I’ve just been reading and thinking about Lisa Parks‘s short but immensely suggestive essay, ‘Drones, Vertical Mediation, and the Targeted Class’, in Feminist Studies 42 (2016) 227-35. Lisa develops her ideas about vertical mediation but at the end of the essay she illustrates them through an art installation staged in Beirut last spring. This is what she says:
In an effort to publicize the drone’s vertical mediations—the way the technology uses the vertical field in efforts to materially reform life on earth—I collaborated with a group of Lebanese and Slovenian artists (Marc Abou Farhat, Tadej Fius, Elie Mouhanna, and Miha Vipotnik) to create a multimedia installation titled Spectral Configuration. The installation was part of the Vertical Collisions exhibition at the Station Art Gallery in Beirut in May 2015. The installation’s centerpiece is a massive, elevated, four-meter-long, supine human body, hand-crocheted out of thin aluminum wire. As it soars in mid-air, the wiry surface of this colossal corpse turns translucent as multiple media projections, made from video footage leaked from the US military-industrial complex, flicker around and upon it. These electromagnetic projections envelop the silvery drone-like body within the luminous footprint of world his- tory and militarization, cycling through a series of spectral suspects, framed targets, and aerial strikes that appear in visible light and infrared.
Circumnavigating the earth on an endless flight path, this “spectral configuration” not only captures and reflects light and heat waves, it remediates life on earth, altering one’s disposition to the sky, the ground, and the skin… To make Spectral Configuration, we used the same global information networks, geospatial images, and video-capture technologies utilized each day by US drone operators. The difference, however, was that we commandeered these devices to conceptualize and produce a form and an event that would question the militarization of the vertical field by enacting it on a micro-scale and trying to make its effects intelligible and palpable to publics beyond drone war. By staging the militarization of the vertical field in a country adjacent to, yet not subject to drone war (Lebanon), Spectral Configuration also spoke to the exploitation of borders and associative relations by US drone operators and aroused concerns about the usage of the technology in the region.