Museum trustees are under a Fiduciary Duty to consider entering into Mediation when a Cultural Heritage dispute arises and litigation is likely.

While Museum Trustees in England and Wales are not under a general duty to enter into Mediation, their Fiduciary Duty of Care and Duty of Loyalty to the institution can in effect require Mediation, where otherwise engaging in expensive litigation without trying ADR would amount to a failure to act in the Museum’s best interests, thereby potentially exposing Trustees to a claim for Breach of Duty.

Disputes involving indigenous communities or foreign states often require balancing sensitive political, and cultural claims that traditional legal frameworks may not address as effectively as an interest-focused Mediation process.

Even where litigation is procedurally barred, Mediation allows Trustees to resolve valid claims while protecting the Museum’s reputation, which is a key intangible asset.

If trustees are irreconcilably divided over a claim, their overriding Fiduciary Duty to ensure effective governance, requires them to find a solution.

Allowing a dispute to ‘paralyse’ the Museum’s operations would be a Breach of Duty.

Since Mediation can break a deadlock, by consenting to Mediation, and then engaging in the process in good faith, Breach of Duty can be avoided.

The ICOM Code of Ethics strongly encourages Museum Trustees to explore ‘mutually agreeable solutions’.

This can be done by consenting to Ad Hoc Mediation.

I wonder however, what level of knowledge Museum Trustees have about the process of Ad Hoc Mediation?

I suspect that not just in the UK, but globally, more education about the process of ‘Ad Hoc Mediation’ in Cultural Heritage Disputes is required, which is one of the reasons why I am writing a book for practitioners and Trustees about the ‘Mediation of Cultural Heritage Disputes’ – see the page of the same name at www.carlislam.co.uk, and my recent Talk on You Tube: https://lnkd.in/e-9KagXy

I am in the final four weeks of researching the Mediation of International Disputes – which has yielded some original thinking about the Mediation of ‘multi-dimensional’ disputes, after which I will need around eight weeks in which to complete my research of Cultural Heritage Disputes. Then, I can start to put pen to paper. That will be toward the end of August.

AI – ‘Persian art heavily influenced Moorish style through architectural motifs, garden design (Charbagh/riads), and complex decorative patterns, while Moorish art influenced Persia mainly through technical innovations in ceramics, particularly lusterware. Both shared a commitment to geometric, floral, and calligraphic ornamentation that transcended geographic distance within the Islamic world. 

Influence of Persian Art on Moorish Style

• Architecture & Layout: Moorish architecture adopted the Persian-inspired concept of interior paradise gardens (riads) and courtyard layouts, designed to be secluded and intimate.
• Decorative Motifs: Persian traditions influenced the development of complex, repeating geometric patterns (tessellation) and floral designs (arabesque) favored in Moorish plasterwork and tile.
• Landscape Elements: The Persian quadrangular garden, or Charbagh, influenced the structure of gardens like those in the Alhambra and Generalife.
• Ornamentation: Techniques used in Iran, including intricate tile-cutting, heavily influenced the sophisticated mosaics found in Andalusian and North African architecture. Liz Hurley Writes +2

Influence of Moorish Style on Persian Art

• Ceramics and Technology: The transfer was often lateral, with techniques such as lusterware—initially developed or refined in the Middle East and utilized in Egypt/North Africa—eventually informing the ceramic arts of 12th-century Persia.
• “Western” Islamic Influence: While Persia was often the “donor” of artistic styles (especially miniatures), Persian artistic traditions were shaped by the broader, unified aesthetic of the Islamic world, which included influences from the Mediterranean and North African regions. 

Shared Artistic Language

• Geometric Precision: Both styles relied on complex, interlocking patterns (such as the Sebka in Moorish design) that showcased mathematical mastery.
• Calligraphy and Structure: Both schools used Kufic script and intense ornamentation to decorate structural surfaces. 

Overall, Persian art offered a sophisticated model of decorative and landscape design that was highly valued throughout the Islamic world, while the Moorish (or Maghreb) tradition developed these ideas into a distinct aesthetic of intricate, dense ornamentation.’

AI – ‘Ottoman and Moorish (Hispano-Maghrebi) art shared a complex relationship of mutual influence, primarily mediated through North African territories like Algeria and Tunisia. While both styles belong to the broader Islamic tradition, their interactions ranged from direct 16th-century architectural “Ottomanisation” in the Maghreb to 19th-century European-inspired “Moorish” revivals in Istanbul. 

Ottoman influence was most prominent in North Africa after the 16th century, when provinces like Algeria and Tunisia were integrated into the empire. 

• Architectural Features: The Ottoman hemispherical dome and slender, pencil-shaped minarets were introduced to North African cities, contrasting with the traditional square minarets of the Moorish style.
• Textiles and Fashion: Moroccan elite fashion was heavily “Ottomanised” in the 16th century. Sultan Ahmad al-Mansur and his subjects adopted Ottoman-style caftans, uniforms, and ceremonial customs.
• Decorative Arts: Floral motifs inspired by the “Botanical Kingdom” of Ottoman art, such as carnations and tulips, began appearing in Moroccan embroidery and ceramics.
• Tilework (Zelij): While Morocco maintained its distinct geometric Zellij, some regions saw an infusion of Ottoman-style floral rectangular frames around traditional tile paintings. The Metropolitan Museum of Art +2

Influence of Moorish Style on Ottoman ArtMoorish influence on Ottoman art was often indirect, flowing through European “Orientalist” trends or as a “revival” style in the later empire. 

