Tag Archives: Mark David Major

A Dark Curtain Falls Across the Middle East

A Dark Curtain Falls Across the Middle East
by Dr. Mark David Major,  AICP, CNU-A, The Outlaw Urbanist contributor

NOTE: We are momentarily stepping away from urban subjects to discuss bigger issues However, the anti-government protests in Turkey did originate in the realm of urban development.

Incrementally, inch-by-inch, from the shores of Tripoli to the Bosporus Straits to the Khyber Pass, there is a dark curtain falling across the Middle East. It was the late writer, Christopher Hitchens, who coined the phrase “Islamo-Fascism” after 9/11. He did so to accurately characterize this latest threat to the principles of liberty and justice. This is the “inheritance” Winston Churchill traced in his famous Iron Curtain speech “through Magna Carta, the Bill of Rights, the Habeas Corpus, trial by jury, and the English common law find(ing) their most famous expression in the American Declaration of Independence” Over the last decade, we have abbreviated Hitchens’ term into the shorthand term of “Jihadist”. However, Hitchens original formulation remains precise because it recognizes the very long history of totalitarianism (too long to recount here) and 20th century flirtation with the fascism of Nazi Germany in the Middle East. In the post-war period, this history of tyranny and flirtation with genocide metastasized around an expressed goal: the destruction of Israel.

Like Libya before it, Jihadists have infiltrated the pro-democracy rebellion in Syria while Hezbollah fighters enter the country in support of the tyrannical government of Bashar al-Assad. In essence, this rebellion now pits one model of tyranny against another with the democratic elements poised to be sidelined/eliminated once their immediate usefulness against the Assad government is over. Jihadists used the grassroots, pro-democracy protests of the Arab Spring as a springboard to political power in Egypt. Now Islamic-rooted Turkey Prime Minister Recep Tayyip Erdogan’s riot police used tear gas and pressurized water hoses in a dawn raid on Friday against a peaceful sit-in to prevent the uprooting of trees at a local park. The initial protest has expanded beyond urban renewal issues to demonstrations against new laws recently enacted that restrict the sale and advertising of alcohol and public displays of affection (i.e. kissing). The implications for the West of ‘losing Turkey’ (which already has a Jihadist-tainted government) are profound.

What is American and Western policy towards the Middle East? Does anybody know? It appears to wildly fluctuate from situation to situation and moment to moment. Our policy circles around the strategic signpost “to keep the oil flowing” while veering back and forth between (often mistaken) tactical assessments about what is easy (i.e. Libya, intervene; Afghanistan, surge) or what is hard (i.e. Syria, stay out of it; Iraq; get out), which is to say there is no coherent policy at all. This is no way for a “great” county and civilization (which we aspire to and often claim on behalf of the United States and Western Europe) to conduct its affairs. Given these conditions, it should not be a surprise to anyone the “huddle masses yearning to breathe free” on the Arab streets are befuddled and frustrated by the incoherent policies of the United States and Western Europe. After 9/11, the United States and Western Europe made a mistake. It was an honest mistake because it was born of anger but a mistake nonetheless. We thought Al-Qaeda’s attack was about us. It was not, it was about power. Subsequent events in the Middle East have demonstrated the agenda of the Jihadists is to achieve political power, oppress liberal-minded citizens and thought (such as Christianity), and accumulate power for its own sake. In his second augural address, George W. Bush attempted to frame the current threat on more solid footing as a struggle against tyranny, liberty versus oppression, and the dreams of freedom for the many in opposition to the pursuit of power by a few.

