City Research Online
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
An Analysis of Banning the Media from Photographing Military Coffins
PHOTOS OF THE FALLEN AND THE DOVER BAN: AN ANALYSIS OF BANNING THE MEDIA FROM PHOTOGRAPHING MILITARY COFFINS By BradfordJ. Kelley* It's easy to see.... [P]eople go off to war and the bands play and the flags fly. And it's not quite so easy when the flag is drapedover a coffin coming back through Dover, Delaware. -US. Senator John Glenn INTRODUCTION The image of the flag-draped coffin is an incredibly somber reminder of the costs of war in the American lexicon. The photographs of returning coffins serve to remind the American public of the incalculable costs of war. Nonetheless, from 1991 until 2009, the U.S. government enforced a ban on allowing news photographers into Dover Air Force Base in Delaware and other military facilities where coffins were received from the battlefield.' The arrival of coffins at Dover has been known as the "Dover Test" to gauge public perception for how many casualties the American public could tolerate before a war became unsustainable.2 However, the instatement of the Dover Ban effectually ended the test and became part of a broader governmental effort to restrict the media during wartime.3 * Bradford J. Kelley is an attorney in Washington, D.C. Previously, he was a judicial law clerk for a federal district judge. He is also a former U.S. Army infantry and military intelligence officer and a veteran of the war in Iraq. 1. See George J. Annas, Family Privacy and Death - Antigone, War, and Medical Research, NEW ENGL. J. MED., Feb. 2005, 501. 2. Id. -
The French Strategy in Africa: France’S Role on the Continent & Its Implications for American Foreign Policy
The French Strategy in Africa: France’s Role on the Continent & its Implications for American Foreign Policy Matt Tiritilli TC 660H Plan II Honors Program The University of Texas at Austin 11 May 2017 ____________________________________________________ J. Paul Pope Lyndon B. Johnson School of Public Affairs Supervising Professor ____________________________________________________ Bobby R. Inman, Admiral, U.S. Navy (ret.) Lyndon B. Johnson School of Public Affairs Second Reader Abstract In the post-World War II era, the nature of military interventions by traditional powers has changed dramatically due to changes in political priorities and the kinds of conflicts emerging in the world. Especially in the case of the French, national security interests and the decision-making process for engaging in foreign interventions has diverged significantly from the previous era and the modern American format. France has a long history of intervention on the African continent due in part to its colonial history, but also because of its modern economic and security interests there. The aim of this thesis is to articulate a framework for describing French strategy in the region and its implications for American foreign policy decisions. Contrary to the pattern of heavy-footprint, nation building interventions by the United States during this time period, the French format can instead be characterized by the rapid deployment of light forces in the attempt to successfully achieve immediate, but moderate objectives. French policy regarding Africa is based on the principles of strategic autonomy, the maintenance their status as a permanent member of the UN Security Council, and the ‘Europeanization’ of future initiatives. In order to achieve these objectives, France has pursued a foreign policy designed to allow flexibility and selectivity in choosing whether to intervene and to maintain the relative balance of power within their sphere of influence with itself as the regional stabilizer. -
US Military Intervention in the Post-Cold War
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-29-2014 U.S. Military Intervention in the Post-Cold War Era: A Case Study Analysis of Presidential Decision Making Dennis N. Ricci University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Ricci, Dennis N., "U.S. Military Intervention in the Post-Cold War Era: A Case Study Analysis of Presidential Decision Making" (2014). Doctoral Dissertations. 364. https://opencommons.uconn.edu/dissertations/364 U.S. Military Intervention in the Post-Cold War Era: A Case-Study Analysis of Presidential Decision Making Dennis N. Ricci, Ph.D. University of Connecticut 2014 ABSTRACT The primary focus of this study is to explain presidential decision making, specifically whether to intervene militarily or not in a given circumstance in the Post-Cold War era. First, we define military intervention as the deployment of troops and weaponry in active military engagement (not peacekeeping). The cases in which we are interested involve the actual or intended use of force (“boots on the ground”), in other words, not drone attacks or missile strikes. Thus, we substantially reduce the number of potential cases by excluding several limited uses of force against Iraq, Sudan, and Afghanistan in the 1990s. Given the absence of a countervailing force or major power to serve as deterrent, such as the Soviet enemy in the Cold War period, there are potentially two types of military interventions: (1) humanitarian intervention designed to stop potential genocide and other atrocities and (2) the pre-emptive reaction to terrorism or other threats, such as under the Bush Doctrine. -