• Moorish Revival in Istanbul: In the 19th century, a wave of European fascination with the “Orient” led Ottoman architects to incorporate elements from the Alhambra in Spain into sacred buildings in Istanbul.
• Design Elements: Features such as horseshoe arches, multifoil arches, and alternating light and dark stone (Ablaq masonry) were reused in late-period Ottoman structures to create a “national” or diverse artistic style.
• Eclecticism: Late Ottoman mansions often freely combined “Eastern” motifs, where spaces were labeled “Moorish” even if they mixed Turkish, Indian, and North African designs. Culture.pl +3

Key Stylistic Differences

Feature	Moorish (Hispano-Maghrebi)	Ottoman
Arches	Horseshoe, Multifoil, and Lambrequin	Pointed and “Tudor” arches
Minarets	Square/Cuboid (e.g., Koutoubia)	Slender “pencil” shape
Domes	Small, often hidden; less central to form	Large, central hemispherical domes
Ornament	Deeply geometric Zellij and stucco	Floral (Iznik) ceramics and calligraphy

Moorish architecture – WikipediaWikipedia

In the Footsteps of the Moors: Seville | European Travel …European Travel Magazine

Moorish Architecture In Spain: The Top 20 Examples …Architecture of Cities –

Moorish Architecture and Design: What to KnowHouse Beautiful

A cool guide to differentiate between different styles of …Reddit

Moorish Architecture and Design: What to KnowHouse Beautiful

Transmission Across Cultures: The Islamic influence on …Beshara Magazine

Transmission Across Cultures: The Islamic influence on …Beshara Magazine

How Europe Became Obsessed With Ottoman Art (Turquerie …TheCollector

Moorish architecture – WikipediaWikipedia

Turquerie: The Ottoman’s powerful influence over European …Daily Sabah

Turquerie: The Ottoman’s powerful influence over European …Daily Sabah

Moorish Art – History & Key FeaturesMedieval Chronicles

Islamic arts – Moorish, Architecture, Decoration | BritannicaBritannica

Moorish Influence in Spain – spainin10sec.comSpaInIn10Sec

Moorish Architecture in Spain: History, Influence, and …Alicante Architects

Top 35 Examples of Moorish Architecture – Architecture of CitiesArchitecture of Cities –

Transmission Across Cultures: The Islamic influence on …Beshara Magazine

Transmission Across Cultures: The Islamic influence on …Beshara Magazine

Arabic Influences in Spain and Portugal: The Art and …Faraway Worlds

From Islamic to Art Deco: A rich history of Moroccan …Insight Vacations

Moorish Art: Islamic Influence And Cultural LegacyMedieval Chronicles

Transmission Across Cultures: The Islamic influence on …Beshara Magazine

ISLAMIC ART-Spain and the Visigoth influence – The Artistic …The Artistic Adventure of Mankind – WordPress.com

Moorish Architecture in Spain: History, Influence, and …Alicante Architects

Moorish Revival in Porto – Becky in PortugalBecky in Portugal

Stealing from the Saracens: How Islamic Architecture Shaped …Middle East Institute

Regional Styles in Islamic Architecture | by Eagle Eye | MediumMedium

Moorish Tile History and Inspiration – Why TileWhy Tile

Moorish Influence on Italian Culture: A Cultural TapestryUnderstanding Italy

[Note that examples of this influence exist in Tunis and Algiers].’

There is an ‘artistic’ nexus between:

(i) Geometric patterns in Moorish Art; and

(ii) Ancient ‘Sacred Geometry’.

‘Sacred Geometry’ is based upon the universal and ‘Cosmic’ language of mathematics.

AI – ‘Moorish geometric patterns—the distinctive visual language of the Islamic West (Al-Andalus and the Maghreb)—are deeply derived from and inspired by ancient sacred geometry through a process of “creative appropriation”. While these patterns reached their peak of complexity in the 14th-century Alhambra, they are structurally rooted in the mathematical and philosophical traditions of late antiquity, specifically those of the Greeks, Romans, and Sasanians. 

Structural Inheritance from Classical GeometryThe foundational shapes and structures of Moorish art are directly based on the geometry of Euclid and other ancient Greek mathematicians. 

• The Circle as Foundation: In both ancient sacred geometry and Moorish design, the circle is the ritual and mathematical starting point. Every pattern begins by dividing a circle into equal sections (four-fold, five-fold, or six-fold), a method that mirrors ancient cosmic symbolism.
• Archimedean Tilings: Moorish designers utilized the full range of Archimedean tilings—composed of simple polygons first discovered by the Greeks—to create their tessellations.
• Pythagorean Influence: The concept of “Abrahamic Pythagoreanism” in Islamic thought views numbers and figures as keys to the structure of the cosmos. The Golden Ratio (), a staple of ancient Greek sacred geometry, is reflected in the harmonic proportions of Moorish patterns to symbolize universal balance. Art of Islamic Pattern +4

2. Adaptation and EvolutionMoorish art did not just copy ancient forms; it transformed them into a unique system of decoration that emphasized unity (“Tawhid”). 

From Independent to Interconnected: While ancient Hellenic mosaics often used stars as independent, scattered motifs, Moorish patterns evolved these into an interconnected network where every line is an integral part of a unified, infinite whole.

The Polygonal Technique: By the 11th century, Moorish and wider Islamic artists developed the “polygonal technique,” using underlying tessellations of regular polygons as a hidden “veil” to generate increasingly complex star patterns.

