em> website.]</em></p>
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		<title>We come in peace &#8211; shoot to kill: On the perils of peacekeeping</title>
		<link>http://ceasefiremagazine.co.uk/2010/08/in-theory-we-come-in-peace-shoot-to-kill-on-the-perils-of-peacekeeping/</link>
		<comments>http://ceasefiremagazine.co.uk/2010/08/in-theory-we-come-in-peace-shoot-to-kill-on-the-perils-of-peacekeeping/#comments</comments>
		<pubDate>Fri, 13 Aug 2010 12:30:28 +0000</pubDate>
		<dc:creator>hich</dc:creator>
				<category><![CDATA[Features]]></category>
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		<category><![CDATA[In Theory]]></category>
		<category><![CDATA[andrew]]></category>
		<category><![CDATA[Nations]]></category>
		<category><![CDATA[Peace]]></category>
		<category><![CDATA[Peacekeeping]]></category>
		<category><![CDATA[robinson]]></category>
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		<guid isPermaLink="false">http://ceasefiremagazine.co.uk/?p=719</guid>
		<description><![CDATA[<a href="http://ceasefiremagazine.co.uk/wp-content/uploads/peacekeeper4.jpg"><img class="alignleft size-full wp-image-366" title="Raoul" src="http://ceasefiremagazine.co.uk/wp-content/uploads/peacekeeper4.jpg" alt="" width="1236" height="816" /></a><strong> <size=4> The creation of the UN, sixty years ago, has introduced the concept of "international peacekeeping" into the public lexicon. The UN peacekeeping missions are now regular features of news bulletins from conflict zones. And yet, both in its theoretical underpinnings and its practical manifestations, peacekeeping remains a highly problematic idea. 
Political theorist Andrew Robinson presents the many issues surrounding the idea of peacekeeping, and conducts an impassioned and lucid analysis of how peacekeeping efforts often get things wrong, and what needs to be done to set them right. </a><strong> <size=4></strong></size>]]></description>
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<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/peacekeeper2.jpg"><img title="peacekeeper2" src="http://ceasefiremagazine.co.uk/wp-content/uploads/peacekeeper2.jpg" alt="" width="258" height="269" /></a></p>
<p>By <strong>Andrew Robinson</strong></p>
<p>Civil wars are not events which happen “out there”, in a mysterious other world, but are intimately connected to the forces dominating the lives of people around the world. Emerging in zones of exclusion and dispossession, civil war is a symptom of global neoliberalism, an effect of a particular constellation of forces which encourages violent resource-extraction and decomposes social integration. The sites of civil war, demonised as &#8216;black holes&#8217; and &#8216;failed states&#8217;, are like the relative whose breakdown shows the abusive dynamics of the entire family; the violence of the &#8216;new world order&#8217;, while disavowed and condemned, is in fact predictably concentrated at these points. Peace interventions (peacekeeping, peacemaking, peacebuilding) often operate in this context as an attempt to square the circle, to have the rose without the thorns. They have increasingly occurred in a grey area between peacekeeping and military enforcement, in ways which border on colonialism. Advocates of peacekeeping tend to portray zones of conflict in Hobbesian terms, as an abyss of collapse in which not only peace but also social order collapses. They thus map real problems of warfare onto their own frames, substituting for the voices of agents or victims on the ground by reconceiving problems in terms of the lack of a modern state.</p>
<p>In liberal approaches, peacebuilding, statebuilding and state &#8217;security&#8217; are conflated. Liberals generally start from the premise that ethics is universal, but in practice derive their universalist positions from dominant western value-systems. Speaking from this western standpoint, they then speak on behalf of the victims of civil war, who are taken to be the ethical referent of action but whose voices are rarely heard. What victims are taken to need is not simply contingent peace but a particular kind of state as desired by the liberal observer. In general, these accounts ignore colonial histories and current dependent relations, portraying the victims as at once &#8216;like us&#8217;, people with the same implied values, and radically other, as &#8217;strangers&#8217; in Nicholas Wheeler&#8217;s phrase, with whom “we” have no prior contact. Liberals look to the state or the UN as the agent by which justice can be delivered on behalf of the victims (or those who speak for them). While the aim is to produce a liberal kind of state, draconian means are often countenanced in order to bring it about. There are then a number of approaches pioneered by authors such as Roland Paris and Michael Lund. These authors take the liberal view to account for its imperialistic assumptions, but retain a state-based focus. In fact, they revert to a narrow instrumentalism which justifies despotic measures as means to ensure &#8217;security&#8217;.</p>
