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May 28, 2006

The Armenian Book - Armies of Letters


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Vanquished in the field of arms, Armenia seeks salvation in the scriptoria... These must have been enormous collections: in 1170 the Seljuks destroy a library in Syunik consisting of ten thousand volumes... At first they wrote on skins, then on paper. They once made a book that weighed thirty-two kilograms. Seven hundred calves went into it... Golden armies of small Armenian letters crawl over hundreds of pages... The fate of these books is the history of the Armenians.

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Matenadran Illuminated Gospel 9th-12th Centuries.
The Tree of Life and the Cosmic Hierarchy with the Immovable Centre [Black Sun Surrounded by the Golden Sun, Seven Layers within One; Two Birds (duality) facing the Apex (the point of communion)

from Armenian Highland (location: Encyclopedia, Manuscripts)

In 1967, Ryszard Kapuściński travelled through seven southern republics of the former USSR. The following excerpts are from his account of Armenia, translated by Klara Glowczeska, 1994.

...The comrade who is our guide (so beautiful!) says in a hushed voice that many of the manuscripts that we see were saved at the cost of human life. There are pages stained with blood here. There are books that for years lay hidden in the ground, in the crevices of rocks. Armenians buried them in the same way defeated armies bury their banners. They were recovered without difficulty: information about their hiding places had been handed down from generation to generation.

A nation that does not have a state seeks salvation in symbols. The protection of the symbol is as important to it as the protection of borders is to other states. The cult of the symbol becomes a form of the cult of country. Protection of the symbol is an act of patriotism. Not that the Armenians never had a state. They had one, but it was destroyed in antiquity. It was then reborn in the ninth century, and after 160 years it perished – in that earlier form – forever. It is not just a question of statehood. For at least two thousand years Armenians were in danger of complete extermination. They were still threatened with it as recently as this century, right up until 1920...

...A certain monk named Mashtots creates the Armenian alphabet. Mashtot’s life bears the mark of the anonymous monastic existence. He is entirely hidden by his work. Armenians always say of him “the genius Mashtots.” ... It is amazing that the invention a then-little-known monk could be so immediately and generally espoused. And yet it is a fact! Already, then, there must have existed among Armenians a strong need for identity and individuation. They were a lonely Christian island in a sea of alien Asiatic elements. The mountains could not save them: at approximately the same time as Mashtot’s alphabet is proclaimed, Armenia loses its independence.

From then on foreign armies – Persian, Mongolian, Arabs, Turkish – will blow across this country like ill winds. A curse will grip this land. Whatever is built will be destroyed. The rivers will flow with blood. The chronicles are full of dismal images...

Vanquished in the field of arms, Armenia seeks salvation in the scriptoria. It is a retreat, but in this withdrawal there is dignity and a will to live. What is a scriptorium? It can be a cell, sometimes a room in a clay cottage, even a cave in the rocks. In such a scriptorium is a writing desk, and behind it stands a copyist, writing. Armenian consciousness was always infused with a sense of impending ruin. And by the fervent concomitant desire for rescue. The desire to save one’s world. Since it cannot be saved with the sword, let its memory be preserved. The ship will sink, but let the captain’s log remain.

So comes into being that phenomenon unique in world culture: the Armenian book. Having their alphabet, Armenians immediately go about writing books. Mashtots himself sets the example. He had barely produced the alphabet, and already we find him translating the Bible. He is assisted by another luminary of Armenian culture, Catholicos Saak Partef, and a whole pleiad of translators recruited throughout the dioceses. Mashtots initiates the great movement of the medieval copyists, which among the Armenians will develop to an extent unknown anywhere else.

Already by the sixth century, they had translated into Armenian all of Aristotle. By the tenth century, they had translated the majority of Greek and Roman philosophers, hundreds of titles of ancient literature. Armenians have an open, assimilative intellect. They translated everything that was within reach. They remind me in this of the Japanese, who translate wholesale whatever comes their way. Many works of ancient literature survived owing entirely to the fact that they were preserved in Armenian translations. The copyists threw themselves upon every novelty and immediately placed it on the writing table. When the Arabs conquered Armenia, the Armenians translated all the Arabs. When the Persians invaded Armenia, the Armenians translated the Persians. They were in conflict with Byzantium, but whatever appeared on the market there, they would take and translate that as well.

Entire libraries came into being. These must have been enormous collections: in 1170 the Seljuks destroy a library in Syunik consisting of ten thousand volumes. They are all Armenian manuscripts. To this day, twenty-five thousand Armenian manuscripts have survived. Of these, more than ten thousand are in Yerevan, in Matenadaran. Whoever would like to see the rest will have to make a journey around the world...

At first they wrote on skins, then on paper. They once made a book that weighed thirty-two kilograms. Seven hundred calves went into it. But they also have trifles, books small as May flies. Whoever could read and write, copied, but there were also professional copyists whose entire lives were spent behind the writing desk. In the fifteenth century Ovanes Mankasharence transcribed 132 books. “For seventy-two years,” notes his pupil Zachariash, “winter and summer, day and night, Ovanes copied books. When he reached his later years, his sight dimmed, and his hand shook and caused him great suffering. He died in Panu at the age of eighty-six, and now I Zachariash, pupil of Ovanes, am completing his unfinished manuscript.” These were titans of painstaking labour, martyrs of their passion. Another copyist describes how, while going hungry, he would spend his last penny on resinous chips to illuminate the pages he was transcribing. Many of these books are masterpieces of the calligraphic art. Golden armies of small Armenian letters crawl over hundreds of pages. The copyists were also accomplished painters...

The fate of these books is the history of the Armenians. Armenians, persecuted and exterminated, reacted to their situation in one of two ways: some went up into the mountains, taking refuge in caverns, and some emigrated, scattering over all the continents. Both groups took Armenian books with them. Because the wanderers left on foot, certain manuscripts, those that were too heavy, were divided in half. These often roamed to different ends of the earth. (46-51 Imperium)


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Mesrop Mashtots, courtesy of Vahan Bego

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Matenadaran, Armenia's state repository of ancient manuscripts, courtesy of Vahan Bego

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In 1915 on their long road of deportation with many of their friends and neighbors, a young couple, Mr. and Mrs. Tabriz, came upon a marketplace where a Kurd is selling spices. He is tearing pages from and old Armenian bible to wrap his merchandise. Upon Mr. Tabriz's curious inquiry, the Kurd says that he saved several books from a burning Armenian Church in the valley. Mr. Tabriz buys the books from the Kurd and and later brings them to the United States. *


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The Caucasus: Armenia & Georgia

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Judas' treason (Gospel of the Seven Miniaturists, illuminated in the XIIIth century and in 1320, in Cilicia, by six anonimous artists who worked almost simultaneously, and then by Sargis Picak)

from Armenian Highland and Unesco

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May 27, 2006

Ola Watowa - Private Property & the Steppe


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Ola Watowa, Kazakhstan 1941

Then I saw how powerful the property instinct is, the way it defied the system that wanted to produce Homo Sovieticus.

In 1940 in Lvov, the poet Aleksander Wat was arrested by the NKVD. He knew that he was in great peril because, having once been an ardent communist and editor of Tygodnik Literacki (The Literary Weekly), a Marxist magazine, he had seen many of his literary colleagues and political associates summoned to Moscow in the thirties for surprise executions and imprisonment, as part of Stalin's purge of the Polish Communist Party.

While Wat was transferred from one Soviet prison to another, moving from the Ukraine to the dreaded Lubyanka, and then to Saratov, his greatest torment was not the lice, interrogations, boredom or starvation – all of which he had his fair share of - but rather not knowing what had happened to his wife, Ola, and their nine-year old son, Andrzej.

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Aleksander and Ola Wat, 1935

Ola and Andrzej had, like hundreds of thousands of Poles in 1939-40, been bundled into cattle wagons and deported thousands of miles to a far corner of the Soviet Union. Mother and son landed up in Kazakhstan, where they nearly froze and starved to death, living entirely at the mercy of impoverished Kazakhs who had undergone the process of collectivization. They met with both cruel and kind treatment.

from Wszystko co najważniejsze (1984):

... They welcomed us hospitably, immediately inviting us in to a modest meal. I felt good among them, cosy after the immense space of the dark steppe. In all likelihood the old Kazakh told them my story, because I suddenly noticed sympathetic looks. They started to talk with me and straight away I felt that they were not at all afraid of me, that they trusted me. I told them about Poland, about our lives and the terror which had engulfed us. They listened in silence, but then they suddenly started speaking, recalling what it had been like before, how happily they had lived before the revolution. They had been a nation of nomads, a free nation. They had had beautiful tents hung with carpets, the women had worn coloured robes, earrings, rings; every day there had been meat and bread, which they baked themselves. Flocks of sheep had grazed on the steppe. And now they live in poverty, wear rags and live in constant fear. The rams and ewes are 'kazionne', they belong to the state.

Anyway, I worked with the Kazakhs on the sheep-shearing and this enabled me to draw some general conclusions. Every Kazakh was entitled to only a few rams – I cannot remember exactly how many, but I think it was three. I had to tick off the number of shorn sheep. Then I saw how powerful the property instinct is, and the way it defied the system that wanted to produce Homo Sovieticus. The Kazakhs’ own sheep were shorn in a masterly fashion, with not the slightest nick on the skin and not a snippet of wool overlooked. Whereas the ‘kazionne’, the state-owned, were worked on in the Stakhanovite manner. The aim was to get as many sheep done as possible in the shortest time. After all, that was what was required of them. Norms. And so blood flowed forth and on every sheep pathetic tufts were left sticking out. The Kazakh men worked cheerfully, and when their wives came with their childlren they threw them playfully in the air and laughed with fatherly love. I also saw how huge, towering haystacks were left to rot on the steppe in winter. Nobody touched them or took care of them, even though the cattle were half-starved to death. The stacks were state property.