Regional Specialisation: While sharing a common ancestry with Eastern Islamic art, Moorish art (notably Zellij tilework) specialized in specific complex forms, such as 16-point stars, which are less common in other regions. ScienceDirect.com +3

Introduction to Geometry – Art of Islamic PatternArt of Islamic Pattern

The Stunning Beauty of Islamic Geometry | by Ali | MediumAli – Medium

Sacred Geometry: The Spiritual Meaning of Islamic …Architecture, Culture, and Spirituality Forum

Sacred Geometry: The Spiritual Meaning of Islamic …Architecture, Culture, and Spirituality Forum

Introduction to Geometry – Art of Islamic PatternArt of Islamic Pattern

Islamic Geometric Patterns: Exploring The Harmony Between …The Decor Journal India

New Discoveries in the Islamic Complex of Mathematics …Muslim Heritage

The Historical Significance of the Geometric Designs in the …Springer Nature

Introduction to Geometry – Art of Islamic PatternArt of Islamic Pattern

Islamic Tile History and Inspiration – Why TileWhy Tile

Islamic Tile History and Inspiration – Why TileWhy Tile

Introduction To Sacred Geometry – Rare Earth GalleryRare Earth Gallery

Islamic Geometric Patterns | Deen Arts FoundationDeen Arts Foundation

New Discoveries in the Islamic Complex of Mathematics …Muslim Heritage

The Historical Significance of the Geometric Designs in the …Springer Nature

Muslim rule and compass: the magic of Islamic geometric …The Guardian

Muslim rule and compass: the magic of Islamic geometric …The Guardian

Introduction to Geometry – Art of Islamic PatternArt of Islamic Pattern

Introduction to Geometry – Art of Islamic PatternArt of Islamic Pattern3. Spiritual and Metaphysical SymbolismThe inspiration from sacred geometry is most evident in the metaphysical meanings attributed to the shapes: 

• Infinity: The repetition of patterns suggests the infinite nature of God, a direct evolution of the ancient interest in the “divine perfection” of mathematical design.
• Numerology: Similar to ancient sacred traditions, specific numbers hold weight; for example, the number four represents the cardinal directions and the four elements, while eight-pointed stars (the “Khatam”) often symbolize the “seal” of order. Art of Islamic Pattern +3

For those looking to explore the technical construction of these patterns, resources like Art of Islamic Pattern offer detailed educational guides, while books such as Islamic Geometric Patterns by Eric Broug provide step-by-step recreation techniques. …

The question of whether mathematics is a “cosmic language” is a central debate in both philosophy and science, typically split into two main viewpoints: discovery (math is an inherent part of the universe) versus invention (math is a human-made tool). 

1. The Argument for Math as a Cosmic Language

Proponents argue that mathematics exists independently of human thought and is the “blueprint” of reality. 

• Predictive Power: Math often predicts phenomena before they are physically observed. For example, Einstein’s equations predicted black holes before we had observational evidence.
• Universality of Laws: The same physical constants, like  or the speed of light, remain consistent throughout the observable universe.
• SETI & Alien Contact: Scientists have used math (e.g., prime numbers and binary code in the Arecibo Message) as the most likely bridge for communicating with extraterrestrial intelligence, assuming any advanced civilization would discover the same logic.
• Mathematical Universe Hypothesis: Max Tegmark posits that the universe isn’t just described by math, it is a mathematical structure. 

2. The Argument for Math as a Human InventionCritics argue that math is a specialized language created by the human brain to model and simplify complex physical realities. 

Anthropocentric Bias: Our base-10 counting system is likely rooted in our having ten fingers. Aliens might have entirely different representations or biological sensory processing that would make our “logic” incomprehensible to them.

A Descriptive Map: Just as a map of a city is not the city itself, mathematical equations are models that describe the “terrain” of the universe but are not the fundamental fabric of it.

Limitations in Meaning: While math is perfect for logical deduction, it lacks the capacity to express abstract cultural concepts like “peace,” “empathy,” or “friend”. 

Key Perspectives from History

Thinker	Perspective
Galileo Galilei	Famously stated, “The book of nature is written in the language of mathematics”.
Eugene Wigner	Noted the “unreasonable effectiveness of mathematics” in describing the physical world as something bordering on mysterious.
Richard Feynman	Believed the universe appeared to be mathematical by its very nature, calling the existence of such rules a “miracle”.
Lakoff & Núñez	Argue math is grounded in our physical embodiment (moving through space, holding objects), making it human-specific.

In antiquity, the golden ratio—then known as the “extreme and mean ratio”—signified a fundamental link between mathematical logic and the physical world. It was primarily a tool for understanding cosmic harmony, geometric perfection, and aesthetic balance. 

Significations in Antiquity

• Universal Order and Harmony: For the Pythagoreans, the ratio was a symbol of “all is number”. They believed the universe was an ordered system governed by specific proportions. The ratio appeared in the geometry of the pentagram, which the Pythagoreans used as a symbol of health and secret recognition.
• Aesthetic Perfection: Ancient Greeks, such as the sculptor Phidias, are believed to have used the ratio to achieve ideal beauty and balance in sculpture and architecture. It was viewed as a way to create compositions that were naturally pleasing to the human eye.
• The “Sacred Ratio”: According to some historical accounts, ancient Egyptians referred to this proportion as the “sacred ratio,” using it in the construction of temples and religious structures to connect their work with divine order.
• Mathematical “Jewel”: Later ancient mathematicians like Euclid (c. 300 BCE) provided the first formal definition of the ratio in his work Elements. For Euclid and his successors, it was one of geometry’s “treasures,” essential for constructing perfect shapes like the dodecahedron, which was often associated with the cosmos. 

Alleged Ancient ApplicationsWhile modern scholars debate whether these were intentional or coincidental, many famous ancient works are frequently cited as examples of the ratio’s significance: 

Ancient Structure	Purported Signification
The Parthenon	Used to achieve balanced proportions in the facade and columns.
Great Pyramid of Giza	Represented a sacred link between height and base area.
Greek Statues	Defined the “ideal” proportions of the human body and face.’

While conventional wisdom amongst archaeologists is that there was no contact between: (i) ancient civilizations in the Americas; and (ii) ancient civilizations in Europe, Africa and Asia, coincidentally, perfect shapes form the backbone of design in the art and architecture of ancient civilizations in Central and South America, who often blended them with organic, zoomorphic, and astronomical alignments to create a deeper meaning.