Vii-Migration-Program Copy 3
PERSPECTIVES: MIGRATION NOVEMBER 14 & 15, 2015 Photo by Ashley Gilbertson Commemorating 10 years of VII and IGL collaboration and the 30th anniversary of the Institute for Global Leadership, the world’s leading photojournalists from the VII Photo Agency will explore their coverage of the continuing migration and merging of societies and cultures through a series of presentations and panels featuring recent work from the Syrian refugee crisis followed by a day of hands on workshops. THE AGENDA Saturday, November 14: SEMINARS 1:15 PM: PART ONE – HISTORY: The First Migration Sunday, November 15: Man has been seeking better opportunities since our ancestors’ first migration out WORKSHOPS of Africa. John Stanmeyer is documenting man’s journey and subsequent evolution with National Geographic’s Out of Eden Project – an epic 21,000-mile, 11:00 AM: Street Photography seven year odyssey from Ethiopia to South America. Ed Kashi and Maciek Nabrdalik will 2:00 PM: PART TWO – CRISIS: The European Refugee Crisis lead students around Boston and guide them on how to approach VII photographers are documenting the developing refugee crisis from its origins subjects, compose their frames, and in the Syrian uprising to the beaches of Greece and beyond. Technology has both find new and unexpected angles. An expanded the reach and immediacy of their work while challenging our definition editing critique with the of a true image. photographers will follow the VII Photographers: Ron Haviv, Maciek Nabrdalik, Franco Pagetti and Ashley shooting session. Gilbertson Panelist: Glenn Ruga, Founder of Social Documentary Network and ZEKE 11:00 AM: Survival: The Magazine Complete Travel Toolkit Moderated by Sherman Teichman, Founding Director, Institute for Global Leadership, Tufts University Ron Haviv will share tips and tricks on how best to survive and thrive in the 3:30 PM Break before, during, and after of a shoot. -
The West Wing and the Cultivation of a Unilateral American Responsibility to Protect
ARTICLES PRIME-TIME SAVIORS: THE WEST WING AND THE CULTIVATION OF A UNILATERAL AMERICAN RESPONSIBILITY TO PROTECT AMAR KHODAY ABSTRACT Television programs and films are powerful visual mediums that inject various interpretations about law into the public stream of consciousness and can help shape public perception on various issues. This Article argues that the popular television series The West Wing (“TWW”) cultivated the notion of a unilateral American legal obligation to intervene and protect vulnerable populations from genocide in the context of a fictional African state by mimicking some of the factual circumstances that transpired during the Rwandan genocide. In creating an idealized vision of an American response to such humanitarian crises, the show effectively attempted to re- imagine Rwanda as a beneficiary of United States military force. This Article argues that in advancing a radical vision of unilateral humanitarian military interventions, TWW questionably propagated metaphors and caricatures that persist in human rights discourse as criticized by Makau Mutua—namely that Western states must act as saviors rescuing vulnerable and victimized third world populations from malevolent third world dictatorships. Furthermore, such caricatures deny non-Western populations a certain subjectivity and foster the idea that Western states must always come to the rescue. In addition, these caricatures paint the international community and fellow Western states like France as unwilling or unable to respond to such crises. Lastly, this Article -
Congressional Record—Senate S7030
S7030 CONGRESSIONAL RECORD — SENATE June 18, 2004 He pledged that Iraq would serve as just by Americans or by an occupying NATIONAL DEFENSE AUTHORIZA- an example of peace and of freedom— force, will make a huge difference on TION ACT FOR FISCAL YEAR 2005 for Iraq, yes, but even more, or equally the world stage. It is for the Iraqi peo- The PRESIDENT pro tempore. Under important, I should say, as an example ple, it is by the Iraqi people, and it is the previous order, the Senate will re- for the entire region. up to the Iraqi people at this point. sume consideration of S. 2400, which The Iraqi people look forward to No nation wants to rely on another the clerk will report. holding democratic elections and to for its security. The President of Iraq The legislative clerk read as follows: governing themselves, he told us. But expressed that. The Iraqi people want A bill (S. 2400) to authorize appropriations he was quick to say the Iraqi people to stand on their own strength. But for fiscal year 2005 for military activities for must have that security in order to re- they need help through this transition the Department of Defense, for military con- build their lives. period. He also made it clear that to struction, and for defense activities of the Department of Energy, to prescribe per- It was interesting. When we asked rely upon a coalition while they are re- him about the coalition and how broad sonnel strengths for such fiscal year for the building their police and their army is Armed Services, so forth and for other pur- a coalition, what he said is what the not a surrender of their sovereignty in poses. -
Thru the Lens Our Website Newsletter Email [email protected]
