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In this intimate and innovative work, terror expert Joseba Zulaika examines drone warfare as manhunting carried out via satellite. Using Creech Air Force Base near Las Vegas as his center of study, he interviews drone operators as well as resisters to the war economy of the region to expose the layers of fantasy on which counterterrorism and its self-sustaining logic are grounded. Hellfire from Paradise Ranch exposes the terror and warfare of drone killings that dominate our modern military. It unveils the trauma drone operators experience, in part due to their visual intimacy with their victims, and explores the resistance to drone killings in the same apocalyptic Nevada desert where nuclear testing, pacifist militancy, and Shoshone tradition overlap. Stunning and absorbing, Zulaika offers a richly detailed account of how we continue to manufacture, deconstruct, and perpetuate terror.

Cover Page -- Title Page -- Copyright Page -- Table of Contents -- Acknowledgments -- Prologue -- Part One. Historical Representations: Introduction -- Chapter 1. History as Myth, Legend, and Devotion -- Chapter 2. History as War -- Chapter 3. History as Heroism -- Chapter 4. History as Tragedy -- Part Two. Baserri Society and Culture: Introduction -- Chapter 5. The Baserria: A Social and Economic Institution -- Chapter 6. Baserri Culture: Obsolescence and Symbolization -- Chapter 7. Baserri Cooperativism: Testing the Limits of Communal Ideas -- Gallery 1

In counterterrorism circles, the standard response to questions about the possibility of future attacks is the terse one-liner: "Not if, but when." This mantra supposedly conveys a realistic approach to the problem, but, as Joseba Zulaika argues in Terrorism, it functions as a self-fulfilling prophecy. By distorting reality to fit their own worldview, the architects of the War on Terror prompt the behavior they seek to prevent-a twisted logic that has already played out horrifically in Iraq. In short, Zulaika contends, counterterrorism has become pivotal in promoting terrorism. Exploring the b

El principio de Gregory Bateson de que "el mapa no es el territorio, y el nombre no es la cosa nombrada"** debe ser aplicado al terrorismo al igual que a todo sistema de comunicación humana. Entre el acto terrorista y su nombramiento/escritura se da un proceso de clasificación por el cual la realidad misma del acto queda transformada. El terrorismo actúa como catalizador que confunde categorías semánticas diversas entre lo real y lo fingido en marcos de comportamiento básicos como "guerra", "amenaza", "juego", o "ritual". La dinámica entre terrorismo y contraterrorismo está inmersa en este juego de confusiones semánticas entre mapa y territorio. La Cosa en sí kantiana de las acciones que se sitúan en el marco "esto es guerra" y "esto es juego" son categóricamente diferentes. La negación y constitución mutua de esta dinámica está en el centro mismo de la realidad del terrorismo. El artículo argumenta que una ontología y epistemología del terrorismo, para que sean válidas, deben tomar en cuenta el principio básico de las relaciones mapa/territorio (para lo cual una teoría del juego y la fantasía puede ser tan relevante como las teorías sobre la guerra); igualmente debe estudiar los aspectos mitológicos de la figura del terrorista basados en parte en la fantasía. Lejos de equiparar la fantasía con lo "noreal", para la teoría sicoanalítica la fantasía constituye una dimensión básica de la realidad subjetiva. La manipulación del eje del tiempo (esperando el terror futuro, la teoría militar de la prevención) es otra clave importante para estudiar la ontología del terrorismo. Finalmente hay que tener presente la arista entre terrorismo/contraterrorismo como la realidad decisiva que simultáneamente estigmatiza y constituye ambas superficies antagónicas ; The paper argues that the principle that "the map is not the territory, and the name is not the thing named"**, essential to any system of human communication, must be applied to terrorism as well. In between the terrorist act and its naming/writing there is a process of classification by which reality itself is transformed. Terrorism acts as a catalyst to confuse various semantic categories between the factual and the feigned, the real and the bluff, in basic performance frames such as "war," "threat," "play," or "ritual." The dialectics between terrorism and counterterrorism is plagued with such confusions between map and territory. The Thing itself of the events situated in the frame "this is war" and "this is play" are categorically different. The mutual denial and mutual constitution of such dialectics is at the center of the reality of terrorism. It is argued that a valid ontology and epistemology of terrorism must take into account the basic principle of the map/territory relations (for which a theory of play and fantasy might be as relevant as theories of war); furthermore, it must analyze the mythological aspects of the figure of the Terrorist. Far from comparing fantasy with the "non real", for the psychoanalytic theory, fantasy represents a basic dimension of the subjective reality. The manipulation of the time axis (waiting for the future terror, the military theory of prevention) is another important key to the study of the ontology of terrorism. Eventually, there is also to be considered the edge between terrorism/ counterterrorism the decisive reality simultaneously stigmatizes and constitutes both antagonistic surfaces

What kind of theories can provide us an understanding of the transformations experienced by cities, cultures and mentalities, and of the processes of ruination and conversion/deconversion the necessarily provoke? While providing the urban context for the spectacular Guggenheim Museum franchise, the ruins of post industrial Bilbao can be taken as alegories of other genernational deconversions in the fields of culture, politics, theory, autobiography and writing. The paper presents a theory of ruins in transformational terms. ; ¿Qué tipo de teorías pueden dar cuenta de las trasformaciones actuales de ciudades, culturas y mentalidades, y de los procesos de arruinamiento y conversión/deconversión que necesariamente provocan? Al mismo tiempo que proveen el contexto urbano para la espectacular franquicia del museo Guggenheim, las ruinas del Bilbao postindustrial pueden ser tomadas como alegorías de otras deconversiones generacionales en el mundo de la cultura, la religión, la política, lo teórico, lo autobiográfico y la escritura. El autor propone y reconfigura una teoría de las ruinas en términos transformacionales.

Jeff Koons's installation, Puppy, symbolizes the move from modernism to postmodernism in contemporary Basque culture. It constitutes a break from the modernist aesthetics of artists such as Jorge Oteiza and Eduardo Chillida. The article argues that Puppy can only be understood from
an ironic perspective. The subversive potential of irony in Basque culture is contextualized in this article.