The Maya used precise rectangles and triangles in their pyramids (like El Castillo at Chichén Itzá), but they designed them so the sun would create a moving ‘serpent’ of shadow during the equinox.

The Inca were masters of the trapezoid. They used it for doors and windows because it provided superior seismic stability against earthquakes while maintaining a clean, geometric look.

The Aztecs used the circle not just for aesthetics, but as a framework for complex cosmological calendars, mapping the entire history of the universe within a single round stone.

In these cultures, geometry was not just about math; it was a way to anchor their buildings to the stars and the earth.

AI – ‘Moorish style in visual art refers to the artistic traditions that developed under Islamic rule in North Africa and the Iberian Peninsula (Al-Andalus) between the 8th and 15th centuries. It is a subset of Islamic art characterized by complex geometry, stylized floral motifs, and a focus on interior beauty, heavily influencing European decorative arts and architecture, particularly in Spain. 

Forms of Moorish Style

• Intricate Tilework (Zellij/Azulejos): Hand-cut glazed tiles assembled into complex geometric mosaics, using cobalt blue, emerald green, yellow, and white.
• Carved Stucco and Plaster (Yeseria): Lacelike, intricate carving on plaster walls, often featuring repetitive geometric or calligraphic patterns.
• Muqarnas (Stalactite Carving): Three-dimensional honeycomb-like niches used to decorate domes, ceilings, and transitions between walls.
• Arches: The iconic horseshoe arch, multifoil (polylobed) arch, and “lambrequin” arch (a complex pointed arch) are defining features, often arranged in alternating red-brick and light-stone patterns.
• Calligraphy: The use of Kufic and Maghrebi Arabic scripts to create decorative, rhythmic epigraphs of Quranic verses or poetry on walls.
• Arabesque and Vegetal Patterns: Stylized, repetitive plant forms (acanthus, palm leaves) that twist and interlace without showing human or animal figures.
• Artesonado Ceilings: Elaborate, interlocking wooden ceilings that reflect geometric complexity. 

Key Influences and Legacy

• Synthesis of Cultures: Moorish art synthesizes pre-Islamic Roman, Byzantine, and Visigothic techniques with Islamic artistic currents from the Middle East, forming a unique “Western Islamic” style.
• Mudéjar Style: After the Christian Reconquista, Muslim craftsmen (Mudéjares) continued working for Christian patrons, blending Islamic decorative arts with Romanesque, Gothic, and Renaissance styles.
• Moorish Revival (Neo-Moorish): In the 19th century, the style was revitalized in Europe and America, often used for synagogues, theaters (e.g., in London), and cultural buildings.
• Gardens and Spacial Design: Introduction of the Riad (courtyard garden with a four-part division) and the focus on interior spaces over exteriors, as seen in the Alhambra, influenced Mediterranean landscape and interior design.
• Ornamentation Manuals: 19th-century publications, such as Owen Jones’ The Grammar of Ornament (1856), used Moorish designs to influence commercial design, architecture, and interior design. 

Influences on Specific Regions

• Spain & Portugal: The influence is deep-seated, evident in the Mezquita-Catedral in Córdoba, the Alhambra in Granada, and the Alcázar of Seville.
• Latin America: Spanish explorers brought the Mudéjar style to the New World, visible in colonial churches with ornate wooden ceilings (armadura) and tilework, such as in Mexico and Bolivia.
• North Africa: The Hispano-Maghrebi style continues to be perpetuated in modern Morocco, Algeria, and Tunisia. … 

Geometry in Islamic art is beautiful because it combines mathematical precision with profound spiritual symbolism, creating mesmerizing patterns that reflect divine order, unity, and infinity. Utilizing simple tools like a compass and straight edge, these designs derived from circles and polygons represent ‘Tawhid’ (the oneness of God) and aniconic beauty, The infinite repetition of patterns suggests the infinite nature of Allah, while the central point from which patterns radiate symbolizes the oneness of God. Patterns are based on strict, underlying grids, reflecting a harmonious and orderly creation. This symmetry is believed to purify the mind and soul. The circle, a foundational element with no beginning or end, represents unity and is used to generate intricate, interlocking polygonal designs. To avoid idol worship, Islamic art focuses on abstract, repeating geometric patterns (tessellation) rather than human or animal figures, turning architecture into a spiritual experience. Geometry is a universal language that, through symmetry, evokes a sense of joy and awe, creating a visual bridge between the earthly and the divine.

Visual literacy in Moorish art is the ability to interpret the complex visual language of Islamic art in Al-Andalus, focusing on geometry, calligraphy, and stylized nature (arabesque) rather than human figures. It involves “reading” intricate patterns, such as tessellated tiles (zellige) and plasterwork, to understand the mathematical, theological, and cultural context of the era. 

Key components of visual literacy in Moorish art include:

• Aniconism: Understanding the intentional absence of human or animal forms in religious art to emphasize the oneness of God, a central tenet of the culture.
• Geometric Precision: Recognizing that geometric patterns are not merely decorative but express the order, logic, and scientific (mathematical) knowledge of the Islamic world.
• The Arabesque & Epigraphy: Interpreting the continuous, intertwining foliate designs (arabesque) and the extensive use of Arabic calligraphy (epigraphy), such as Kufic script, which often includes verses from the Quran or poetic phrases.
• Contextual Symbolism: Understanding that the art often represents paradise, with frequent use of water scenes, gardens, and light to create a spiritual atmosphere.
• Materiality: Engaging with the specialized techniques of stucco (plaster carving), wood carving, and ceramics. 