So the Kazakhs explained how they lived in fear and poverty, without any hope whatsoever for a better tomorrow. You could feel their hatred towards that system, to communism. Not only for their loss of livelihood and well-being, but above all for their loss of freedom, which they now remembered as something beautiful. You could feel their powerlessness. After the revolution they had found themselves in prison, because their entire world had become a prison: those steppes where it seemed the ghosts of freedom and liberty (swoboda) could still be felt. (70-1, Czytelnik, own translation)

It would be difficult to find a clearer illustration of the effects of incentive, or the lack of it.

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A Steppe In Western Kazakhstan

From 1929 to 1934, during the period when Soviet leader Joseph V. Stalin was trying to collectivize agriculture, Kazakhstan endured repeated famines because peasants had slaughtered their livestock in protest against Soviet agricultural policy. In that period, at least 1.5 million Kazakhs and 80 percent of the republic's livestock died. Thousands more Kazakhs tried to escape to China, although most starved in the attempt. *

The Stalinist system deployed brazen fictions to bring about real increases in productivity. The exploits of the Stakhanovite shock-workers were pure hype, pushing the boundaries of the credible. The official story had it that Stakhanov had done the impossible: “mined 102 tons of coal in less than 6 hours (14 times his quota).” But the impossible was not enough, the bar had to be raised again, so his ‘follower’, Nikita Izotov was reported to have “mined 607 tons of coal in a single shift.”


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8 Million Tons Of Pig Iron


Whether the Soviet ‘proletariat’ swallowed these ludicrous statistics or not is besides the point: the effect of Stakhanovite hyperlabour was to apply psychological pressure to the real cogs in the system. The main incentive for working harder was fear of underperfroming alongside (the myth of) such commiebots. Indeed the pressure was so great that there was falsification of quotas all the way down the line. The Stakhanov Movement did have an impact on productivity – the USSR's growth and development in the thirties was astounding – but the impossible benchmarks set by hyperlabour caused the fictionalizing of output to become the norm at all levels of production. Social Realism might have been the official doctrine for the arts, but Soviet industry and economics was driven and riven by impossibility and falsification.


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Giants of the 5 Year Plan


Apart from fear, there were other incentives. For those who fully identified themselves with the Soviet Project and had the Bolshevik-Stalinist meme package firmly installed in their minds, a degree of selfless devotion could be achieved. They attempted the impossible on behalf of the proletariat, for the Soviet Union, for Stalin.

One of the paradoxes of Stalinism is that while the system thoroughly terrorized the population, it was also capable of mobilising colossal energy and of inspiring great sacrifice, by tapping into the Russian people’s patriotism and predilection for unwavering devotion to their Tsar, no matter how cruel he might be. Many of these workers really did seem to be under the delusion that the state (which basically meant the country) belonged to them.


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Help Build Giant Factories


The rapid industrialisation and development of infrastructure that Stalin forced into existence was carried out by a highly-motivated Russian proletariat who were largely fed with grain and animals wrested from the non-Russian peasantry of subject nations which had been annexed by the expanding Soviet Union. The farms and livestock were collectivized and their ‘owners’ deliberately starved to death in their millions.


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Women Adhere To The Cooperation


Whether these people were sedentary farmers, as in the Ukraine, or nomads, as in Kazakhstan, the system attacked them via their property: the requisitioning of private property meant either annihilation or enslavement for those that were robbed. While being grounded in a rejection of the 'bourgeois' concept of property rights, the communist system exploited labour much more ruthlessly than did any 'bourgeois capitalists'. These farmers or nomads had no right to own the vast majority of the crops or livestock they invested their labour in.

John Locke:

Sec. 27. Though the earth, and all inferior creatures, be common to all men, yet every man has a property in his own person: this no body has any right to but himself. The labour of his body, and the work of his hands, we may say, are properly his. Whatsoever then he removes out of the state that nature hath provided, and left it in, he hath mixed his labour with, and joined to it something that is his own, and thereby makes it his property. It being by him removed from the common state nature hath placed it in, it hath by this labour something annexed to it, that excludes the common right of other men: for this labour being the unquestionable property of the labourer, no man but he can have a right to what that is once joined to, at least where there is enough, and as good, left in common for others.

Sec. 28. He that is nourished by the acorns he picked up under an oak, or the apples he gathered from the trees in the wood, has certainly appropriated them to himself. No body can deny but the nourishment is his. I ask then, when did they begin to be his? when he digested? or when he eat? or when he boiled? or when he brought them home? or when he picked them up? and it is plain, if the first gathering made them not his, nothing else could. That labour put a distinction between them and common: that added something to them more than nature, the common mother of all, had done; and so they became his private right.

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May 16, 2006

Ryszard Kapuscinski’s ‘Shah of Shahs’ (Szachinszach)


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In the current intense environment, Kapuściński’s Shah of Shahs (1982) is extremely pertinent and ought to be compulsory reading in some quarters.

Being a glutton for punishment and a lover of vast canvases, Kapuściński set himself the daunting task of describing the lead-up to, and outcome of, the Iranian revolution in 1979.

Apart from providing a broad and enlightening backdrop for the genesis of the Iran's Islamic Republic, this book also demonstrates how a mind can navigate its way through overwhelming events and material to arrive at a degree of robust, condensed clarity: it is done by bothering to listen carefully, by slow absorption and pausing for thought, by a laborious writing process involving ruthless chiselling; not by thoughtless clicking, sloppy scanning and semi-automated copying and pasting.

Shah of Shahs is a rare breed of book: despite being about hugely controversial characters and events, Kapuściński manages to avoid the vicious polarities which are part and parcel of divisive 'us or them' politics; it does not seek to convince us or force an agenda down our throat.

Download as PDF

Contents

1. Method
2. Reap What You Sow
3. Revolution Assessment, Kapuściński-style
4. Lessons Not Learned

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As one would expect, Shah of Shahs traces the history of British and American interference in Iran - focusing on the Anglo-Soviet invasion of Persia and the deposition of Reza Shah in 1941, and the British and CIA's role in the overthrow of Iran's democratically elected government in 1953 - but Kapuściński is not in the game of expressing shrill moral outrage or amassing facts to back up arguments. Though he is clearly on the side of the pro-democracy dissidents, he is ultimately more interested in explaining why they lost than in putting their case forward.

The Iranian Revolution was the twenty-seventh revolution Kapuściński witnessed on his travels and it is not without a certain amount of weariness (brought about by deja vu) that he tries to explain why the revolution took the path it did. Shah of Shahs is Kapuściński at his self-effacing best: the heroic reporter gives way to the subject, the writer becomes a conduit, letting the Iranians who fought for (and ultimately lost) the revolution tell the most crucial parts of their tragic tale.

[Note: all page references are to the Czytelnik edition of Szachinszach (1982) and all translations are mine]

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1. Method

The first key thing that distinguishes Kapuściński is his method. The Iranian revolution could be described in a few pages, like this or this, but that hardly does justice to the immensity of the event: the vast passions and emotions involved, the pain endured, or the significance of the event for the region and the future. So how does one go about portraying something as momentous as a revolution?

Well, first of all you start by describing the mess of your hotel room in Tehran:

The greatest disorder reigns on a big, round table: photos of various formats, cassette tapes, amateur 8mm film, bulletins, photocopied leaflets – everything piled u and mixed up, like at a chaotic flea market, with no order or logic. And yet more posters and albums, discs and collections of books donated by people; a complete documentation of a time which has only just passed, but which can be heard and seen again because it has been recorded here – on film: a flowing river of outraged people; cassettes: the cries of muezzins, the barking of orders, conversations, monologues; in photographs: enraptured faces in ecstasy.

Now the thought that I ought to get down to putting all this into some sort of order (because the day of my departure is getting near) fills me with reluctance and infinite weariness. (p8)


‘Islamic Militia’ and ‘independent hit squads’ who roam the streets after dusk help him overcome this disinclination:

... people prefer to avoid surprises and barricade themselves in their homes. My hotel is similarly closed (at this hour the sounds of shots are mixed with the sounds of blinds being let down and the racket of slamming gates and doors). Nobody comes, nothing happens. I have no-one to talk to, I am sitting alone in an empty room, looking at the photographs and notes, listening to conversations recorded on tapes. (p17)

With alcohol banned, Khomeini and the revolution constantly replayed on the TV in the hotel lobby (in Iran 1979, the revolution was televised), there is nothing left to do but organise the overwhelming mass of accumulated material.


a) Daguerreotypes

Kapuściński’s method is to carefully build up a mosaic from individual fragments of source material, extrapolating from them and glueing them together till they begin to constitute a bigger, but deliberately non-comprehensive, picture. He patched together a collection of self-sufficient micro-narratives from photographs, tape recordings, books, newspaper articles, TV reports and his own notes; patiently describing, quoting and commenting so that the wealth of facts is accompanied by a wealth of insights.

Photograph (3)

Anyone who looks carefully at this photograph of father and son from 1926 will understand much. At the time this photograph was taken, the father was forty-eight, the son seven. The contrast between them is striking in every respect: the imposing, broad-shouldered figure of the Shah-father, who stands frowning, domineering, with his hands on his hips; and in front of him, barely reaching the height of his father’s belt, is the delicate figure of a boy: pale, self-conscious and standing obediently at attention. Both are dressed in the same uniforms and caps, they have exactly the same boots and belts, and the same number of buttons – fourteen. This identical clothing is the idea of the father, who wants his son – so different from him in reality - to resemble him as closely as possible. The son senses these intentions and, even though he is by nature weak, unsteady and unsure of himself, will try with all his might to emulate the ruthless, despotic character of his father. From this moment, two separate natures will start to develop and coexist: his own and an imitation; one innate and one instilled. He will begin to acquire the latter thanks to strenuous efforts. In the end he will be so utterly dominated by his father that when he eventually sits on the throne himself he will instinctively (and often also consciously) copy his father’s behaviour, and at the end of his reign will even appeal to his imperious authority.(p25)

Unfortunately I cannot find this photograph anywhere, and the Polish edition of Shah of Shahs does not contain any images, but these photographs of Reza Shah Pahlavi do give the impression that he was somewhat stern and imposing.