Many in the West ridiculed this reframing by the American President into the “Freedom Agenda” as hopelessly naïve. You cannot fight and defeat an idea. Of course, they are correct. However, ideas take on recognizable forms. In democratic societies, these forms include free markets, freedom of movement, and tolerance of the Other. In oppressive regimes, they take the form of financial corruption, the elevation of state power over individual liberty, and intolerance of the Other. You fight and defeat the forms that tyranny takes in the world. It is time for the United States and the West to revisit its Cold War model and adapt the mechanism for this new threat. This includes the expansion of domestic oil production in North America in order to wean our societies (and, increasingly, China) off the teat of Middle Eastern oil. For the first time in decades, the United States is exporting oil. We need to rapidly expand this capacity. North American should be the principal supplier of oil to China lest we lose a (potentially) powerful ally in the coming struggle to the same dependency, which caused us to indirectly finance the current threat. In the process, we need to get our fiscal house in order. A new policy should include containment. We must develop a strategy for the Middle East to halt the expansion of Islamo-Fascism, which includes modernizing (perhaps even expanding) our nuclear deterrent and reconstituting the doctrine of having the military capacity to fight two wars simultaneously. As part of this containment strategy, we will have to recognize and accept we may lose some countries (like Egypt) along the way but, in the modern era of globalization, mass communications, and the internet, these are more likely to be temporary situations. A similar transition as witnessed during the Cold War is likely to occur at a much more rapid rate (taking years instead of decades). Finally, we must actively engage in destabilizing these tyrannical regimes by any means necessary, including clandestine activities, expanded intelligence gathering ‘on the ground’, Wi-Fi American Free (a modern adaption of the Radio Free Europe concept) and filtering financial support to grassroots democratic movements. Our view should be on the end game, not the distractions of the moment. And our end game should always be to grow the “tree of liberty” for all, lest we condemn more than 300 million people to the darkness.

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Organized Complexity | The City in Art

Kathleen Patrick’s In a Mellow Mood – Sax Solo, oil on canvas, 36″ x 48″, Chicago Museum of Contemporary Art.

Organized Complexity | The City in Art
by Dr. Mark David Major, AICP, CNU-A

Kathleen Patrick is best known for her late 20th-century urban scenes (usually of Chicago), whether wildly colored, energy filled abstracts or highly imaginative cityscapes. Her work strikes a balance between likeness and abstraction. These highly abstract works often contain some pictorial reference to cities and the cityscapes frequently exhibit whole areas, which read as abstracts. This creates a scale and a continuum of abstraction and representation intrinsic to the works of this artist (Source: Chicago Museum of Contemporary Art). Some examples of these abstract cityscapes are below.

Kathleen Patrick’s Chicago – (left to right) In the Afternoon, The City at Dusk, and In the Evening.

However, for this latest edition of The City in Art series, we have selected a painting by Kathleen Patrick that is not explicitly (at least, according to its title) about the city: In a Mellow Mood – Sax Solo (at the top of the page). It seems entirely appropriate – for an artist who has so often taken the cityscape of Chicago as a subject – that something of the urbane would find its way into her paintings about other subjects. This appears to happen in her painting, In a Mellow Mood – Sax Solo, which manages to capture in an abstract manner the “organized complexity” of the city once described by Jane Jacobs. In jazz, a rhythm and order emerge from what, at first hearing, is a seemingly discordant series of notes. Such as it is in the city, too. Patrick’s painting could easily be an impressionistic rendering from above of bodies in motion over time through an urban space or even a notional urban pattern. At first glance, it is seemingly chaotic. However, there is an order and a rhythm to be discovered amidst the chaos.

About Kathleen Patrick
Kathleen Patrick is a highly collected artist with both corporate and private collectors around the world. She has been represented by several major galleries in Southern California and has exhibited her work in the Chicago area for over ten years. Her works appear in the collections of Gucci, the Bank of America, the University of Illinois and the University of Wisconsin and hang in the Sears Tower, the John Hancock, and many other major buildings in the Chicago area. She includes among her influences the color and freedom of Chagall, the energy and passion of Van Gogh, and the spatial collage of time and space of Picasso (Source: Chicago Museum of Contemporary Art).

The City in Art is a series by The Outlaw Urbanist. The purpose is to present and discuss artistic depictions of the city that can help us, as professionals, learn to better see the city in ways that are invisible to others. Before the 20th century, most artistic representations of the city broadly fell into, more or less, three categories: literalism, pastoral romanticism, and impressionism, or some variation thereof. Generally, these artistic representations of the city lack a certain amount of substantive interest for the modern world. The City in Art series places particular emphasis on art and photography from the dawn of the 20th century to the present day.