This skill set allows viewers to decode the artistic expression of 8th–15th century Muslim Spain, where artistic, social, and spiritual meanings are interwoven.’

For a robust analysis by Professor Pape of Chicago University (https://lnkd.in/ebxBtNhC), of the far reaching ‘geopolitical’ consequences of Trump’s ‘Genocidal Statement’ on Tuesday, see – https://lnkd.in/eP2quiYF.

Extract from the Transcript of the discussion with Professor Pape –

‘Trump [said] … tonight a great civilization is going to die.

That is going to leave a permanent or at least a very long-term mark on our geopolitics.

We need to understand that no president in the history of the United States has made a statement threatening to erase, destroy, kill an entire civilization.

Point number one, that is the evidence of genocidal intent that’s required in the Geneva Accords to convict for genocide.

We need to understand that the genocide accords that we have [are] about the intent to commit genocide.

Usually, that’s the hardest thing to find.

It’s not the killing of people, it’s the intent.

Well, President Trump, I don’t think there could be a clearer evidence of genocidal intent than you just saw.

Number two, President Trump is one of only a handful of people on the planet with enough nuclear weapons [to] be able to actually execute that threat. …

So I’m sorry to be so blunt but we need to really understand that what Donald Trump has done here is immoral.

It it is very likely I’m not a lawyer very likely to contradict the Geneva Accords.

But it’s also dangerous because now every American is marked here and this will be wherever we travel in the world.

This is not trivial. …

So this is really an enormously consequential move by President Trump and it will do no good that he will somehow maybe take it back or his supporters will say it’s just Trump being Trump. No, I’m sorry, not everybody who’s a drunk at a bar has their finger on thousands of nuclear weapons that can be delivered within a matter of an hour or less as I’m explaining in detail.

This is way too consequential and this will have tremendous ripple effects across the world.’ …

As a result of Trump’s ‘Genocidal Statement’:

1. Will the 25th Amendment be invoked or will Trump be impeached?

2. Which members of the US Congress are now likely to hitch their wagon to Trump in the run-up to the mid-term elections?, i.e. by endorsing or excusing Trump’s stated intention to commit a Genocide against over 94 million people.

3. Is Trump therefore already in effect, a lame duck President? – In other words has Trump already lost his Presidency?

4. Which allies of the US will risk, in the eye’s of the world, becoming tarnished by the same brush? – i.e. will America’s allies now diplomatically distance themselves as far as they can from Trump’s Administration?

If Trump is politically finished, then why would they support him?

So, geopolitically, the consequences of Trump’s words appear to be catastrophic for America’s place in the world order, i.e. for the ‘global balance of power’.

Please note that this post in written solely in my capacity as a graduate of one of the UK’s top schools of Political Science, and not in any professional capacity whatsoever, as either a legal practitioner of mediator. My views are of course entirely my own.

Comments added:

• https://www.youtube.com/watch?v=jSlvZZ4wHkE
• https://www.youtube.com/watch?v=ybjc-eqVKOg
• https://www.youtube.com/watch?v=42engS5ykqA
• https://www.youtube.com/watch?v=jkytUg0mmPM
• https://www.youtube.com/watch?v=zB0SuxEf3RE
• Alex Krainer: Iran CLOSES Strait of Hormuz Again – Trump’s Lebanon Position SLAMMED – YouTube – The ultimate incentive and cause of the war.

• Democrats introduce impeachment articles against Trump and Hegseth as nearly 100 lawmakers call for 25th Amendment | The Independent
• Overview of Twenty-Fifth Amendment, Presidential Vacancy and Disability | Constitution Annotated | Congress.gov | Library of Congress
• https://www.express.co.uk/news/world/2191790/trump-live-iran-war-bombshell
• Scott Ritter & Larry Johnson: Iran Retaliates, Hormuz CLOSED – Israel ENDS Trump Ceasefire
• AI (10.04.2026) – ‘The “America First” coalition has seen internal dissent following Trump’s threats to “eradicate” or destroy Iranian civilization, with some prominent figures breaking with him.
  
  Prominent right-wing figures, including Candace Owens, have called for his removal, referring to him as a “genocidal lunatic”.
  
  Media personalities like Tucker Carlson and Alex Jones have voiced criticism, with Jones describing the rhetoric as the “definition of genocide” and vowing to oppose him, while others in the MAGA media sphere have hit their “breaking point”.
  
  Following an April 2026 “apocalyptic” threat against Iran, a wave of Democratic lawmakers called for the immediate invocation of the 25th Amendment, calling the president “unhinged,” “deranged,” and a “bloodthirsty lunatic”.
  
  The specific language used by Trump, particularly threats to destroy “a whole civilization,” has led to widespread condemnation from lawmakers who argue it constitutes a threat of genocide.
  
  The political divide over the war with Iran has created intense, unpredictable conditions for the upcoming 2026 midterms.
  
  The conflict has spurred discussions about the potential for long-term political consequences.’
• Alex Krainer: After the Iran War – A New Global Economy
• ‘No return to normal’: IMF warns of lasting economic damage from Iran war | Euronews

AI -(08.04.2026 at 16:40 GMT) – ‘Israel’s Prime Minister Benjamin Netanyahu stated that while Israel supports the truce with Iran, the ceasefire does not include Lebanon. This distinction has led to continued combat operations in Lebanese territory, which Iran has warned could cause them to withdraw from the broader agreement.

Although the waterway is technically “open,” normal commercial navigation hasn’t fully resumed. Many major firms, such as Maersk, remain cautious due to requirements that all transit must be coordinated with the Iranian military.’

The total costs to US taxpayers of only 37 days of war is estimated to exceed $42 Billion – see my comment below.

As a percentage of the total US annual GDP this = approximately 0.137%.
So, at this rate, if the war continues for another 12 months this will amount to around 1.5% of total US annual GDP.