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Obviously there is a certain degree of projection from hindsight in Kapuściński's description. The Shah’s personality features heavily in accounts of Operation Ajax because, the story goes, his hesitation and weak will nearly scuppered the whole operation:

The shah was a problem from the start. The plan called for him to stand fast as the C.I.A. stirred up popular unrest and then, as the country lurched toward chaos, to issue royal decrees dismissing Dr. Mossadegh and appointing General Zahedi prime minister… The British, too, sought to sway the shah and assure him their agents spoke for London… The exercise did not seem to have much effect… Still haunted by doubts, the shah asked Mr. Roosevelt if President Eisenhower could tell him what to do…

Hindsight adds impressionistic layers to Kapuśiński’s superficially chronological account. The outcome of the revolution haunts and casts a shadow over the description of the events and personalities that led up and shaped the revolution.

There are two things to note about Kapuściński’s method at this point.

Firstly, while making no pretence to writing objective, factual history, Kapuściński discreetly calls into question the possibility of doing such a thing: knowledge of, and attitudes towards, the outcome infiltrates and determines accounts of the beginnings. Projecting backwards is unavoidable: the writer has no option but to tell biased stories and the basic criteria for assessment is how convincing that story is for the reader, and how much insight it contains.

Secondly, Kapuściński’s writing goes against the grain of hardcore Marxist historiography in allowing that personality is crucial to the unfolding of historical events. The Shah contributed to his own downfall with the corruption he encouraged, the manner in which he imposed development, and the repressive measures he took - all of which could have been avoided. Like the Russian revolution of 1917, which could have been avoided had Tsar Nicholas been serious about reform after 1905, the Iranian Revolution was largely the direct result of one man's mistakes and blindness. Kapuściński's focus on the individual is particularly relevant when we remember that Shah of Shahs was written during the reign of the People’s Republic of Poland, when communist ideology held history and economics in a Marxist straightjacket.


b) Aesopian Writing

When Kapuściński wrote about the Shah and Savak - the Shah's sadistic security force - Kapuściński was also, on another level, writing about the communist regime in Poland. It has to be remembered that Shah of Shahs was published in 1982, during Poland’s period of Martial Law, when the communist government was busy repressing the Solidarity movement and incarcerating its leaders. When describing Savak and the omnipresent fear it caused, Kapuściński is also describing the NKVD/KGB or Służba Bezpieczeństwa, the hated intelligence agency and security force in Poland:


Photograph (8)

This photograph shows a group of people waiting at a bus stop in one of the streets of Tehran. All over the world people who are waiting for a bus look the same, in that they all have the same apathetic and weary expression on their faces, the same posture expressing numbness and capitulation, that same inscrutability and aversion in their eyes. The man who gave me this photograph asked if I noticed anything peculiar in it. No, I replied after a bit of thought, I don’t see anything. He told me that the photo had been taken in secret, from a window on the other side of the street. I had to focus on the man (looks like a low ranked clerk, nothing special) who is standing close to three men engaged in conversation, his ear aimed in their direction. This man was from Savak, and he always did his shift at this bus stop: he listened to people who spoke about this and that while waiting for a bus. These conversations were always about nothing. People could only talk about trivial matters, but even with trivia you had to careful not to choose topics which would make it easy for the police to find significant allusions. Once, on a baking hot afternoon, an old man, who had problems with his heart, came to the stop and said with a sigh ‘It’s so muggy I can barely breathe.’ The Savak agent moved closer to the weary old chap and joined in ‘Yes, you’re right, it’s getting more and more stifling. People can’t breathe.’ ‘Aha, that’s true,’ confirmed the naïve old man, holding his heart, ‘Such heavy air and such oppressive heat.’ At this, the Savak agent stiffened and said, dryly: ‘You will soon recover your strength.’ And with not another word he arrested him. Those present at the bus stop had been listening to everything with dread because from the start they knew that the poorly old man had made an unforgivable mistake by using the word ‘stifling’ in the presence a stranger. Experience had taught them that you had to avoid saying certain words like this: mugginess, darkness, weight, disappear, sink, swamp, decay, cage, bars, chain, gag, stick, boot, rubbish, screw, pocket, bribe, madness; and also verbs such as: to lie down, to lie, to stand at ease, fall (on your head), to waste, to weaken, to go blind, to go deaf, to plunge; and even expressions starting with the pronoun ‘something’, like: something’s not quite right here; something’s up here, something’s a bit fishy here – because all of these nouns, verbs and pronouns could be an allusion to the Shah’s regime, and so they formed a semantic minefield where putting a foot wrong meant getting blown to pieces...

... Savak had no headquarters, it was scattered throughout the whole city (and the entire country), it was everywhere and nowhere. It resided in nondescript tenements, villas and flats. There were either no signs or those of non-existent companies and institutions. Telephone numbers were only known by a select few. Savak could rent a room in an ordinary block of flats, or the entrance to its interrogation chambers were found at the back of shops, launderettes or night clubs. In such conditions, every wall could have ears, and all doors and gates could lead directly into the hands of Savak. Those who fell into those hands disappeared without trace for ages, or for ever. They disappeared suddenly and nobody had a clue what had happened to them, where to look for them, who to go to, who to ask, who to beg for mercy. Maybe they put him in prison, but which one? There were six thousand. The opposition claimed that there were permanently one hundred thousand political prisoners behind bars...

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Evin Prison, Tehran

... Iran was the state of Savak, but Savak operated in it like an underground organisation: it appeared and disappeared, covered its tracks, had no address. At the same time, various cells existed officially. Savak censored the press, books and films. (Savak actually banned all performances of Shakespeare and Moliere because their plays criticise the vices of monarchs.) Savak governed in the classroom, in offices and factories. It was a monstrously huge octopus that had its tentacles in every nook and cranny and its suckers stuck everywhere. It rooted around, sniffed, scratched and scraped. Savak had sixty thousand agents. It is also estimated that it had three million informers who provided information for a variety of reasons – in order to earn, to save themselves, to gain employment or a promotion. Savak bought people or condemned them to torture, gave them a position or threw them into dungeons. It established who was an enemy and – what amounted to the same thing – who had to be destroyed. Such sentences were not subject to review, there was no possibility of appeal. Only the Shah could save the condemned. Savak was answerable only to the Shah and those who stood lower than the monarchy were powerless before the police. All the people gathered at the bus stop knew about this, and this is why they remained silent after the disappearance of the Savak agent and the poorly man. Everyone looks at everyone else out of the corner of their eye – nobody is certain if the person standing next to them will have to inform... (56-59)

When talking about The Emperor (1978), which deals with the final days of Haile Selassie's regime, Kapuściński is explicit about the Aesopian level to his writing and that of his contemporaries:

Wolfe: When did the idea of Aesopian writing enter into the genre, the idea of putting layers into official texts?

Kapuscinski: Well, this is not a new thing — it was a nineteenth-century Russian tradition. As for us, we were trying to use all the available possibilities, because there wasn't any underground. Underground literature only began in the 70s, when technical developments made it possible. Before that, we were involved in a game with the censors. That was our struggle. The Emperor is considered to be an Aesopian book in Poland and the Soviet Union. Of course it's — rather; it's about the Central Committee of the Communist Party. The First Secretary at the time was named Gierek, and he was very much the emperor with his court, and everybody read the book as being about him and the Central Committee.

Wolfe: But you didn't write explicitly about the Central Committee.

Kapuscinski: No, but of course the authorities knew what it was about, and so it had a very small circulation, and it was forbidden to turn it into a film or a play. Aesopian language was used by all of us. And of course, using this language meant having readers who understood it.


Perhaps a just criticism might be levelled at Kapuściński here: How can he say that The Emperor is 'not about Ethiopia or Haile Selassie'? If this is true, and not just a flippant overstatement used to make a point in an interview, it would suggest that Kapuściński belongs among those Poles who are always, obsessively, talking about Poland, even when they are not talking about Poland. It would imply Kapuściński were cursed by an inability to focus on the subject matter at hand and give it the undivided attention it deserves, because his priorities lie elsewhere and continually reterritorialize his writing back onto the body of the homeland.

With this claim that the 'real' subject of the book is the hidden parallel, Kapuściński is contradicting the principle of total immersion in other cultures that is a prerequisite for his writing process. His writing is done at the expense of, and causes him to neglect, Poland. Decades of travelling and the vast amount of reading that his writing necessitates have entailed that, as he admits himself, he is in fact rather ignorant about contemporary Poland. Throughout his more explicit Lapidarium series, he is frequently at great pains to convince us that the world over our garden fence needs to be engaged with in an open manner.

With a dose of charity, Kapuściński's formulation of Aesopian writing here could be seen as a humble acknowledgement that a writer cannot entirely avoid looking through lenses fashioned by their culture, that writers can't help bringing their baggage with them and drawing parallels. However, Kapuściński's insistence that the only way out is through genuine dialogue with 'the other' rings hollow if Aesopian writing prioritizes the hidden meaning above the overt, or if the parallel of home is weighted with greater import than the matter at hand before the reporter's eyes. Shah of Shahs is far more interesting if it is about both Iran and Poland, not just 'really' about Poland.