February 2013 Thru The Lens Our website Newsletter email www.parklandsphotoclub.org.au [email protected] Hello All, Welcome back to our first competition night. It was a big turn out with some truly diverse images. A quick reminder too- Don’t forget that that next month’s meeting will be on a Tuesday. Sydney Road Street Festival is coming up. Keep an eye out for an email with details and roster information. It’s a great promotion for our club and also a great day for street photography. Thanks to Clem for updating our website ready for 2013. It looks great. We have a fantastic team of volunteers at Parklands which is how we are able to have such a dynamic program. Keep Snapping, Paula [email protected] PRINT – Novice – Open 1st – ‘Brunswick Sunrise: 05:41am’ – Steven Lankshear 2nd – ‘Happy Mel’ – Susan Martin 3rd – ‘Better to Burn Out Than to Fade Away’ – Steve Lankshear HC – “Melbourne or Paris” – Katriona Fahey HC – ‘Fairy Wishes’ – Susan Cashin PRINT – Experienced 1st – ‘Fill’er Up’ – Charles Scicluna 2nd – ‘Mickey’ – Clem Warren 3rd – ‘Bichno’ – Mathew LaSala HC – ‘Flinders Street Station’ – Clem Warren HC – ‘Awaiting a New Dawn’ – Paul Grinzi DIGITAL – Novice 1st – ‘Odaiba Ferris Wheel’ – Ben Cippa 2nd – ‘Lotus Glow’ – Susan Martin 3rd – ‘Christmas Treats’ – Rachel Rutkowski HC – ‘Me and My Taj’ – Kath Kelly HC – ‘Jingu’ – Ben Cippa HC – ‘Come On In’ – Susan Martin HC – ‘Rosary’ – Emi Taylor HC – ‘Fire Dancers’ – Rodney Wee Club News Mini Workshop – 28th Feb – 7:30pm This month we will be looking at what makes a good Black and White photograph. -
2012 Biennial Magazine
Director’s Statement Welcome to FOTOFOCUS 2012! Created to provide sponsorship, marketing, coordination, and administrative assistance to its venue participants, FOTOFOCUS is delighted to see the regional art and academic com- munity enthusiastically embrace our debut biennial and our mission to spotlight photography, the medium of our time. We are here to offer you and your family and friends an unprecedented opportunity to learn about and experience the diverse currents of photography. FOTOFOCUS aspires to link Cincinnati’s rich tradition of support for artists and designers to the global con- versation surrounding the accessible and ubiquitous medium of photography. Over 70 venues are present- ing photography exhibitions including, the Cincinnati Art Museum, the Contemporary Arts Center, the Taft Museum of Art, the Dayton Art Institute, as well as such academic institutional partners as the University of Cincinnati, Art Academy of Cincinnati, Xavier University, Northern Kentucky University, Ohio University, Miami University, and Wright State University. In addition, we are proud to be a sponsor of Continuum, the 2012 Society of Photographic Educators Regional Conference, and to provide public bus tours of Cincinnati art galleries highlighting photography in the lively historic neighborhoods of Downtown, Over-the- Rhine, Mt. Adams, O’Bryonville, Oakley, Clifton, and Northside. FOTOFOCUS is collaborating with artists, curators, collectors, students, and academics to bring you a richly varied celebration of photography. Museums, galleries, and universities are all part of FOTOFOCUS, and they are showcasing world-renowned artists as well as regional photographic professionals. If time does not permit you to read the entirety of this program insert today, please, before you put this down, turn to page 47 and peruse the 10 pages of images and exhibition listings at the sites that are available to you in the month of October. -
The Internally Displaced People of Iraq
The Brookings Institution–SAIS Project on Internal Displacement The Internally Displaced People of Iraq by John Fawcett and Victor Tanner An Occasional Paper October 2002 The Internally Displaced People of Iraq by John Fawcett and Victor Tanner THE BROOKINGS INSTITUTION – SAIS PROJECT ON INTERNAL DISPLACEMENT 1775 Massachusetts Avenue, NW, Washington DC 20036-2188 and 1717 Massachusetts Avenue, Suite 555, NW, Washington DC 20036 TELEPHONE: 202/797-6145 FAX: 202/797-6003 EMAIL: [email protected] ABOUT THE AUTHORS John Fawcett has worked internationally for over twenty years for the private sector and organizations engaged with humanitarian assistance and human rights, including the International Crisis Group and the International Rescue Committee. Recent projects include work on humanitarian assistance to Iraq, security of NGO national staff, and preparing for post-conflict Afghanistan. He is also an advisor to the newly established Center for Humanitarian Cooperation. He is author of reports and articles in the humanitarian area, most recently “The Political Repercussions of Emergency Programs” (co-authored with Tanner), US Agency for International Development, March 2002. Victor Tanner conducts assessments, evaluations and field-based research specializing in the political aspects of humanitarian assistance programs, including for the World Bank, the UN Office for the Coordination of Humanitarian Aid to Afghanistan, the International Crisis Group and the Petroleum Finance Company. He worked in northern Iraq in 1991 and 1992 as a relief worker for the US Agency for International Development’s Office of Foreign Disaster Assistance. Tanner is a faculty member of the Johns Hopkins University School of Advanced International Studies in Washington DC where he teaches “Humanitarianism, Aid and Politics.” Fawcett and Tanner first met in northern Iraq in 1991. -
John Bradford at Anna Zorina Gallery in New York City,Rachel Doniger