Based upon this empirical evidence, Trump is not making any money for the US, he is burning the total US GDP, on the bonfire of an illegal war of aggression.

AI – ‘Total U.S. health expenditure is consistently the highest in the world, with national health spending reaching roughly 18% of the U.S. Gross Domestic Product (GDP) as of 2024.’

1.5 as a fraction of 18 equates to around around 8% of total U.S. health expenditure.

That is what the money could be spent on funding instead of war.

So, why has no mainstream journalist explained these basic economic facts to the American people?

Meanwhile, Israel is carrying out the random mass murder of civilians across Lebanon, i.e. atrocities.

This is Ethnic Cleansing!

Comments added:

• https://www.aljazeera.com/news/liveblog/2026/4/8/iran-war-live-trump-announces-truce-tehran-agrees-safe-transit-in-hormuz
• https://www.theguardian.com/world/live/2026/apr/08/iran-war-ceasefire-live-updates-trump-deadline-middle-east-crisis-latest-news?page=with:block-69d670c78f0897d3ad16a9d4
• https://www.youtube.com/watch?v=AdcAHhXgtgE
• https://www.youtube.com/watch?v=82bKfWICwVs
•  
• (edited)58m

This is not a ‘real’ and ‘genuine’ ceasefire. The Strait of Hormuz has now been closed because of Israel’s breach of the ceasefire – AI (08.04.2026 at 17:05) –
‘Strait Closure: Iranian state-affiliated media (Fars News) reports that while two tankers were allowed to pass earlier today following the initial truce, all further tanker traffic has been halted in response to the escalation in Lebanon.
Ultimatum on “All Fronts”: Ibrahim Rezaei, spokesman for Iran’s National Security Committee, issued a stark warning: “Either there is a ceasefire on all fronts, or there is no ceasefire on any front”.
Potential Withdrawal from Truce: A security source told Tasnim News Agency that Iran is considering a formal withdrawal from the ceasefire agreement if Israel’s strikes on Lebanon persist.
Threats of Retaliation: Iranian officials have warned that their “hands are on the trigger” and that they are identifying Israeli military targets for a “punishment” strike in response to the ceasefire violations.’
The missile barrages are predicted to start again in two hours time.

https://www.middleeasteye.net/news/democratic-lawmakers-call-remove-trump-after-civilization-will-die-threat-iran

• https://www.youtube.com/watch?v=AT_IVGLfaI4
• https://www.cnbc.com/2026/04/07/25th-amendment-trump-removal-iran-war.html?msockid=3ddda223d68e684c3ea1b516d7376931
• https://www.middleeasteye.net/news/israel-launches-massive-wave-strikes-across-lebanon-iran-ceasefire
• The cumulative cost of Trump’s war to US taxpayers is staggering.
  
  AI (08.04.2026) – ‘Total military spending for the operation was estimated at over $42 billion within the first 37 days. …
  
  At least four McDonnell Douglas F-15E Strike Eagles have been destroyed, including three lost in a single friendly-fire incident with Kuwaiti air defences. Modern variants of these jets cost approximately $90 million each.
  
  A high-value Boeing E-3G Sentry (AWACS) surveillance aircraft, valued at roughly $500 million, was destroyed …
  
  With a unit cost of approximately $30 million, these drone losses alone account for nearly $450–$570 million. …
  
  Four AN/TPY-2 radar components for the THAAD missile defense system were damaged, with an estimated value of $2 billion.
  
  An early-warning radar at Al-Udeid Air Base in Qatar, valued at $1.1 billion, was also struck.
  
  Some reports suggest the war is costing the US nearly $1 billion to $2 billion per day in total operational expenses.’
  
  So, based upon the empirical evidence, Trump is not making any money for the US, he is burning the total US GDP, on the bonfire of an illegal war of aggression.
  
  Why has no mainstream journalist explained this to the American people?
• https://www.youtube.com/watch?v=fFMwcanjO9s
• This Ceasefire Won’t Lead to Peace /Lt Col Daniel Davis
• U.S.-Iran Ceasefire Hangs in the Balance Amid Israeli Assault on Lebanon | Ep. 54
• Israel DESTROYS ‘sefire’

Last night Trump stated an intention to commit ‘War Crimes’ which may also amount to ‘Crimes against Humanity’, on an unprecedented scale since World War 2.

Direct and public incitement to commit genocide is a specific crime under international law, punishable even if the genocide never occurs.

A leader or commander stating an intention to commit war crimes can be used as evidence of a ‘plan or policy’ to commit such crimes, which is a key element in prosecuting crimes against humanity.

Constitutionally, there is no direct, established emergency injunctive procedure in the US judicial system that allows a court to immediately declare that a President’s military orders constitute ‘war crimes’ or ‘crimes against humanity, and subsequently halt them.

While US law includes mechanisms for addressing potential crimes, the separation of powers and the doctrine of Presidential Immunity create severe hurdles for such a declaration.

Under the Supreme Court ruling in Trump v. United States (2024), sitting and former presidents enjoy absolute immunity from criminal prosecution for official acts, which broadly covers actions taken as commander-in-chief, such as ordering military strikes.

US courts typically view decisions regarding military deployment and foreign policy as ‘political questions’ meant for the legislative and executive branches, not the judiciary.

The president is considered the ‘sole organ’ of the nation in foreign affairs, giving them broad discretion over the armed forces.

While no simple injunction procedure exists, there are limited, unconventional legal and political channels that may be used:

(i) ‘The Uniform Code of Military Justice (UCMJ)’ – Members of the Armed Forces have a duty to disobey unlawful orders. If a military commander refuses an order, it could trigger a court-martial, where the legality of the order would be argued.