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On Space | The City as Life Revealed

On Space | The City as Life Revealed
by Dr. Mark David Major, AICP, CNU-A

A city is a thing made of space. This space is infinite in its redundancies and strategic in its provision, full of potentials simultaneously realized and unrealized, required and unnecessary. It is a thing that both demands and defies analysis, of scholarly inquiry and sensory experience. A city is congruently an organism and a machine, a system of parts and part of a larger system joined in sustaining each other, related to itself and the world outside arbitrary boundaries drawn on a map. All of the city’s parts are strangely familiar yet also comforting in their distinctiveness from the Other. In the same manner, the whole pattern of cities obeys consistent rules, derived from existential truths, bound by gravity and our bipedal nature, always in the movement from here to there and back again. Yet no two cities are ever the same. We define similarities and differences to unveil their distinctive nature as urban objects. Meaning often derives from the mathematical artifice of geometrical assignment, daring to create and name our world in the image of the Geometer, in the same manner as we were created in Theirs. The power in the assigning is undeniable. On this basis, we parcel the fertile land by means of economy, far into the clouded past and the “undiscovered country” of the future, beyond the death of the present. From this emerges meaning and function, a city of light and sound, movement and life, each particular in their own way but also a simulacrum of all that has come before and will arrive again. There is power in the disorder of the city and a power of

On this basis, we parcel the fertile land by means of economy, far into the clouded past and the “undiscovered country” of the future, beyond the death of the present. From this emerges meaning and function, a city of light and sound, movement and life, each particular in their own way but also a simulacrum of all that has come before and will arrive again. There is power in the disorder of the city and a power of magnitude to be discovered in its orderly manifestation. Neither is greater than the other nor the sum of the parts. Within this (dis)order we live and function, day to day, year to year. We shape and are shaped by the space of the city, we utilize its strategic provisions for seeing, going, and being and its infinite redundancies to pause, understand, reflect, perhaps even decide. The light we shine on the city reflects upon ourselves and, in seeking to better understand the city, we learn to incrementally know ourselves. The city is both static in the moment and dynamic across the seconds. It can be understood all at once but its parts in isolation are – often so – the genesis of intellectual aberration. The organism grows but the machine still operates and we are befuddled. The city is at once process and product, the thing already made and in the process of becoming, the Father seeding the land, the Mother birthing the child, and the child being born, a Trinity upon itself. However, this is not a Mystery of faith but a failure of understanding. We must conjecture, we must believe, we must hypothesize, and we must dissect and reassemble if we hope to intervene with wisdom in the space of the city. Let us delve into Beingness of the city to better understand its nature with hope and expectation instead of fear and trepidation. It is life revealed.

On Space is a regular series of philosophical posts from The Outlaw Urbanist. These short articles (usually about 500 words) are in draft form so ideas, suggestions, thoughts and constructive criticism are welcome.

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Planning | Stopping Stupid People from Killing Themselves | AbFab

“I was just trying to do my best, trying to get from A to B, do a little shopping. I was trying to take control of my life…” – Edina Monsoon

Sunday’s Boston Globe article “The too-smart city” by Courtney Humphries reminded me of one of my favorite and funniest (implicit) critiques of urban planning: Edina Monsoon’s “Tax the Stupid People” rant from a 1994 episode (“Poor”) of Absolutely Fabulous. I thought I would post it for your amusement because sometimes we all need a reminder and laughter about the absurdities of life. The first time I saw this I was in tears from laughing so hard, especially once Patsy interjects her opinion.

No doubt the reason I found this rant so funny was, having lived in London for 8 years, the thought did cross my mind on more than one occasion that the purpose of the railings along Oxford and Regent Streets (and others) was, indeed, to prevent stupid people from running into traffic and getting killed. Of course, this is not the case. Instead, the purpose of the railings is to corral pedestrians on the sidewalk in areas with high foot traffic (like pigs in a pen) so the majority of street space is reserved for automobile traffic. London’s railings are fundamentally anti-pedestrian, pro-automobile planning measures. God forbid if pedestrians occupy more of the street space for their use to the detriment of keeping traffic moving! So, the real purpose of the railings was to prevent stupid drivers in 5-ton death machines from killing pedestrians, awarding ‘exclusivity’ of street space to these drivers when we should be slowing the traffic down in deference to pedestrians. In the late 1990s, London has begun to learn and adjust to this lesson. When I visit London (hopefully) sometime in the next 4-6 months, I’m eager to see for myself how far they have taken the lesson over the last decade. I like to think Eddie’s satirical rant played a small role in changing the dynamic.

A more complete transcript of Eddie’s rant in her audacious – but ultimately doomed – attempt to evade a parking ticket is below.