<p>Liberal interventions often fail because the regimes and norms they seek to &#8216;restore&#8217; are alien to the contexts in which they are implanted. Often, liberals intervene while imagining themselves to be bearers of universal humanity, bringing civilisation to others. In practice, however, they intervene in complex fields of contending social forces, and are viewed locally as anything but neutral. Even when successful, intervention creates a field of exclusions from the global frame which persist as lingering resentments, and can explode in later conflicts. Such failures are blamed on &#8217;spoilers&#8217;, hardcore groups with investments in the political economy of war, who need to be defeated militarily. Where injustice is not resolved in peace settlements, the persistence of conflict cannot be reduced to self-interested &#8217;spoilers&#8217;, and the discourse of looking for &#8217;spoilers&#8217; becomes a way to silence grievances. In practice, the theory of &#8217;spoilers&#8217; has largely been falsified: security guarantees which should deter spoilers do not correlate with the success of peace processes. Nevertheless, it continues to underpin mainstream thinking.</p>
<p>Viewing the state as a prerequisite to peace is problematic because the state is by nature an armed, violent organisation. The state does not eliminate warlike power from social life, but rather, reconstructs it as the basis for social order. It also rests on concentrated power, which introduces dangerous imbalances in settings with strong intergroup rivalries: statebuilding acts as a trigger for groups to compete for control of the state. In societies where many people have a strong sense of honour and where power has traditionally been diffuse – such as Afghanistan and Somalia – there is a tendency for the centralisation of power to provoke rebellion, reproducing cycles of war as political exclusion creates symbolic insults. The danger is that people go into civil war situations imagining that there is no peace, no state and no society, and the aim is to build all three at once – after all, they are taken to imply one another. Peacekeepers who view themselves as lawgivers are prone to act in imperialistic ways, behaving like Judge Dredd or Mad Max, in line with how local contexts have been explained to them. So ineffective have resultant interventions been that some authors, such as Darby and MacGinty, have argued that peacekeeping has only been successful when it did not involve armed enforcement.</p>
<p>There is a need to reconceive civil wars as social situations involving participants and survivors with their own systems of meaning. Civil wars can cause immense suffering, but they do not typically involve the breakdown of all the structures of social life. People do not suddenly become atomised individuals caught in a Hobbesian struggle. Rather, the assumptions of combatants, the survival strategies of civilians and the processes whereby everyday life continues in spite of war reveal dense structures of meaning, interpretation and social composition every bit as rich as those occurring in apparently peaceful societies. The problem is therefore misconstrued in liberal and related theories. Firstly, where states have collapsed, building a state is not always a way to recompose social relations; it is often pitted against centrifugal forces in local societies. Secondly, building peace, in a field where diffuse social relations exist, does not necessarily imply building a state. On the contrary, statebuilding can interfere with peacebuilding by unleashing centralising and identity-fixing forces. Thirdly, where a (&#8216;failed&#8217;) state still exists, it is typical for intervenors to pathologise every aspect of its functioning, ignoring the fact that the characteristics deemed to cause failure in one case are often part of normal state-society relations in another. As a result of these assumptions, a relatively simple task – turning a temporarily conflictual diffuse society into a peaceful diffuse society – is turned into a staggeringly immense one – turning a diffuse, poor, culturally incomprehensible society into a model liberal-democracy. Instead of working with social forces which could contribute to building peace, such an approach systematically works against them.</p>