(ii) ‘Impeachment’ – Congress has the power to impeach a president for ‘high crimes and misdemeanors,’ which could include war crimes.

(iii) ‘War Powers Resolution of 1973’ – This act provides a legal framework for Congress to force the withdrawal of armed forces if military action is taken without congressional authorization.

(iv) ‘Civilian Lawsuits/Alien Tort Statute’ – In rare instances, individuals have attempted to file lawsuits for violations of international law, but these rarely succeed against the executive branch.

The US is not a party to the Rome Statute of the International Criminal Court (ICC), meaning the ICC cannot typically prosecute US leaders for actions within the US.

Furthermore, US law (the Hague Invasion Act of 2002) explicitly authorizes the President to use ‘all means necessary and appropriate’ to free any U.S. personnel detained by the ICC, further insulating the Executive from international war crimes charges.

Comments added:

• The mainstream media do not appear to have grasped that today the world is on the edge of potentially the biggest crisis since the Cuban Missile Crisis. Everything in the news appears to be normal. It is not!
• Legal experts and international bodies like the International Committee of the Red Cross (ICRC) have recently warned that mass threats against Iran’s infrastructure, such as those described as “bringing them back to the Stone Age”, would flout modern rules of warfare and constitute clear violations of international law. In 2024, the ICC issued arrest warrants for Russian officials for similar ‘widespread attacks on Ukraine’s power infrastructure,’ setting a recent legal precedent.
• The Geneva Conventions and their Additional Protocols mandate that parties to a conflict distinguish between civilian objects and military objectives. Most bridges and power stations are primarily civilian. To be a lawful target, an object must make an ‘effective contribution to military action’ and its destruction must offer a ‘definite military advantage’. A blanket order to destroy all such facilities fails this case-by-case test. International law prohibits attacking objects ‘indispensable to the survival of the civilian population,’ such as electricity needed for water pumping, healthcare, and food storage. The Rome Statute of the International Criminal Court (ICC) defines ‘extensive destruction of property, not justified by military necessity and carried out unlawfully and wantonly’ as a war crime. If the destruction is part of a ‘widespread or systematic attack directed against any civilian population,’ it may qualify as a Crime Against Humanity under the Rome Statute. If the total destruction of infrastructure is calculated to bring about the physical destruction of part of the population (e.g., through starvation or lack of medical care), it could meet the threshold for extermination.

• Tom Fletcher (Former UK Ambassador/UN Humanitarian Chief) warned that hitting civilian infrastructure like bridges and power plants constitutes ‘war crimes’ under international law, stating such targets are ‘not negotiable’.
• Dame Emily Thornberry, chair of the UK Foreign Affairs Committee, also condemned the threats, stating that bombing such infrastructure would be ‘unlawful under the Geneva Convention’.

• Following Trump’s Easter Sunday and Monday (6 April 2026) statements, in which he claimed a plan exists to decimate all of Iran’s civilian infrastructure if the Strait of Hormuz is not reopened by a Tuesday night deadline, high-ranking Democrats have labeled these potential actions as ‘war crimes’.
  
  Senator Chuck Schumer (Senate Democratic Leader) condemned the threats on social media, describing the president as ‘ranting like an unhinged madman’ and accusing him of ‘threatening possible war crimes’.
  
  Representative Adam Smith (House Armed Services Committee) described the escalation as ‘utterly disastrous’ in a televised interview.
  
  Senator Tim Kaine (D-Va.) questioned the legality of the administration’s actions and noted that he had already scheduled a war powers resolution for a vote to prevent an “illegal war” without congressional approval.
  
  Representatives Greg Stanton (D-Ariz.) and Shahana Hanif (D-NY) both criticized the president’s mental state and rhetoric, with Hanif suggesting the 25th Amendment should be invoked.
  
  Conversely, Representative Rick Crawford, Chairman of the House Intelligence Committee, supported Trump’s ‘backbone’ and resolve, stating he would not be dissuaded.
• Note also that International law recognizes ‘inchoate’ crimes i.e. acts committed in preparation for a crime, such as solicitation or incitement, which can be punished even if the final crime (e.g., killing civilians) is not carried out.
  
  Direct, public incitement to commit serious violations of Humanitarian Law is also forbidden.
  
  So any Politicians who could be prosecuted by the ICC in the Hague, needs to be careful about what they say, and omit to say, because turning a ‘Nelsonian Blind Eye’ can in certain circumstances, amount to complicity.
  
  So, let’s now see which political and military leaders will openly and unequivocally condemn Tump’s words.
  
  As I have mentioned, in certain circumstances, ‘silence’ may legally amount to ‘acquiescence’, and weight will be attached in any Trial, as to whether any such condemnation may may influenced Trump’s final decision about whether to commit ‘War Crimes’ and Crimes which may amount to ‘Crimes against Humanity’.
  