Ultimately, parallels have to break down. Initially there are close similarities between the Shah’s attempt to build the ‘Great Civilisation’ with petrodollars and the centrally-planned Great Leaps Forward favoured by various communist tyrants:

For the moment... the Shah shuts himself in his palace, from where he issues hundreds of decrees which will shake Iran and, five years later, bring about the collapse of his own reign. He orders expenditure in investment to be doubled, begins to import technology on a huge scale and demands the creation of an army which will be number three in the world in terms of technological development. He orders that the most modern devices be brought, quickly installed and got running. Modern machines produce modern modern products: Iran will flood the world with the best goods. He resolves to build nuclear power plants, electronic goods production plants, steelworks and all kinds of factories...


Although the mismanagement of this development echoes communist foolishness, the similarities only go so far. The Shah had very specific incompetences all of his own.


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c) Bungled Imports, Imported Insults

... the Shah spent billions on shopping all over the world and ships filled with goods sailed from all continents to Iran. But when they got to the Persian Gulf it turned out that Iran had no ports (a fact which had escaped the Shah). Actually, there were ports, but they were old and small, incapable of taking such huge shipments. A few hundred ships waited in the sea for their turn, often half a year. Iran paid the shipping community billions of dollars yearly for these stoppages. Bit by bit, some ships were somehow unloaded, but then it turned out that Iran had no storehouses (another fact which had escaped the Shah). In the open air, in the desert, in nightmarish tropical heat lay millions of tonnes of all kinds of goods, half of which had to be thrown away, because amidst the shipments were perishable goods – food and chemical products. All the imported goods needed to be transported into the heart of the country, but then it transpired that Iran didn't have any goods transport (yet another fact which had escaped the Shah). Of course there were a few cars and vans, but a fraction of what was needed. So two thousand trucks are brought from Europe, but then it turns out that Iran didn't have any drivers (...a fact which had escaped the Shah). After a lot of conferences, airplanes carrying South Korean drivers from Seoul arrive...

... So the time came for beginning the assembly. But then it turned out that Iran didn’t have engineers or technicians (a fact which had escaped the Shah). The logical thing for someone who is building a Great Civilisation would be to start from the people, so as to prepare a team of professionals, in order to create your own intelligentsia. But that kind of thinking was absolutely unacceptable! Open new universities, open technical colleges? Every such university is a hornet’s nest. Every student is a rebel, a troublemaker, a free-thinker. Is it at all surprising that the Shah did not want to arm his opponents? The monarch had a better way – keep the majority of students far away from Iran. The country was unique in this regard. Over one hundred thousand young people studied in Europe and America. This cost Iran far more than it would have to open its own universities. But in this way the regime assured itself some relative peace and security... (66-70)


Favouring imported expertise and mistrusting his own population was perhaps the Shah's greatest mistake: it confirmed and shaped the people's perception of the Shah as an agent of foreign powers bent on imposing an alien cuture and values on the country.

The average Iranian quickly understood what was on the Shah's mind - 'You lot sit in the shade of your mosques and tend to your flocks. A century will pass before anything good comes of you, so I've got to build an empire - in ten years - with the Americans and Germans'. Thus the Iranians saw the Great Civilisation above all as a great humiliation...The greatest shock was caused by the salaries of the Americans invited by the Shah. They frequently earned one hundred and fifty or two hundred thousand dollars a year. After a four-year stay in Iran, an officer could leave with half a million dollars in his pocket. Engineers were paid considerably less, but the Iranian idea of a foreigne'rs earnings was shaped by this American upper limit. You can imagine how the average Iranian felt - he who adores the Shah and the Great Civilisation, but yet finds himself struggling to make ends meet; how he feels when he is continually pushed aside, ticked off and ridiculed by many of these strange foreigners who, even if they don't show it, are convinced of their own superiority. (72-73)

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If this preference for foreigners' technical skills and scorn for the local population poured fuel on the flames of resentment, the Shah's disdain for and repression of the Iranian intelligentsia meant that at the same time there were very limited cultural and political options:


The Shah's regime presented people with a choice between Savak and the mullahs. And, of course, they chose the mullahs. (71)


In some respects, the Shah was a genuine progessive. His 'White Revolution' did bring about improvements in literacy and the health service. His introduction of women's suffage should be commendable to all but the most rabid cultural relatavists. But the supposed economic progress brought about by the revolution was also divisive and superficial, with neglect and mismanagement of the countryside leaving the vast majority of the population in poverty, and rampant corruption filling the pockets of yes-men.

Any positive aspects of the Shah's effort to build a 'Great Civilisation' were overshadowed by his crass attempt to mould the Iranian peoples into something they were not. The Iranian peoples were deemed to be blank slate putty with no worthwhile values, culture or traditions of their own, to be fed at breakneck speed onto the Western consumer conveyor belt. Though not as brutal in his suppression of the Shi'a religion as his father - who had burnt mosques, laid waste to entire villages, torn off chadors, shaved off beards and nailed Pahlavi caps to heads* - the Shah treated the 'feudalistic' mullahs with contempt, torturing them when 'necessary', but also vastly underestimating their power and their ability to organise, plan and act.

* see the BBC documentary 'The Last Shah'

2. Reap What You Sow

a) Operation Ajax

These days it seems to be a generally accepted fact that the British and the CIA conspired to overthrow Iran’s democratically elected government in 1953. The controversy is not over whether they did conspire and sow chaos, but to what extent their machinations actually brought about the coup.

There are two camps: one which sees the removal of Mossadegh as being entirely the result of MI5 and CIA covert operations, and one which sees the overthrow as a popular, pro-royalist uprising.

Those who adhere to the former view are more numerous, and form a motley alliance, comprising: proud CIA operatives who wanted to take complete credit for the regime change; neocons who argue that the ‘elegant coup’ brought stability to the region and staved off the threat of communism; liberal Western journalists who express outrage at Britain and America’s abuse of democracy; hard left socialists who see the coup as the epitome of British & US oil-imperialism; and Islamic Fundamentalists who see the operation as evidence that the Shah was a puppet of Satan.

Those who see Operation Ajax as a basically bungled operation and the overthrow as an expression of popular support for the Shah are fewer in number, being limited to the pro-royalist émigré community and some Iranian patriots who wonder why the Iranian people cannot even be given credit for their own coup.

Kapuściński refrains from commenting directly on the overthrow of Mossadegh. Instead he simply cites three sources.

The first is a section from “The Invisible Government” (1965) by David Wise and Thomas B. Ross, which states that “There is no doubt whatsoever that the CIA organised and orchestrated the coup,” and describes the coup as a very close-run battle between supporters of the Shah and the communists: “In Tehran the communists had control of the streets. They celebrated the Shah’s absence by destroying his monuments.” Roosevelt is portrayed as a James Bond-like character who manages to recruit the necessary muscle necessary for regaining control of the streets.

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Kermit Roosevelt

The second source is a book by two French reporters, Claire Briere and Pierre Blanchet, entitled ‘Iran: revolution in the name of God’ (1979), which also emphasises the role of the mobs in Roosevelt’s pay: “On 19 August small groups of Iranians [recruited by Roosevelt] pull out banknotes and shout “Call out ‘Long live the Shah!’” Those who chant this get ten rials...”

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Tehran, August 1953

The third source is an anonymous cassette recording of an Iranian who focuses on the significance of Mossadegh to Iran:


Mossy [the nickname the British gave to Mossadegh] said that the land we walk upon is ours, and everything found in that land is ours. Nobody before him had said things like that in this country. He also said ‘Let everyone say what they want to say, let them have a voice, I want to hear what you think.’ You have to understand that after two and a half thousand years of servile degradation he treated us as, and made us feel like, thinking beings. No ruler had ever done that! The things that Mossy told us were remembered, they were lodged in people’s heads and still live there today. The best remembered words are always those that make us look at the world anew. And such were his words.
(43)


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Dr. Mohammed Mossadegh

It can be assumed that there is one simple reason why Kapuściński refrains from making his own unequivocal comment on Operation Ajax and the overthrow of Mossadegh: he was not there himself, and one of the hallmarks of Kapuściński’s writing is his being there and providing his own brand of first-hand account.

There was also a dearth of information on the topic at the time he was writing. Operation Ajax reared its head again in April 2000, when James Risen, a New York Times journalist, disclosed a long-missing report written in 1953 by Douglas Wilber, a CIA operative who had been involved in planning the operation. At the time of the disclosure, the report was still classified by the CIA, who had repeatedly broken promises to declassify documentation relating to the operation. The National Security Archive describes the report as “one of the last major pieces of the puzzle.”

The next public showing for the coup came in the form of Steven Kinzer’s All the Shah’s Men in 2003, which traces anti-American sentiment back to Operation Ajax, and goes as far as to suggest: “[it] is not far-fetched to draw a line from Operation Ajax through the Shah's repressive regime and the Islamic Revolution to the fireballs that engulfed the World Trade Centre in New York." Though Kinzer’s book is criticized by neo-conservatives, who see both the coup and the 2003 invasion of Iraq as worthy, stability-inducing endeavours, the CIA’s own historians seem to be making an effort to learn lessons from Kinzer’s arguments.

The puzzle is still, however, incomplete, and will remain so until the CIA finally declassifies all the documents relating to Operation Ajax.

While Kapuściński prefers to let others do the talking when it comes to the coup, his enthusiasm for the chief victim, Mossadegh, is unmistakable.

In the unique space of Kapuściński’s writing, Mossadegh takes his place alongside the likes of other homegrown anti-colonialist leaders, such as Patrice Lumumba, Ben Bella and Kwame Nkrumah. The process of decolonialisation and the consequent rapid marginalisation of Europe forms a constant theme and refrain throughout Kapuściński’s oeuvre.