<p>Militarised approaches often instead work with social forces which contribute to the continuation of cycles of violence. Jan Nederveen Pieterse has argued that rigid forms of identity, based on the &#8216;hard&#8217; politics of power competition and militarism, produces the forms of reified &#8216;ethnicity&#8217; which are the underpinnings of civil war. Rather than undermine such &#8216;hard politics&#8217;, peace operations tend to reinforce them in a number of ways (by practising hard politics themselves, by giving credibility to hard political actors, by concentrating on power issues and so on). From a different angle, Mark Duffield has argued that civil wars are often caught up in networks connecting global agencies and local actors, rendering the peacekeeping infrastructure a complicit part of the process of contemporary conflict.</p>
<p>So how might creative peacebuilding from the bottom-up operate? In terms of theory, the approach pioneered by Jean-Paul Lederach provides a possible way forward. This is an approach focused on &#8216;conflict transformation&#8217; from below, based on the idea of linking peace to just relationships and establishing nonviolence and human rights as a way of life. Lederach argues that people respond most effectively when change seems to be felt and touched in their own lives. He calls for the transformation of reactive energies into creative energies, and for dialogue as the basis for peace. Peace requires a moral imagination which can step into the unknown and imagine a holistic web of relationships. Lasting transformation of conflicts can only occur when social structures and institutions are transformed to address underlying causes of conflict, distrust and resentment. For instance, land reform is often an underlying issue in rural rebellions. A change as fundamental as a transition from war to peace necessarily involves a deep reshaping of social relations, not simply gestures of crisis-management.</p>
<p><a href="http://ceasefiremagazine.co.uk/wp-content/uploads/peacekeeper4.jpg"><img title="DRCONGO-UN-MILITARY" src="http://ceasefiremagazine.co.uk/wp-content/uploads/peacekeeper4-682x1024.jpg" alt="" width="409" height="614" /></a></p>
<p>This approach fits with many of the conclusions emerging from empirical research. To effectively resolve conflicts, underlying injustices need to be rectified, power needs to be redistributed from warlord elites into everyday life, and former combatants need to be offered effective alternatives to militia life. Addressing aspects of conflicts related to identity and representation is particularly crucial. Conflict is often bound up with militarised forms of masculinity, with acquisitive forms of subjectivity imitated from the global media, and with exclusionary impulses in terms of identity which are a way of managing the destabilising psychological effects of globalisation. The problem is that such needs collide with a global system built on inequality and domination. As a result, interventions tend to take the form of crisis management rather than effective resolution.</p>
<p>In practice, matters are rarely as one-sided as a theoretical account suggests. Interventions often involve elements of both &#8216;hard&#8217; peacebuilding, pursued at a state level, and &#8217;soft&#8217; peacebuilding or &#8216;track two&#8217; or &#8216;citizens&#8217; diplomacy, pursued at the local level in terms of underlying causes of conflict. The latter tend to be treated as poor relatives of the former, which get the bulk of donor funding and international attention. Non-governmental organisations often complain of difficulties obtaining funding for prolonged projects in fields such as human rights promotion and combating nationalism. It is, however, the failures in the latter field which often compromise peace operations. Persistent conflicts tend to remain insoluble because of vicious circles of hostility at the grassroots level. Top-down approaches act as if incorporating or eliminating the leadership of armed groups is sufficient to bring peace. This ignores the fact that leaders are able to form militias only because they provide some force of attraction to potential followers – they claim to redress injustice, channel hostilities between groups, provide an income for unemployed young men, provide emotive symbols and so on. Conflicts are often concentrated at certain sites which are often both the main sites of suffering due to war and the sources of new combatants and their support-base. &#8216;Beheading&#8217; the conflict does not take away the forces which bring it into being.</p>
