Al-Qaeda - terrorists, hypocrites, fundamentalists? The view from within

This article investigates the ideology of Al-Qaeda as perceived from within the network. Particular attention is paid to the ideological background of Al-Qaeda's intellectual leadership, its sociopolitical context and the nature of its recruits. The inner logic of the Al-Qaeda organisation advances an intellectual concept that is not based on the main schools of Islamic theology, but on a new ideological starting point that results from the application of Islamic principles to sociopolitical change. With its political goals reinforced by the teachings of the Quran, exemplified by the content and rhetoric of a recently discovered training manual, the organisation creates powerful imagery embedded in the collective consciousness of the Muslim community. Thus, the message provided by Al-Qaeda inspires its followers to commit violent acts of destruction while being fully convinced that they are fulfilling the ordained will of Allah.

Future Monument

Based on a series of collage made from images of mega yachts, the Future Monument looks at the possibility of taking late capitalism more seriously as an ideology than it takes itself seriously. The project asks whether the private display of wealth and power represented by the yacht can be appropriated for a new language of public sculpture. The choreographed live performance of the construction of the large scale monument was scripted to a proposed capitalist manifesto and took place in a public square in Herzliya, Israel. It aimed to articulate the ideology latent in capitalism’s claims to a neutral manifestation of human nature. The Future Monument project was developed through reading seminars taking place at Goldsmiths College, as part of a research strand headed by Pil and Galia Kollectiv on irony and overidentification within the Political Currency of Art research group. This research has so far produced a series of silk screen collage prints, a sculpture commissioned by the Essex Council and a live performance commissioned by the Herzliya Biennale. However, the project is ongoing, with future outputs planned including a curated exhibition and conference in 2012, in collaboration with Matthew Poole, Programme Director of the Centre for Curatorial Studies at the University of Essex.

Svetlana

Svetlana is a series of photographs documenting rehearsals for an opera that was never performed. Written by Waw Pierogi, founder of the 1980s group Xex, little is known of the opera, only that it was inspired by Svetlana, a character from one of their songs and the daughter of Stalin, who defected from the Soviet Union twice. A fictional Svetlana and a bogus Leon Theremin - inventor of the eponymous hands-free electronic musical instrument who was later kidnapped by the KGB - inhabit an archive of photographs from a session of stage rehearsals and location shots. Combining Svetlana’s narrative with a conspiracy to create sound weapons, this documentation of theatre workshops, styled after Bauhaus drama class exercises, produces an entirely spurious story of espionage, sonic weaponry and the clash between love and ideology. The performers sport geometric military costumes, brandishing sculptural forms fashioned after the acoustic locators that preceded radar technology. These redundant locators were still kept in use as props, concealing the introduction of radar from the Germans. They perfectly capture the theatricality of military might and suggest the rhetorical force of sound or even the political power of art. Svetlana was originally produced as part of a residency at S1 Artspace, Sheffield, and was later shown at Tatty Devine, alongside a special capsule collection of jewellery made by Tatty Devine.

Epic Sea Battle at Night: a Revolutionary Play with the Economic Thinking of Milton Friedman

The play Epic Sea Battle at Night was originally staged in 1967, to commemorate two of China’s People’s Liberation Army’s military triumphs over the Taiwanese navy two years previously. Produced at the height of the Chinese Cultural Revolution, the play is an example of the exploitation of the arts as an ideological instrument, celebrating military heroism and political conviction. Stills from the play were included in, China Pictorial 11, an English language propaganda pamphlet that was distributed to Western Imperialists in order to educate them in Maoist policy. Today, these images are clear representations of ideology. More than forty years after the Cultural Revolution, the ideology under which we live, neo-liberal late-capitalism, deliberately shirks from such blatant displays of propaganda. We have supposedly the freedom to believe whatever we like in a post-ideological age, and yet core beliefs about meritocracy, individualism and competitiveness frequently go unchallenged. By juxtaposing the visual language of ideology with the text of the capitalist manifesto, the re-enactment of a scene from Epic Sea Battle at Night harnesses the aesthetics of the past so as to allow us to reconsider the alleged neutrality of the present. The design of the stage, the positioning of the actors, costumes and props of the current production closely resembled those documented in China Pictorial 11, yet the actors’ monologues belong to a completely different context. No less heroic and utopian in tone than the speech given by the political instructor of gunboat 874 in the original play, the capitalist manifesto was an attempt to give a concrete language to the shapeless ideology of the present, and to force the invisible currents that govern life today, in China as in the West, to the surface. Neither a lecture on neo-liberal economics, nor a theatrical performance of a narrative, the piece appropriated the format of the propaganda play to re-evaluate the relationship between art and politics now.

Power, nature and neoliberalism: the political ecology of water in Chile

Since the 1990s, international water sector reforms have centred heavily on economic and market approaches. In regard to water resources management, tradable water rights have been promoted, often supported by the neoliberal model adopted in Chile. Chile's 1981 Water Code was reformed to comprise a system of water rights that could be freely traded with few restrictions. International financial institutions have embraced the Chilean model, claiming that it results in more efficient water use, and potentially fosters social and environmental benefits. However, in Chile the Water Code is deeply contested. It has been criticised for being too permissive and has produced a number of problems in practice. Moreover, attempts to modify it have become the focus of a lengthy polemic debate. This paper employs a political ecology perspective to explore the socio-environmental outcomes of water management in Chile, drawing on a case study of agriculture in the semi-arid Norte Chico. The case illustrates how large-scale farmers exert greater control over water, while peasant farmers have increasingly less access. I argue that these outcomes are facilitated by the mode of water management implemented within the framework of the Water Code. Through this preliminary examination of social equity and the environmental aspects of water resources management in Chile, I suggest that the omission of these issues from the international debates on water rights markets is a cause for concern.

Here come the Salafis: the framing of Al-Qaeda's ideology within terrorism research

The purpose of the paper is to analyse different narratives about al Qaeda (AQ) in Terrorism Studies, and to demonstrate the methodological and empirical problems associated with them. It demonstrates that AQ as it emerges within Terrorism Studies is more of an artefact of preconceived notions about fundamentalist ideology than the result of rigid empirical research.

The zooarchaeology of medieval Christendom: ideology, the treatment of animals and the making of medieval Europe

The formation of Christendom – of Europe – was associated with a standardized worldview expressing dominion over the natural world. While some sections of medieval society, specifically monasteries and the aristocratic class, appear to have developed this paradigm, there is also evidence for heterogeneity in practice and belief. Zooarchaeologists have accumulated vast quantities of data from medieval contexts which has enabled the ecological signatures of specific social groups to be identified, and how these developed from the latter centuries of the first millennium ad. It is possible from this to consider whether trends in animal exploitation can be associated with the Christian world view of dominion, and with the very idea of what it meant to be Christian. This may enable zooarchaeologists to situate the ecological trends of the Middle Ages within the context of Europeanization, and the consolidation of a Christian society.