by Carl Islam, LLM (Exon)(International Business Legal Studies), Diploma in Art Law (Institute of Art & Law) (London), Barrister & CMC Registered Mediator – Contentious Probate & Cultural Heritage Disputes – 1 EC Barristers, Temple, London.
AI – ‘Moorish art is deeply layered with symbolic, mystical, and mathematical messages that often require specific cultural or spiritual knowledge to fully decode.
irfanqureshi.art +2
Because Islamic tradition generally discourages the depiction of human or animal forms to avoid idolatry, Moorish artists developed a highly sophisticated visual language using abstraction.
Study.com +1📐
Mathematical PrecisionMathematics in Moorish art is not merely a tool but a spiritual language.
LinkedIn
Geometry as Unity: The circle is the primordial symbol of unity and the source of all diversity.
Infinite Patterns: Repeating geometric motifs (tessellations) represent the infinite nature of God.
Symbolic Shapes:
8-Pointed Star (Rub-el-Hizb): Formed by two overlapping squares, it represents hope and the Islamic faith.
Stars: Often symbolise divine light and guidance.
Polygons: Squares, hexagons, and octagons represent balance and stability. Art of Islamic Pattern +4
✨ Mystical & Symbolic LayersMoorish architecture is often described as a “meditation in stone” where every element holds a deeper meaning.
The Invisible World: Art serves as a “mirror of the invisible world,” shifting focus from outward material appearances to inner spiritual realities.
Paradise on Earth: Courtyards, riad gardens, and fountains are designed to evoke the Quranic descriptions of paradise, using water as a symbol of life and purification.
Muqarnas (Stalactite Vaulting): These complex 3D decorations symbolize cosmic order and the fragmentation of the material world into divine unity. Bayt Al Fann +4
📜 “Decoding” the Written WordCalligraphy is considered the highest form of Moorish art because it communicates the literal Word of God.
YouTube +1
Legible Universe: Buildings were designed to be “read” as much as seen, with walls adorned in Quranic verses and lyrical poetry.
Kufic Script: This angular, early script was often stylized into floriated (flower-like) designs, blending the word of God with the beauty of nature.
Hidden Messages: Beyond religious texts, inscriptions sometimes included political propaganda or praises for the ruler, woven seamlessly into the decoration. www.archiol.com +4′
International Cultural Heritage Disputes involve multiple parties and stakeholders.
In face-to-face negotiation, the processes of:
(i) ‘creating value’ – i.e. ‘expanding the pie’; and
(ii) ‘claiming value’ – i.e. ‘dividing the pie’, are inextricably linked.
Consequently, each party in dispute will perceive the other’s objective as being the claiming of maximum potential value.
So, from the start, ‘negotiation’ is perceived as being a ‘zero-sum’ game.
This results in competitive individual moves to ‘claim value’ which drive out ‘cooperative moves’ to ‘create value’ for the mutual benefit of the parties.
This is known as the ‘Negotiator’s Dilemma,’ and results in poor agreements, deadlock and conflict spirals.
Q. – So how can these two ‘processes’ be separated in Mediation in order to avoid an adverse outcome?
Answer – The Mediator and Participants need to ‘design’ a ‘process’ which can lead to the ‘collective acceptance’ of a mutually beneficial ‘formula’ for resolving these issues, and managing the ‘tension’ between ‘cooperative ‘moves to ‘create value’; and ’competitive’ ones to ‘claim’ it.
In the Mediation of a multi-party International Dispute, a three-pronged Mediator strategy which enables this is:
(i) ‘Create value’ by inventing a ‘process’ to emphasize ‘new information’ and ‘understanding’.
(ii) ‘Create value’ by fostering development of a mutually advantageous ‘formula’ in substance.
(iii) Manage the ‘creating/claiming tension’ in the process by building ‘consensus’ around this ‘formula.’
This is all about ‘structuring’.
So, in order to optimize the Mediation process from the outset, ‘Structuring’ – i.e. a mutually beneficial and acceptable ‘formula’ or ‘framework’ for Mediated talks, needs to be discussed, explored, developed and agreed before Day 1.
Where Participants are located in different time zones, this can be achieved using online pre-mediation meetings, e.g. by Zoom/TEAMS.
As far as I am aware this approach is not taught on Mediation courses in the UK, and is anathema to certain Schools of Mediation.
However, to me the benefits of holding pre-mediation meetings in order to devise a ‘Formula’ based upon ‘Structuring’, is obvious.
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
‘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
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.
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.’
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 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.
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?
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.