<p>When underlying causes, including the systematic deprivation of these core conflict areas, are not addressed, top-down peace approaches simply &#8216;behead&#8217; a conflict, driving it underground. This may soften its most visible manifestations and produce an appearance of peace for awhile, but the conflict will often re-emerge later. Either new groups will emerge to carry the flag of the dispossessed groups, or conflicts will be displaced sideways, into forms of low-intensity warfare carried out in spite of social &#8216;peace&#8217;. The former problem is noticeable in Northern Ireland today, where the incorporation of Sinn Fein into dominant power-structures has not addressed the dispossession of impoverished Catholic communities, as a result of which, dissident Republicans are now gaining in strength; and in Palestine, where a peace process loaded towards continued Israeli dominance caused a mutation of social forces away from the now-complicit PLO towards Hamas and towards everyday forms of resistance. In neither case is a lasting peace possible without justice. The latter problem is noticeable in a case such as South Africa, where persistent conflicts drive anti-”crime” and anti-poor violence and the emergence of cityscapes dotted with fortified areas, and in Guatemala, where the lack of resolution has seen former combatants displaced into &#8216;criminal&#8217; violence which claims more lives than the warfare from which it stemmed. In these cases, &#8216;peace&#8217; without justice has simply displaced conflict. Feminist scholars have similarly shown how apparently &#8217;successful&#8217; peace operations have actually spread violence in the lives of women on the ground, for instance through sexual violence by peacekeepers. In looking at the &#8217;success&#8217; of interventions, we need to bear in mind the indirect effects which might not be classified as war, but which might be even more devastating in everyday life.</p>
<p>Hope for alternatives to the new colonialism also emerge from everyday practices of conflict resolution. Indigenous societies often have their own peacebuilding and conflict resolution approaches using local cultural idioms. Often these avoid the emergence of power-asymmetries, instead relying on something more akin to civil than criminal law, with disputes referred to a mutually accepted arbiter and resolved in terms of reparation payments and ritual peacemaking. Among the Nuer of Sudan, a person involved in a violent incident could claim sanctuary at the house of a &#8216;leopard-skin chief&#8217;, a local shamanic mediator who would then seek to broker a deal to head off intergroup feuding. Among the warlike Sambia in Papua, the frequent open-ended feuds between groups of male warriors are periodically constrained by the interventions of women, based on the impact of warfare on subsistence agriculture. In the Moluccas, warring villages would reach peace agreements by recognising each other as fictive kin with mutual obligations. There are also a range of cases where ritualised conflict serves as a substitute for lethal warfare.</p>
<p>Such practices can often be seen in successful bottom-up peace processes. In the Moluccas, ethnic and religious conflicts were stirred in the 1990s by military and political leaders hostile to democratisation in Indonesia. The eventual resolution came about when local communities, organised for years to fight resource extraction, initiated a local peacebuilding process based on customary laws and wisdom. This locally-based process, with little outside support, shows the power of bottom-up processes. Another unexpected success was the peace process in Somaliland, a northern breakaway region of Somalia which entered a prolonged peace at exactly the time the rest of the country was embroiled in civil war. This process was successful because it did the exact opposite of the peace process in the rest of Somalia: it started from the grassroots, sought to resolve local issues (such as land disputes) prior to those at the centre, and placed a large emphasis on providing alternatives for combatants, who were effectively bought off. La Ruta Pacifica provide another example of bottom-up peacebuilding. This women&#8217;s network has challenged the institutionalised violence of the Colombian civil war through practices referred to as &#8217;social weaving&#8217;, including collective mourning rituals which convert fear into hope, and confronting the terror of armed groups through nonviolent occupation of militarised spaces. Ultimately, more can be achieved through encouraging these kinds of bottom-up peacebuilding processes than from the cynical or well-meaning attempts of powerful agents to fight fire with fire.</p>
<p><strong>Andrew Robinson</strong> is a political theorist and activist based in the UK. His book <a href="http://www.amazon.co.uk/Defining-Organised-Routledge-International-Relations/dp/0415548527/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1281723039&amp;sr=8-1">Power, Resistance and Conflict in the Contemporary World: Social Movements, Networks and Hierarchies</a> (co-authored with Athina Karatzogianni) was published in Sep 2009 by Routledge.</p>
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