By nationalising Iran’s oil industry, which had previously been controlled and maximally exploited by Britain, Mossadegh struck at the blood supply of the waning British Empire. At first the British retaliated with economic warfare, in the form of boycott and blockade, and when this failed they planned and instigated Mossadegh’s overthrow, proving that oil was far more of a priority than were democracy, freedom and sovereignty, idealistic notions for which World War II had supposedly been fought.

This is what is particularly disgraceful about Churchill and Atlee’s parts in their dealings with Mossadegh. Baying for the overthrow of a democratically elected leader because he threatened their access to cheap oil reveals a shocking degree of cynical hypocrisy and unashamed parasitism. Historically is it has to be seen as an incontrovertible betrayal of the values which had shored up Britain’s claims to righteousness in the 1930s and 40s.

For the British, Iran was purely about oil, whereas the Americans who perceive the coup as an elegant success can fall back somewhat more honourably on the claim that there was a strategic threat. Largely thanks to British cunning, the Americans swallowed the idea that Iran was ripe for communist revolution:

The British embassy in Tehran noted in August 1952 that, in proposing the overthrow of Musaddiq to the Americans, 'we could say that, although we naturally wish to reach an oil settlement eventually, we appreciate that the first and most important objective is to prevent Persia going communist'. The MI6 officer believed 'the Americans would be more likely to work with us if they saw the problem as one of containing communism rather than restoring the position of the AIOC'

The coup did take place at a time of great tension, with the Korean War barely finished, China a new enemy and with the Soviet Union on the borders of Iran, there was reason to worry about the communist threat to democracies in the region. However, the CIA being given the green light to overthrow Mossadegh, a democratically elected president and staunch enemy of the communists, is simply bizarre.

Kapuściński:

Eisenhower suspected him of communism, even though Mossadegh was an independent patriot and enemy of the communists. But nobody wanted to hear his explanations, since in the eyes of the mighty of this world patriots from weaker countries look suspicious. (34)

There were communists operating in Iran in 1953, in the form of the Tudeh Party, but the evidence suggests they were far from being an organisation poised to take power, even according to US assessments made in 1953:


In March 1953, a few months before the coup, the US EMBASSY stated that 'there was little evidence that in recent months the Tudeh had gained in popular strength, although its steady infiltration of the Iranian government and other institutions [has] continued'...The seizure of power by means of a coup was not part of Tudeh strategy, and it was also unlikely that the Russians... would endorse such a move. In any case, the state.....and the army....not to mention the religious establishment, were still capable of countering a Tudeh coup'. Musaddiq himself did not fear a communist coup 'but rather a right-wing royalist coup', like that which did occur, with important Anglo-American sponsorship.

With either extreme cynicism or an absolute lack of a sense of irony, the CIA paid people to masquerade as communists and, as part of an operation that was supposed to bring stability to the region, they actually went about sowing instability:

Steven Kinzer:

Kermit Roosevelt set about trying to create chaos in Iran. He was able to do that very quickly by a series of means. The first thing he did was, he started bribing members of parliament and leaders of small political parties that were a part of Mossadegh 's political coalition. Pretty soon the public started to see the Mossadegh ’s coalition splitting apart and people denouncing him on the floor of parliament. The next thing Roosevelt did was start bribing newspaper editors, owners and columnists and reporters. Within a couple of weeks, he had 80% of the newspapers in Tehran on his payroll and they were grinding out every kind of lie attacking Mossadegh . The next thing Roosevelt did was start bribing religious leaders. Soon, at Friday prayers, the Mullahs were denouncing Mossadegh as an atheist enemy of Islam. Roosevelt also bribed members of police units and low-ranking military officers to be ready with their units on the crucial day. In what I think was really his master stroke, he hired the leaders of a bunch of street gangs in Tehran, and he used them to help create the impression that the rule of law had totally disintegrated in Iran. He actually at one point hired a gang to run through the streets of Tehran, beating up any pedestrian they found, breaking shop windows, firing their guns into mosques, and yelling -- "We love Mossadegh and communism." This would naturally turn any decent citizen against him.

James Risen, New york Times:

In early August, the C.I.A. stepped up the pressure. Iranian operatives pretending to be Communists threatened Muslim leaders with "savage punishment if they opposed Mossadegh," seeking to stir anti-Communist sentiment in the religious community.

In addition, the secret history says, the house of at least one prominent Muslim was bombed by C.I.A. agents posing as Communists. It does not say whether anyone was hurt in this attack.

It is worth remembering that the controversy is not about whether or not the CIA actually did these things, but how instrumental these things were in bringing down Mossadegh.

The fact the CIA felt confident enough to get people dressed up as rampaging communists is also significant:

The deliberate funding of demonstrators posing as Tudeh supporters also gives the game away as to the degree of seriousness with which the communist threat was actually feared.


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Soldiers surround the Parliament building in Tehran on August 19, 1953.

b) Perception Rules

Whether the communist threat was great or small, or whether the overthrow was entirely orchestrated by the CIA or the result of a spontaneous, popular uprising, the truth of the matter is now somewhat irrelevant. It’s the perception that counts and does the damage.

The clear picture that emerges from Kapuściński’s text is that after August 1953 the Iranian people who would eventually be responsible for the revolution of 1979 - the pro-democratic progressives, the Marxist-Islamist Fedayeen and the hard-line Islamic fundamentalists – all perceived the Shah as a puppet and his brutal authoritarian regime as a the result of foreign interference. By helping set up Savak, and by providing funding, weapons and training, the US was directly instrumental in the torture and murder of Iranians - liberals, socialists and mullahs - who were merely suspected of opposing the Shah's regime.

Kapuściński:

I even saw – and this was the most shocking thing for me – colour postcards sold outside the university showing the mutilated corpses of Savak victims. Everything just like in the time of Tamburlaine: no change in six hundred years, the same pathological cruelty, just maybe somewhat more mechanized. The most common piece of equipment found in every Savak torture chamber was an electrically heated iron table, known as ‘the frying pan’, which victims were put on, with their hands and legs tied. Many people perished on these tables. Frequently, even before a ‘suspect’ was brought into these rooms they were already psychological wrecks, because while waiting their turn they had cracked, unable to bear the screams they heard or the stench of burning flesh. But in this nightmarish world technical refinement did not quite replace the old-fashioned medieval methods. In Isfahan prison people were thrown into large sacks containing ravenously hungry cats or venomous snakes. Tales of these tortures, sometimes consciously disseminated by Savak agents themselves, circulated in the society and were heard with all the greater dread because the fluid and arbitrary definition of ‘enemy’ meant that everyone could imagine finding themselves in such torture chambers. For these people, Savak was not just cruel, but also foreign: it was an occupying force, a local version of the Gestapo.... (64)
One of them looked awful: he had scars from severe burns on his face and hands, he needed a walking stick. He was a law student and during a search some Feyadeen leaflets were found at his place. I remember how he told me that the Savak agents had led him into a big room. One of the walls consisted of white-hot iron. On the floor lay tracks, and on the tracks stood a chair on metal wheels. He was tied to the chair with leather straps. A Savak agent pressed a button and the chair started to edge towards the burning wall. It was a slow, fitful movement, progressing at a rate of three centimetres forward every minute. He estimated that it was going to take two hours to reach the wall would last two hours, but after an hour he couldn’t bear the heat and started to scream that he would admit to anything, although he didn’t have anything to admit to, as he had found the leaflets on the street... (110)


By hosting and supporting the Shah publicly, the US undoubtedly condoned his regime.

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President and Mrs. Kennedy pose with the Shah and the Shahbanou of Iran.
April 11, 1962

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President Nixon and the Shah of Iran on the reviewing stand, on the south lawn of the White House, 10/21/1969

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Rosalynn Carter and Jimmy Carter host welcoming ceremony for the state visit of the Shah of Iran and Shahbanou of Iran., 11/15/1977

Although he frequently waved the human rights ticket, President Carter, far from being a public critic of the Shah's regime, was actually an obsequious flatterer. On a state visit to Tehran in December 1977, he gave a toast which typifies the expedient blindness of the US administration at the time:

Iran, because of the great leadership of the Shah, is an island of stability in one of the more troubled areas of the world... As I drove through the beautiful streets of Tehran today with the Shah, we saw literally thousands of Iranian citizens standing beside the street with a friendly attitude, expressing their welcome to me. And I also saw hundreds, perhaps even thousands of American citizens who stand there welcoming their President in a nation which has taken them to heart and made them feel at home. There are about 30,000 Americans here who work in close harmony with the people of Iran to carve out a better future for you, which also helps to ensure, Your Majesty, a better future for ourselves. We share industrial growth, we share scientific achievements, we share research and development knowledge, and this gives us the stability for the present which is indeed valuable to both our countries... The cause of human rights is one that also is shared deeply by our people and by the leaders of our two nations.

And when it came to the crunch he was willing to help the Shah with suppressing street demonstrations:

On 7 November 1978, the Washington Post reported that the Carter Administration had been prepared to send US Army specialists to train the Shah’s troops in riot control techniques. The offer, which was not implemented. followed delivery of a wide variety of crowd control equipment, including tear gas, riot sticks, helmets and shields, to the Shah’s internal security forces.

Operation Ajax and the consequent public support for a dictatorial regime which had absolutely no regard for human rights reveals just how vacuous America's founding principles - democracy and the concept of inalienable human rights - had become during the Cold War. It is absolutely baffling how the US can be appear to be surprised by the degree of mistrust and resentment it meets in the Middle East.