  There is not much time, because Trump’s deadline expires at 8 pm Eastern Time today, Tuesday, 7 April 2026, which in the UK is 1 am GMT.
• The deadline expires in 14 hours and 30 minutes, so I am not sure that the effect would be sufficient to somehow discourage Trump from carrying out his threat. If this terrible military creature that Trump has set in motion now has its own momentum, then it may be unstoppable, because just as litigation can take on a life of its own, Trump’s plans may now have a life of their own, and be beyond his control to stop. Since Hekseth as repeatedly and publicly declared that US Armed Forces should show ‘no quarter’, I fear that orders to commit War Crimes and Crimes which may also amount to Crimes against Humanity will be carried out.
• Lawrence: Trump’s profane and perverse Iran social media post is why the 25th Amendment was written
• https://www.youtube.com/watch?v=OfBnf0Orec8
• Is the Iranian War About to Become Apocalyptic? (w/ Trita Parsi) | The Chris Hedges Report
• John Helmer: Iran Just Did the Unthinkable – US & Israel Respond (Middle East on Fire)
• AMB Chas Freeman : Will Iran Get What It Wants? – YouTube
• ‘A whole civilization will die tonight’: Trump says on Iran’: ‘A whole civilization will die tonight’: Trump says on Iran
• Did Trump Just Threaten to Nuke Iran Tonight? /Lt Col Daniel Davis
• Prof. John Mearsheimer : What Will a Panicked Trump Do Now?
• Is the Iranian War About to Become Apocalyptic? (w/ Trita Parsi) | The Chris Hedges Report
• John Helmer: Iran Just Did the Unthinkable – US & Israel Respond (Middle East on Fire)
• AMB Chas Freeman : Will Iran Get What It Wants? – YouTube
• Seyed M. Marandi: Iran SLAMS Trump’s Ultimatum w/ COUNTER ULTIMATUM — War Headed DECIMATING Attacks
• Col Doug Macgregor: Iran’s Deadline Looms
• ‘It’s High Time To Stop!’: UN Destroys Trump For Threats To Iran Civilian Infra, Demands Peace Talks
• War crimes day – The Grayzone live
• “A Whole Civilisation WILL DIE Tonight” – Trump’s Genocidal Iran Threat

After I have completed the writing of my current book, which is about the ‘Mediation of Cultural Heritage Disputes’, I am planning to write one more book about Mediation entitled – ‘The Path of Dialogue.’

The current chapter structure is as follows:

1. Why we Fight.
2. The Price of Conflict v. Peace.
3. Benefits of Mediation.
4. Competing Narratives and Conflict Analysis – Who are the Parties and Stakeholders and What is at Stake?
5. Is Mediation possible and appropriate – Are the Parties and Stakeholders ready and willing to enter into a constructive dialogue?
6. Getting onto the Path – How does the Process of Mediation work in Multi-Dimensional International Disputes and Armed Conflicts?
7. Agendas, Building Trust and Negotiating in Good Faith.
8. Ethics and Ground Rules.
9. Planning and Preparation – What are the Dimensions of the Dispute.
10. Mediation Framework – What political architecture needs to be innovated, agreed and implemented, in order to end the dispute/conflict and bring about a lasting peace?
11. Joint-development of a Road-Map for Peace.
12. Mediator Tools.
13. Mediation Advocacy Tools.
14. Settlement and Treaties.

See the ‘Path of Dialogue’ page at www.carlislam.co.uk.

Meanwhile, wishing all readers of my posts on LinkedIn a Happy and Peaceful Easter.

I am working over Easter on my next book – the ‘Mediation of Cultural Heritage Disputes.’ These are International Disputes, see my Talk on YouTube:

https://lnkd.in/e-9KagXy

I am on track to complete the research reading I have been undertaking about Mediation in International Relations in six weeks time. I am currently reading the ‘Handbook Of Global And Multicultural Negotiation’ by Christopher W. Moore and Peter J. Woodrow.

After that stage of research has been completed, I will complete my reading of books and articles about Cultural Heritage. So, by mid-August I should be in a position to finalise the Chapter Structure and embark on putting pen to paper.

I estimate that writing process will take around three months. Meanwhile, to view the current Chapter Structure, please visit the ‘Mediation of Cultural Heritage Disputes’ page at www.carlislam.co.uk.

Comments added:

• ‘Dialogue is an approach for discussing issues and interests that is used in a wide variety of cultures. Where debate is often focused on winning, constructing a stronger argument, or scoring intellectual points, dialogue is orientated toward exploration, striving to understand, and, in some cases, discovering a shared reality. Dialogue is useful for discussing issues, gaining a better mutual understanding of them, and developing solutions that meet the needs and interests of all parties. Dialogue also can be aimed simply at developing better understanding and improving relationships or actually solving problems.’ (The ‘Handbook Of Global And Multicultural Negotiation’, by Christopher W. Moore and Peter J. Woodrow, at page 253).

Humanitarian Mediation provides a diplomatic offramp by using urgent, non-political concerns, such as the protection of civilians and delivery of aid, as a neutral starting point for dialogue when formal political channels have failed.

By focusing on ‘low-stakes’ humanitarian goals first, Mediators can build the minimal trust necessary to eventually transition toward broader peace

(i) ‘Confidence-Building Measures (CBMs)’ – Mediators facilitate small, tangible actions like prisoner swaps, humanitarian corridors, or temporary ceasefires for vaccinations. These acts ‘humanize’ the opposition and demonstrate that agreements can be reached and kept without either side losing face or territory.

(ii) ‘Neutral Communication Bridge’ – When direct contact is impossible, humanitarian actors such as the International Committee of the Red Cross, serve as a discreet, impartial link to convey messages. This allows parties to test compromise ideas away from public scrutiny.

(iii) ‘Decoupling Issues’ – It separates immediate survival needs from entrenched political or territorial demands. This ‘problem-solving’ approach allows leaders to de-escalate violence under the guise of ‘humanity’ rather than admitting military or political defeat.

(iv) ‘Legitimacy and Engagement’ – For non-state armed groups, engaging in humanitarian mediation can offer a sense of international legitimacy and a seat at a table, incentivizing them to move toward more formal diplomatic processes.

Humanitarian mediation often serves as Track II diplomacy, where informal talks between non-government experts or NGOs lay the groundwork for official Track I government negotiations. Organizations like the Centre for Humanitarian Dialogue explicitly use their humanitarian access to create space for broader political and security dialogue in hard-to-reach conflict zones.

While Humanitarian Mediation does not automatically end wars, it prevents total diplomatic stagnation and provides a ‘slip road’ off the path of escalation, allowing for the eventual reconstruction of the social fabric and durable peace.