Eddie: Right – I, the proposed accused, think that, well, I mean, you know, well the day in question was not a good day for me, all right? But I put it to you that I don’t see how any day could have been good the way this bloody country’s run. Well, you know, I was just trying to do my best, trying to get from A to B, do a little shopping. I was trying to take control of my life, you know, only to find that it’s actually controlled for me by petty bureaucracy and bits of bloody paper – ignorant bloody petty rules and laws that just obstruct every tiny little action until you’ve committed a crime without even knowing it! I mean, you know, why can’t life just be made a little easier for everybody, eh? Why can’t it be more like the Continent, and then run down the street in front of charging bulls whilst letting fireworks off out of his bloody nostrils without anyone blinking an eye? Uh? Because it’s probably a local holiday and nobody’s at work because they all want to have just a little bit of fun and they’re not intimidated by some outdated work ethic. I mean, there has to be more to life than just being safe…

Judge: Is there a point to all of this?

Eddie: Yes, Yes!… Why, oh why, do we pay taxes, hmmm? I mean, just to have bloody parking restrictions- and BUGGERY-UGLY traffic wardens, and BOLLOCKY-pedestrian-BLOODY-crossings?… and those BASTARD railings outside shops windows, making it so difficult, so you can’t even get in them! I mean, I know they’re there to stop stupid people running into the street and killing themselves! But we’re not all stupid! We don’t all need nurse-maiding. I mean, why not just have a Stupidity Tax? Just tax the stupid people!

Patsy: And let them DIE!

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The Kinetic City | The City in Art

Olga Rozanova’s City (1916).

The Kinetic City | The City in Art
by Dr. Mark David Major, AICP, CNU-A

Olga Rozanova has been labeled a Futurist, a Cubo-Futurist, and Suprematist (focused on geometric forms and a limited range of colors, see Piet Mondrian’s Neo-Plasticism), all of which places her in the middle of the early 20th century Russian Avant Garde Movement. The number of works she completed is impressive both in terms of the quality, many of her abstracts are intricately beautiful, and quantity, given her untimely death at such a young age (see this Pinterest page). However, the quality and quantity of her work ultimately – and sadly – indicates her unfulfilled promise as an artist. Because of this, her contemporaries have largely overshadowed Rozanova.

Olga Rozanova’s City (1916) is a wonderful abstract painting, which takes the city as its subject. Her city is all kinetic energy, the canvas almost ‘alive’ with movement. Her painting builds on the Cubist tendency to compress time and space into a single glance at a subject, which conveys a plenitude of information to the viewer. This, in itself, builds on the earlier Impressionist technique, which included movement as a crucial element of human perception and experience in the painting. However, in the case of Cubism, it is not the movement of human perception that depicted in the painting but rather the movement and energy inherent in the subject itself across time and space, which is both compressed and captured in the representation. Olga Rozanova’s City is a brilliant look at all that is inherent in the city: people, buildings, movement, transportation, streets, setting, and light. The city she depicts is not an inanimate object but an animate organism worthy of our attention. I love this painting.

One of the few photographs of the Russian artist, Olga Rozanova.

About Olga Rozanova
Olga Rozanova (1886-1918) was born in 1886 in Malenki, Vladimir province in Russia. She trained at the Bolshakov Art School and the Stroganov School of Applied Art in Moscow. In 1911, she moved to St. Petersburg where she became an active member of the Union of Youth Group, exhibiting with them regularly from 1911 to 1914. She also attended the Zvantseva School of Art from 1912 to 1913. In 1912, Rozanova began illustrating books of Futurist poetry written by her husband, Aleksey Kruchonykh. She also wrote trans-rational Futurist verse (sound poetry), experimented with Cubism and Futurism in painting, produced abstract constructions, and created Suprematist embroidery and textile designs. By 1917, she had developed a completely individual abstract style of painting. After the Revolution in 1917, she supervised the reorganization of craft workshops in provincial towns. She died in Moscow on November 8, 1918, due to diphtheria at 32 years of age.

The City in Art is a series by The Outlaw Urbanist. The purpose is to present and discuss artistic depictions of the city that can help us, as professionals, learn to better see the city in ways that are invisible to others. Before the 20th century, most artistic representations of the city broadly fell into, more or less, three categories: literalism, pastoral romanticism, and impressionism, or some variation thereof. Generally, these artistic representations of the city lack a certain amount of substantive interest for the modern world. The City in Art series places particular emphasis on art and photography from the dawn of the 20th century to the present day.

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