Tragically, America's dealings with Iran justify a certain amount of anti-American sentiment in the region, provide a factual basis from which conspiracy theorists' can spin out ludicrously paranoid fantasies and give the anti-capitalist left good grounds for seeing the US as a hypocritical machine which mouths moral platitudes while ensuring the steady flow of resources from 'stable' tyrannies. The tragedy here is that those who really believed in democracy and human rights - e.g. the pro-democracy Iranian dissidents - are the ones who lost out and continue to lose out today. As Kapuściński writes, "The Shah's regime presented people with a choice between Savak and the mullahs. And, of course, they chose the mullahs," (71) but it was also Operation Ajax and US regime patronage which presented the Iranian people with a choice between Savak and the mullahs. Having wiped out Iran's burgeoning democracy, the British and US laid the foundations for Khomeini's Islamic Republic.

3. Revolution Assessment, Kapuściński-style

Kapuściński describes the rise of Khomeini as having caught his protagonists by surprise - his protagonists being Iranian intellectuals who considered themselves as ‘rational’ and ‘sceptical’, who had not been inside a mosque in years, who did not pray or believe.

Khomeini’s revolution, a regressive movement which vilified the Shah’s attempted modernisation, employed one of the most modern mediums available at the time: cassette tapes. The cassettes were recorded in Najaf, Iraq, where Khomeini spent most of his exile, and smuggled into Iran, where they were distributed to Mosques.

Mahmud, one of Kapuściński’s sources, describes the cassettes and his surpise at finding out about them:


In his appeals Khomeini attacked every speech the Shah made, every move he made. They were short commentaries consisting of a few sentences uttered in clear and simple language, easy to understand and remember. Every appeal started and ended with a call to Allah and the phrase ‘People, Wake up!’ These cassettes were smuggled across the border, often in a roundabout way, via Paris or Rome... They brought them to the mosques and gave them to the mullahs. So in this way the mullahs received instructions about what to say during their sermons and how to proceed. It would be possible to write a huge tome on the role of cassette tapes in the Iranian Revolution. For me all this was a sensation, I had no idea of the reach of the Shi'ite conspiracy and I think that the Shah also failed to grasp the extent of it, even if he received some information about it. That day I suddenly realized that alongside me there exists a different, underground world that I am completely unfamiliar with, and about which I know next to nothing.
(120)

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In the immediate aftermath of the revolution - after the regime’s provocative anti-Khomeini text, the demonstrations which the Shah took as a personal affront, the firing into the crowds, the Shah’s betrayal of his henchmen and his ignominious flight – Kapuściński returns to his text as his own first-hand source, to a Tehran in which ‘rational’ and ‘sceptical’ democrats are in short supply:

Now I visited the committee headquarters. Committees – that was what the new organs of power called themselves. Bearded people sat behind tables in cramped, littered rooms. It was the first time I had seen their faces. On my way here I had made a mental note of the names of people who had been active in the opposition during the Shah’s reign, or those who had stayed on the sidelines. These people should be taking power now, I reasoned. I asked where I could find them. The committee members didn’t know. In any case they weren’t here. The whole longstanding set up, in which one was in power, the second was in opposition, while the third were busy earning and the fourth criticized from the sidelines, all of this revolutionary construction had come down like a house of cards. For those unshaven beanpoles, barely able to read or write, the people about whom I had asked had not the slightest significance. What did they care if a few years ago Hafez Farman criticized the Shah and lost his position while Kulsum Kitab behaved like an unscrupulous bastard and made a career for himself? That was the past, that world no longer existed. The revolution brought to power completely new people who had previously been anonymous, unknown to anyone. Day after day the bearded committee members sat and debated. Debated over what? They debated over this – what to do. Yes, because a committee ought to do something... The next day they debated again, as if nothing had happened the day before, as if everything had to start from the beginning... (154-5)


He finds the same ‘helplessness’ here in Tehran that he found in the aftermath of the twenty-six other revolutions (Bolivia, Mozambique, Sudan, Benin...) he had witnessed. When the previous rulers have either fled or been executed there follows a period of general paralysis and incompetence until the wannabe rulers stop discussing what to do and slowly learn the business of administration.

And what happened to the ‘rational’, ‘sceptical’ democrats who had hoped to set up a democracy similar to the ones they had seen in France and Switzerland? Well they were the first losers, the first to go. Kapuściński describes them as ‘intelligent and wise, but weak.’ They made the mistake of trying to appeal to the crowd’s intelligence, rather than their emotions, and were caught in the fundamental paradox of democracy:


... democracy cannot be imposed by force, the majority must be in favour of democracy, and the majority wanted what Khomeini wanted – an Islamic Republic.
(160)


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However, even if these democrats had been more ruthless, aggressive and prepared to impose a liberal society at the point of a gun, their efforts would have undoubtedly failed because the Shah’s mistrust of Iranian intellectuals and importation of foreign expertise meant that the country lacked an assertive and skilled middle class – the prerequisite of any society that takes individual liberty seriously.

The Shah’s idiotic neglect of the countryside also had its part to play:

The Shah assumed that the key to modernity is the city and industry, but that was erroneous thinking. The key to modernity is the countryside, the village. The Shah was intoxicated with visions of nuclear power plants, automated production lines and a huge petrochemical industry. But in a backward country these are just the trappings of modernity. In such countries the majority of people live in poor villages, from which they escape to the cities. They create a young, energetic labour force, which is unskilled (they are most often unqualified and illiterate), but which is extremely ambitious and ready to fight for everything. In the city they find an old crony system which basically forms the powers that be. So first of all they have a look round, begin to settle in, get their feet under the door and ... begin their attack. In their fight they use the ideology that they brought with them from their village – normally religion. Because they are a labour force that really needs to move up the social ladder, they very often manage it. And so power passes into their hands. But what to do with this power? They start discussing and get into the vicious circle of helplessness. The nation gets by somehow, because it must, while they, in contrast, live increasingly well. After a while they begin to live comfortably. Their successors are still running about the steppes, herding their camels and guarding their flocks of sheep. But as soon as they grow up, they will go to the city and start their own fight. What is the most crucial thing here? The fact that the newcomers bring greater ambition than ability. The result of this is that after every revolution the country goes back to the starting point, starts from zero, because the generation of victors must learn everything from scratch that the conquered generation had so laboriously mastered. Does this mean that those beaten were more able and wise? Not at all. The genesis of the previous generation was identical to that which took its place. What is the way out of this vicious circle of helplessness? Only through the development of the countryside. As long as the village is backward, the country will be similarly backward, even if there are five thousand factories. As long as a city-dwelling son visits his family village as if it were an exotic country, the country will not be modern. (157)


So, as Kapuściński sits alone at night in his hotel room, daunted by the stacks of material he has to turn into a book, Tehran is at the mercy of roaming killers of various denominations, and whether they be ‘Islamic Militia’ or independent ‘hit squads’, “in both cases they are groups of well-armed peasants who are continually pointing pistols at us.” (16)

Just as it does not make much difference what gun-toting maniac is pointing a gun at you, there is isn’t much to tell between the omnipresent terror once wielded by Savak and that by sown by the looming Islamic Republic. Evin prison still in business, under new management.

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Suspected Savak Agents Arrested

A despot departs, but no dictatorship comes to a complete end at this point. The condition for the existence of a dictatorship is the ignorance of the crowd, which is why dictators tend this ignorance and continually cultivate it. It takes a whole generation to change this, to bring some enlightenment. Often, before this happens, those who overthrew the dictator unwittingly behave like his heirs, continuing the attitude and way of thinking that characterised his epoch – an epoch which they themselves destroyed. This is so unintentional and unconscious that if you point this out to them they are overcome with righteous indignation. (162)

4. Lessons Not Learned

It is just a tad surprising that, after the ‘loss’ of Iran to theocracy, US conservatives still think about Iran in terms of this kind of intervention:

My military option is primarily led by a stealth force of 64 AC composed B2s, F 22s and F 117s and 400 non-stealth aircraft, plus 500 cruise missiles hitting 1500 aim points with precision weapons. The targets would be the Nuclear Development facilities, Air Defense forces, Air Forces, Naval Forces, Shahab 3 missile forces and Command and Control nodes over a 36–48 hour time frame.

I would then let pre-planned covert forces assist the Iranian people in taking their country back with precision air support as required. This is the model used in Afghanistan and we must be training it now. It will take time but Iran is ripe to have this implemented. We have at most one year until we must take action in my opinion.
...

We should exploit the divergent population of 51% Persian, 34% Azerbaijanis and Kurds, and 2% Arabs plus others. Virtually all the oil is located in the southwest region close to the Persian Gulf and very vulnerable to being isolated and to covert action. Seventy percent of the population is under 30 and the jobless rate hovers near 20 percent. This is a perfect combination for a covert campaign.

Lt. Gen. Tom McInerney, speaking in FrontPage magazine.

While Washington and neocon hawks might have shorter memory spans than goldfish, there is no reason to believe that the Iranian Peoples do.

In his essay on the Shi’ites in Shah of Shahs, Kapuściński emphasizes that the Shi’a denomination is founded on rejection and refusal: “The Shi’ite is above all a fierce oppositionist (opozycjonista)” (86). After tracing the roots of the Shi’ite rejection and breakaway, he makes the following comment:


All of this happened in the second half of the seventh century, but the story is very much alive and passionately remembered. If you talk to a devout Shi’ite about his beliefs he will continually refer back to those distant times and will narrate all the details of the Karbala Massacre, in which Husein had his head cut off. A sceptical, ironic European thinks ‘Good god, does that matter today?’ – but if they say this out loud they will expose themselves to the anger and hatred of the Shi’ite. (87)

If devout Shi’ites still harbour grudges that reach back to the seventh century, it is hard to imagine they will have forgotten their experience of American and British interference in the twentieth century, and there is little reason to expect them to.