John Bradford at Anna Zorina Gallery in New York City “Hamilton, History, Lincoln and Paint”, is John Bradford’s first solo exhibition at the Anna Zorina Gallery. The show features the artist’s latest paintings that offer his contemporary take on historical subjects. ABOUT THE EXHIBITION John Bradford: “I am employing violent scraping, palette knifing, dabbing, dripping, reducing, tearing apart, cutting through, and building up so the paint overwhelms with something very specific, yet distantly remembered from somewhere else. This process of abstracting and excavating these oft–told American histories simultaneously asserts my formal, absolute control of the surface while allowing me to retreat from the field”. John Bradford “Constitutional Convention” 60×78 acrylic and oil on canvas, 2018 This unbridled exploration can be seen in Publication of the Declaration and Abraham Speaking to the People at Gettysburg with their highly original use of Jean Paul Riopelle-like textured fields of paint deftly applied in a specific narrative context as means of capturing the deeply complex, often conflicting interactions in the psychology of a crowd. The sheer plasticity and expressionist aggression of Bradford’s negative spaces create “significant narrative gestures” throughout the pictorial surface to celebrate something entirely new: field painting of history. John-Bradford “Lincoln Addressing the People at Gettysburg” 48×60 acrylic and oil on canvas, 2017 The repertoire of techniques employed in these various historical paintings encompasses virtually the entire modernist lexicon and testifies to a painting life of unrelenting experimentation and invention. The magic is that a wide range of subjects, treated in surprisingly different ways, is so clearly the vision of a singular sensibility still committed to finding relevancy in our so tenuously shared national narrative. -
Queering US Public Mourning Rituals: Funerals, Performance, and the Construction Of
Queering US Public Mourning Rituals: Funerals, Performance, and the Construction of Normativity by Michelle Renee Baron A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Women, Gender, and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Paola Bacchetta Professor Laura Pérez Professor Shannon Steen Fall 2011 1 Abstract Queering US Public Mourning Rituals: Funerals, Performance, and the Construction of Normativity by Michelle Renee Baron Doctor of Philosophy in Performance Studies Designated Emphasis in Women, Gender, and Sexuality University of California, Berkeley Professor Peter Glazer, Chair The state uses public funeral practice and large-scale national mourning as an opportunity to affirm cultural and sexual norms as state values, as evidenced in state and military funerals. My dissertation, ―Queering U.S. Public Mourning Practice: Funerals, Performance, and the Construction of Normativity,‖ argues that funeral practice in fact exposes the precarity of traditional kinship and sexual practices while simultaneously constructing the heteronuclear family and heterosexuality as norms. I argue that public funerals appropriate practices and aesthetics coded as abject, socially excessive, and queer in order to demonstrate their distance from these national ―others.‖ My investigation divides loosely into two parts. I begin by juxtaposing the funerals of national heroes (Presidents Lincoln, Kennedy, and Reagan and fallen soldiers of the Iraq war) with the funerals and mourning practices of LGBT people and people of color within these sites. These first chapters propose a politics of visibility which calls attention to the relationship between the invisible and the hypervisible. -
Gallery Frames
Collectors make a difference The South Dakota Art Museum has received an extensive, growing donation of valuable fine art prints that offer visitors an encyclopedic collection of printmaking from the 1960s, 1970s and early 1980s. The collection includes impressive examples of pop, op, abstract, color field and photo-realist art. The donation comes from Neil C. Cockerline, a former preservation services director and senior conservator with the Midwest Art Conservation Center in Minneapolis, MN in memory of his late mother Florence L. Cockerline. From initial appraisals, the value of the collection in today’s art market ranges between $500,000 and $1 million. Neil C. Cockerline holding a print by Robert Indiana called “Jo the Loiterer” The collection currently contains more than 400 prints and will continue to grow with the South Dakota Art Museum as its permanent home. The Cockerline Collection features more than 100 notable artists including Jim Dine, Robert Rauschenberg, Robert Motherwell, Andy Warhol, Henri Matisse and Robert Indiana. The works are all original prints which means the artist was present or had strict control of the piece during the printmaking process. After each edition is completed, the plate or screen used to make the print is destroyed, making all the pieces in the collection rare. “I chose to donate this collection to the South Dakota Art Museum because I knew the staff and university are very supportive of the museum, and they have a reputation of professionalism and a commitment to preservation. The collection will also attract people to the museum. There isn’t a collection like this in the state or nearby.” Cockerline selected each piece to be included in the first exhibition.