1. In the wake of Charlie Hebdo and the Copenhagen attack, we need to think more about why image making has become flashpoint.
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Replying to @HeerJeet
2. The Danish cartoons, Charlie Hebdo, and now Copenhagen: time and again it's cartoons that seized as pretext for radical Islamic violence.
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Replying to @HeerJeet
3. I discussed some aspects of power of cartoons in this piece on Charlie Hebdo:http://www.theglobeandmail.com/arts/books-and-media/the-charlie-hebdo-attack-underscores-the-visceral-power-of-political-cartoons/article22346511/ …
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Replying to @HeerJeet
4. On the religious end of things, the question of iconophobia and aniconism is more complex than commonly realized.
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Replying to @HeerJeet
5. There's actually a wide spectrum of attitudes within Islam on the question of depicting Mohammed.
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Replying to @HeerJeet
6. I.e. there's a tradition within Persian art of depicting the Prophet. And even aniconistic Muslims tolerate such images, although avoid.
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Replying to @HeerJeet
7. Part of the offense is clearly not just image making but satirical intent (and fact satire is being made by the enemy, Westerners)
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Replying to @HeerJeet
8. Historians of religion might have thoughts on this, but iconoclasm tends to surge in moments of contact/identity formation.
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Replying to @HeerJeet
9. I'm thinking here of the Golden Calf, of iconoclasm in Byzantium, of smashing of stained glass windows in reformation.
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Replying to @HeerJeet
10. Worth pondering that radical Islamic iconoclasm directed not just at Mohammed images: remember Taliban destruction of Buddha statues
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11. One way to think about this is to compare the generic features of religious art with satirical cartooning.
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Replying to @HeerJeet
12. Religious art, cross-culturally I think, has certain properties: it's idealizing, elevating, earnest, etc.
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Replying to @HeerJeet
13. Satirical art has the opposite aim of religious art: not to elevate but to bring down: to profane both literally & metaphorically
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