It is hard to think of a possible equivalent to Operation Ajax, but it might go something like this: the Iranian intelligence agency would 1) infiltrate the press and plant increasingly psychotic articles calling for a nuclear war to end all wars, 2) use various mind control drugs and memes to get people to pose as Republicans and march around screaming for Bush to bomb Iran, threatening revolution if he doesn’t, 3) then somehow persuade the US military to seize Washington and impose a dictatorial regime on America in order to prevent all-out war, so that 4) the new US government becomes a puppet of the Iranian theocrats. Pure fantasy, of course, but it is not difficult to imagine the kind of resentment and anti-Iranian sentiment this would stir up in the hearts and minds of patriotic, democracy loving Americans.

As the Iranians have already suffered the effects of US interference in the name of ‘regional stability’ it beggars belief that the likes of Lt. Gen. Tom McInerny think the Iranian peoples will welcome a US-orchestrated regime change after their country has been nuked. As it has been amply demonstrated that the US vastly underestimated the explosive effect ethnic and religious divides would have after the Iraqi peoples were ‘liberated’, Lt. Gen. Tom McInerny’s recommendation that ethnic differences be exploited in an Iran reeling from bombardment borders on the surreal.

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May 10, 2006

Graffiti Evolution: Building on Existing Design


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'cantwo' 2006

The graffiti of cantwo is the tip of an evolutionary lineage which has accumulated and refined optimal designs. It is traditional for graffiti artists to assert and insist on their originality, and to depise those who copy or 'bite'. However, this makes little sense in terms of evolutionary development, which modifies and 'perfects' existing designs, rather than continually starting from scratch. There are optimal and suboptimal shapes for letters: some graffiti templates for the letter 'C' are aesthetically pleasing, while others are not. A writer's calibre should be judged on the orginality with which they modify pre-existing designs; on how they take the template to another level. Cantwo is on top of the game in this regard.

Graffiti is a prime example of memetic evolution: it passes on techniques, shapes and colour schemes from one continent to the next, from one city to the next (horizontal meme transmission), and from one generation to the next (vertical meme transmission). In graffiti natural selection operates by ruthlessly eliminating the wack - only the wildest, most dynamic and most perfectly executed designs are assured a future.

Download text as PDF

Tracing the Lineage

1. New York Seen
2. Mode 2 & The Chrome Angelz
3. Alliance
4. Accumulated Design
5. Memetic Graffiti




Phase2 talking about his computer rock style and being a one-armed artist

1. New York Seen


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'Super' by Seen, 1981

By 1980 New York writers, such as Phase 2, T-Kid and Seen, had developed arrows, sliced off segments and connecting links, and used them as standard parts of their repertoires.

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'The Wall', by Seen and Mitch 1980

'The Wall' is one of the most jaw-dropping whole cars featured in Martha Cooper and Henry Chalfant's Subway Art. Taking some tips from Phase 2's computer style, this is wildstyle consisting almost entirely of straight lines. At that time it was a highly complex design - a bar connecting the letters at the top, interlocking and overlapping joints across the bottom, 3D solidity, and the whole piece pointing up towards an invisble perspective point above the train. And the collapsing wall background - making it seem as if the letters are bursting through a wall, a wall on a train...

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'Mad.Demon 123' by Seen 1984

In contrast to the more angular, straight-edged wildstyle of Phase 2, Seen also developed a more curvy, flowing style. Note the sweeping segments flowing out from the 'M' and 'N'.

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Seen adding 'doodads' in Style Wars (1983)

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The finished piece, later destroyed by Cap, in Style Wars 1983


2. Mode 2 & The Chrome Angelz

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'Chrome' by the Chrome Angelz, Covent Graden 1985 (?)

UK wildstyle. Note the similarities and differences between the Chrome Angelz 'C' and cantwo's 'C' above.

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'Another Payback', by Mode 2, at Unity in West London 1992


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'The World is Yours' Mode 2, Australia 1995

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Too Much Stress On Da Brain, Mode 2, France (date unknown).

Mode 2 is most famous for his character work, but his contributions to style development are underestimated. His letters combine sharp edges and cut ups with grand, sweeping fluidity. He also took outlining, shadows and 3D to new levels, putting outlines within outlines (e.g. in 'Another Payback' and 'Too Much Stress on Da Brain') - and as putting on the outline is perhaps the most crucial and difficult part of a piece, to turn outlining into an art is a true mark of virtuosity.

cantwo also demonstrates amazing proficiency when it comes to letters, but cannot match Mode 2's characters in terms of range and flexibility - cantwo's characters tend to be rather similar - threatening/aggressive looking gangster types...

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cantwo, Bremen Germany 2002

... whereas Mode 2 can turn his can to anything - trains, speakers, children, teenagers, cartoons, men and women...

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Da Payback, Mode 2, Paris 1992

...He obviously prefers to paint women though - his character pieces often celebrate fertility, whether in the form of big voluptuous mistresses who can sometimes give Robert Crumb's implausible muses a run for their money, or in the form of sexy pregnancy.

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'Untitled Nude' by Mode 2 (1997)


3. Alliance

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'Seen' by Seen, Character by CanTwo, Frankfurt, Germany 1999


cantwo (or Can2) in an interview at lay-lo in 2000:

WW: Who influenced you the most coming up?
CAN2: The one I got most influenced by is SEEN, but also a lot of other old school N.Y. artists...

WW: How long have you been active?
CAN2: I'm 29 years and I'm active since I was 13 years (1983)...

WW: How did you get introduced to your crew(s)?
CAN2: I was in a lot of crews during my career, but soon I got tired of all and founded my own crew (STICK UP KIDS). We are all friends in that crew, regardless of how famous each member is, that's very important to me. 1999 SEEN got me into UA, which is a real big deal for me...

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'Seen' by Seen, New York 1998


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cantwo, Spain 2005

The simliarities between Seen and cantwo's styles are a strength - it is not slavish copying. Cantwo has inscribed himself into the classic wildstyle lineage, taken it to new levels of clarity and precision, given it a huge colour boost, and been accepted by the Godfather.

Seen is the Godfather of graffiti because he was unbelievably prolific, inventive and flexible, and because he kept going for decades. Cantwo can also catch you completely off guard with the range of his lettering:

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cantwo & Smash137, Siwtzerland 2005

... and as he has been going for 23 years, getting better and better, cantwo is fully entitled to call his writing 'Royal Graff'

4. Accumulated Design



“The key to understanding Darwin’s contribution is granting the premise of the Argument from Design. What conclusion ought one to draw if one found a watch lying on the heath in the wilderness? As Paley (and Hume’s Cleanthes before him) insisted, a watch exhibits a tremendous amount of work done. Watches and other designed objects don’t just happen; they have to be a product of what the modern industry calls “R and D” – research and development and R and D is costly, in both time and energy, in both time and energy. Before Darwin the only model we had of a process by which this sort of R-and D work could be done was an Intelligent Artificer. What Darwin saw was that in principle the same work could be done by a different sort of process that distributed that work over huge amounts of time, by thriftily conserving the design work that been accomplished at each stage, so that it didn’t have to be done over again. In other words, Darwin had hit upon what we might call the Principle of Accumulation of Design. Things in the world (such as watches and organisms and who knows what else) may be seen as products embodying a certain amount of Design, and one way or another, that Design had to have been created by a process of R and D. Utter undesignedness – pure chaos in the old-fashioned sense – was the null or starting point.”

Daniel C. Dennett ‘Darwin’s Dangerous Idea’ p68

The products of biology are the result of design, but not intelligent design. Evolution is a blind researcher, working incredibly slowly to make incremental adaptations, squandering vast resources in its development – unbelievably dumb design, in fact. However, natural selection produces increasingly complex designs by building on existing templates.

The difference between biological evolution - driven by genetic replication - and memetic evolution - driven by meme replication, obviously, ahem – is that memes can be produced consciously, with the benefit of foresight. It might be helpful to make a crude division between different types of memes.

1. Autogenetic Design

Many memes or types of memes evolve independently of any conscious decision making loops.

Language is a useful example. Artificial languages have not taken off, despite the fact they were designed to be more logical, consistent and economical than natural languages. Language evolves naturally, if ‘naturally’ is taken to mean ‘without foresight’. The big shifts in language are determined by external factors that can be traced and explained, or by utterly mysterious factors, but definitely not by conscious choice. Nobody planned the invasion of French into Old English, which led to mutated Middle English. The great vowel shift of the 15th century did not come about by people suddenly deciding to start pronouncing ‘make’ as /meik/ rather than /ma:k/. Accent drift and linguistic mutation take place regardless of the efforts of the prescriptive language police to keep language imprisoned in their standards. To a large extent, language seems to organize itself as it replicates its line through generations and across continents.

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2. Deliberate Design & Meme Plagues

Some memes can be designed with foresight, tested and assessed, abandoned, kept in use or redesigned. Technological memes are the most obvious example of this; houses, pens, stringed instruments, recipes for jam, the TV, the telephone, cars and spray cans are all memes that are subject to conscious redesign (even if they have their claws deep lodged deep in the human psyche and their overall replication is not entirely under human control). There is a basic template determined by function, and no matter how much the meme mutates it will still retain the basic properties of the template, e.g. a house has walls and a roof, a pen is held by a hand (or foot or mouth) and inscribes marks on a surface.

Technological memes can have a major (and of course unpredictable) impact on ‘naturally evolving memes’ – the memes of txtng are replicated both within the txtng genre and outside, as they infiltrate other genres of writing.

Cultural and behavioural memes can also be subject to conscious design, but are not always. Religious and political memes can replicate and mutate by aesthetic persuasion and critical thinking, but also by viral infection.

The Renaissance and the Reformation were profound examples of meme reassessment and redesigning supervised by minds very much aware of what they were doing. In contrast, closed systems, such as Marxism and Fundamentalism, contain a core memetic code which is protected by circular cunning (“You would say that – you’re bourgeois.”) and the prohibition of truly critical thought. With such memes, the transmission takes the form of a plague and mutation/redesigning is effected by repackaging the core code (Marxism > Leninism > Stalinism > Maoism) and involves minimal critical thought.

5. Memetic Graffiti

There have been postmodern, semiotic ‘readings’ of graffiti, in which graffiti appears as a liberated, asignifying signifier – (i.e. letters and words have escaped from the interior of the book and library to the outside, they move on trains, but they don’t mean anything – graffiti is not imprisoned in the tyranny of meaning etc.). This is all very well and good, but...

Memetics would be more inclined to treat graffiti as a form of calligraphy:

Calligraphy (from Greek καλλος kallos "beauty" + γραφος graphos "writing") is the art of beautiful writing. A style of calligraphy is described as a hand.

Well-crafted calligraphy deferrers from typography; characters are fluid and spontaneous, improvised at the moment of writing. In the best examples the moving gestures of the hand are captured in a palpable pen and ink recording on the page. A full appreciation depends on feeling the rhythms and cadences of a piece of calligraphic writing.
Calligraphy is not a collection of slavishly-copied standardized hands. Letters may appear to march, to run, or even blow and flutter as if in a breeze. Masters of the art typically have several styles all uniquely their own, that is, one hand is a virtuoso of many styles.

The graffiti lineage could be traced back through illuminated and papyrus manuscripts - in which case it would be a reactivation of forgotten skills. Graffiti is very much a manuscript, in its Latin sense – manu ‘by hand’ and scriptus from the verb to write – and can be seen as the reactivation of skills which were obliterated by the onset of printing and typography.


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A closeup of the illuminated letter P in the Malmesbury Bible.

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Section from a Book of the Dead, Thebes, Dynasty 21, ca. 1070-945 B.C.

Graffiti writers can be compared to the elite scribes of the past who laboured over manuscripts that few could read or appreciate. Tomek pointed out in the comment below, “The art of hip-hop is very much mutually controlled by its creators.” The meanings and messages of a graffiti piece are also very much encrypted and disguised by their writers. Just because cantwo writes multiple mutations of ‘cantwo’ all the time, in it does not mean that his pieces are asignifying.

Graffiti is full of messages, mostly for very specific recipients equipped with state-of-the art decryption devices. The trains of New York were once like mobile notice boards covered in messages most of the population could not understand. Sometimes the message can be simple - “Look at what I have done to the letter ‘S’!”, “Look at this new thing I’ve invented!”, “We can do this now - Look!” – sometimes the message can affirm an aspect of Hip Hop culture, or sometimes a political or subversive message might be written in big, bold letters for all the public to comprehend.

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The latest stage in the evolution of graffiti as memetics is the replication of graffiti style lettering and characters in graphic design and computer graphics. Though this can often mean that the fluidity and aesthetic appeal of graffiti is put at the service of marketing, exemplifying capitalism's tendency to appropriate movements from the street, repackage them and sell them back to us, it also means that computers and graffiti are now in a positive symbiotic relationship, where the streets feedback on computers and computers feedback on the streets. Typography has become far more dynamic and animated since the advent of graffiti.

Perhaps the most exciting potential of computer graphics is 3D: now a piece of graffiti can take on a 3D form in the confines of a computer screen. For a hint of what's to come, have a look at the Style Wars website, the trains section...

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May 05, 2006

impal QIPITZ II: drawings

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'343' - 1st March 2001

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'308' - 24th February 2001/6

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'59' - 16th April 2001/5

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Much like his autogenetic pictures, which model the movement of electric particles on a toroidal surface, the drawings of impal QIPITZ also capture movement, this time of lines across a page. Though lines might at first seem considerably more banal than electrons and toroids, the end product is no less worthy of reflection.

The elegant, fluent dynamism of these lines is paused to provide us with a glimpse of the forms which have just emerged, a picosecond before they are swept away or reconfigured by a fresh wave of transformation. The creatures are most visible in 59, the most evolutionarily complex of the series, as these spindly inhabitants of impal QIPITZ’s design space appear to be in the process of evolving eyes.

Though inscribed as distinct individuals within their microcosms, these creatures are penetrated by interdependency: they are pierced by the same promiscuous abstract lines, which also determine their colour segmentation and layers of relationship.

As with the toroid compositions, the drawings seem to allow forms and colour relationships to emerge to a large extent autonomously. Lines following their own optimal paths; colours generating and mirroring their neighbours..

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Although the modesty of the artist in question would recoil at such comparisions, the drawings of impal QIPITZ bring to mind the works of Kandinsky and Klee...

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Composition VIII 1923 (140 x 201 cm)

"Kandinsky, himself an accomplished musician, once said Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul. The concept that color and musical harmony are linked has a long history, intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and saturation with the volume of sound. He even claimed that when he saw color he heard music."

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Twittering Machine, 1922 (63.8 x 48.1 cm)

"Klee often incorporated letters and numerals into his paintings... These, part of Klee's complex language of symbols and signs, are drawn from the unconscious and used to obtain a poetic amalgam of abstraction and reality. He wrote that "Art does not reproduce the visible, it makes visible," and he pursued this goal in a wide range of media using an amazingly inventive battery of techniques. Line and color predominate with Klee, but he also produced series of works that explore mosaic and other effects."

May 03, 2006

Kalisz (don't judge a city by its train station)

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These are the first impressions that lie in store for visitors who arrive in Kalisz by train, on a miserably wet Mayday. But hey, cheer up! You can always find sustenance with...

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... a bowl of Żurek (rye soup) which has record-breaking slices of sausages in it. And while you're tucking into that you can soak in the atmosphere of 'Restauracja Staropolska' (Ye Olde Polish Restaurant)...

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... which has quaint old-folksy decor that takes you back to Olden Polish times.

Some Grim History

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A Memorial Plaque in honour of 'The Heroes of The Greater Poland Uprising


After the outbreak of the Great War, the proximity of the border proved disastrous for the city, as it was one of the first destroyed towns of that war. After a series of border clashes, the German army bombed the city with artillery. During the heavy fights that lasted from August 7 to August 22, 1914, the town was destroyed almost completely. Upon entering the city, the German units led by Hermann Preusker took revenge for the defence of the city by the Russian army on the civilians. 800 men were arrested and then decimated, while the city was set on fire and the remaining inhabitants were expelled. Out of roughly 68,000 inhabitants in 1914, only 5,000 live in the city the following year. However, by the end of the Great War much of the city centre was more or less rebuilt and many of the former inhabitants were allowed to return to their town. After the war and the Greater Poland Uprising, Kalisz became part of the, once again independent, Republic of Poland. [1]

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In Memory of Children Who Were Subjected to Germanisation in the Nazi Camp located in this Monastery 1941-45

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In Honour Of Poles Who Were Murdered, Imprisoned and Used as Slave Workers 1939-45

Until 1939 the town had roughly 89,000 inhabitants. After the outbreak of the Polish Defensive War of 1939, a Polish-German conflict that sparked World War II, the proximity of the border proved once again disastrous. Although the town was captured by the Wehrmacht almost instantly and without much fight, the city was directly annexed by the Nazi Germany. Until the end of World War II approximately 30,000 Poles of Jewish faith from the town and its area were murdered. Additional 20,000 local Catholics were either murdered or expelled to the General Government or to Germany as slave workers. In 1945 the city had only 43,000 inhabitants, that is roughly half of the pre-war population. [2]

Obligatory Touristy Stuff

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The Town Hall

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The Cathedral

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The Theatre

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A Rather Tatty Looking Small Theatre

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... but look! Those doors were done by none other than Vahan Bego!


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You see!

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So be sure to remember that for your next visit to Kalisz.

Far From Home: The Russian Cemetery

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Down By The River Prosna

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A fine example of how to be direct: The Dentist 'Without Pain'.

Gołuchów - the sun has got his hat on

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The Goluchow Castle, originally a defence structure, was built for Rafal Leszczynski around 1650, to be turned into a stately magnate residence by Rafal's son, Waclaw, one of the Republic of Poland - Lithuania's most prominent citizens. Two and a half centuries later Izabela of the Czartoryskis Dzialynska, who then owned the Castle, had it restored in the style of the French Renaissance, as was then the fashion. The restoration, modelled on the chateaux on the Loire and, partly, on Italian palaces, was the work of the French architect Maurice August Ouradou, assisted by Zygmunt Gorgolewski, a Pole. French artists were employed to decorate the Castle walls and interiors, and many of the sculptures which adorn the courtyard to this day were brought from France and Italy. [3]

The Leszczyński family was a magnate family. The family name derives from Leszczyna, now a suburb of Leszno, Greater Poland. The family had its greatest importance in the 17th century when they were aredent supporters of Calvinism and turned their estates Leszno and Baranow Sandomierski into major centres of Polish Protestantism. [4]

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The Castle is surrounded by a landscape park established in the nineteenth century. The largest such park in the Wielkopolska region, it has oaks reaching five meters in perimeter. Visitors may also see a neo-Renaissance chapel - the Czartoryskis Mausoleum - and the Castle's outbuildings housing Poland's only Forestry Museum. [5]

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In Honour of Fighters for Freedom and Democracy 1794-1918-1939-1945
Memorial at The Bus Stop in Gołuchów

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May 01, 2006

atelier

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All pictures taken by Vahan Bego



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design by
maciej sierpien
&
krzysztof bartkowski