Re-launch and Rescue

The much-missed Radical Philosophy has just re-launched as an open access journal with downloadable pdfs here.  The site also includes access to the journal’s wonderful archive.

Among the riches on offer, I’ve been particularly engaged by Martina Tazzioli‘s Crimes of solidarity. which picks up on one of the central themes in the last of the ‘old’ RP series.  It addresses what she calls ‘migration and containment through rescue’, the creeping criminalisation of the rescue of migrants in the Mediterranean.  In a perceptive section on ‘Geographies of Ungrievability’ Martina writes:

The criminalisation of alliances and initiatives in support of migrants’ transit should not lead us to imagine a stark opposition between ‘good humanitarians’, on the one side, and bad military actors or national authorities, on the other. On the contrary, it is important to keep in mind the many entanglements between military and humanitarian measures, as well as the role played by military actors, such as the Navy, in performing tasks like rescuing migrants at sea that could fall under the category of what Cuttitta terms ‘military-humanitarianism’. Moreover, the Code of Conduct enforced by the Italian government actually strengthens the divide between ‘good’ NGOs and ‘treacherous’ humanitarian actors. Thus, far from building a cohesive front, the obligation to sign the Code of Conduct produced a split among those NGOs involved in search and rescue operations.

In the meantime, the figure of the refugee at sea has arguably faded away: sea rescue operations are in fact currently deployed with the twofold task of not letting migrants drown and of fighting smugglers, which de facto entails undermining the only effective channels of sea passage for migrants across the Mediterranean. From a military-humanitarian approach that, under Mare Nostrum, considered refugees at sea as shipwrecked lives, the unconditionality of rescue is now subjected to the aim of dismantling the migrants’ logistics of crossing. At the same time, the migrant drowning at sea is ultimately not seen any longer as a refugee, i.e. as a subject of rights who is seeking protection, but as a life to be rescued in the technical sense of being fished out of the sea. In other words, the migrant at sea is the subject who eventually needs to be rescued, but not thereby placed into safety by granting them protection and refuge in Europe. What happens ‘after landing’ is something not considered within the framework of a biopolitics of rescuing and of letting drown. Indeed, the latter is not only about saving (or not saving) migrants at sea, but also, in a more proactive way, about aiming at human targets. In manhunting, Gregoire Chamayou explains, ‘the combat zone tends to be reduced to the body of the enemy’. Yet who is the human target of migrant hunts in the Mediterranean? It is not only the migrant in distress at sea, who in fact is rescued and captured at the same time; rather, migrants and smugglers are both considered the ‘prey’ of contemporary military-humanitarianism.

As I’ve explained in a different context, I’m no longer persuaded by Grégoire’s argument about the reduction of the conflict zone (‘battlefield’) to the body, but the reduction of the migrant to a body adds a different dimension to that discussion.

In the case of the eastern Mediterranean, Martina describes an extraordinary (though also all too ordinary) ‘spatial rerouting of military-humanitarianism, in which migrants [fleeing Libya] are paradoxically rescued to Libya’:

Rather than vanishing from the Mediterranean scene, the politics of rescue, conceived in terms of not letting people die, has been reshaped as a technique of capture. At the same time, the geographic orientation of humanitarianism has been inverted: migrants are ‘saved’ and dropped in Libya. Despite the fact that various journalistic investigations and UN reports have shown that after being intercepted, rescued and taken back to Libya, migrants are kept in detention in abysmal conditions and are blackmailed by smugglers, the public discussion remains substantially polarised around the questions of deaths at sea. Should migrants be saved unconditionally? Or, should rescue be secondary to measures against smugglers and balanced against the risk of ‘migrant invasion’? A hierarchy of the spaces of death and confinement is in part determined by the criterion of geographical proximity, which contributes to the sidelining of mechanisms of exploitation and of a politics of letting die that takes place beyond the geopolitical borders of Europe. The biopolitical hold over migrants becomes apparent at sea: practices of solidarity are transformed into a relationship between rescuers and drowned.

There’s much more in this clear, compelling and incisive read.  A good companion is Forensic Architecture‘s stunning analysis of ‘Death by Rescue’ in The Left-to-Die Boat here and here (from which I’ve taken the image that heads this post).

Attachments to War

And in lockstep with my last post and my continuing interest in the prosthetics of military violence…   A new book from Jennifer Terry, Attachments to War: biomedical logics and violence in twenty-first century America, also due from Duke University Press in November:

In Attachments to War Jennifer Terry traces how biomedical logics entangle Americans in a perpetual state of war. Focusing on the Afghanistan and Iraq wars between 2002 and 2014, Terry identifies the presence of a biomedicine-war nexus in which new forms of wounding provoke the continual development of complex treatment, rehabilitation, and prosthetic technologies. At the same time, the U.S. military rationalizes violence and military occupation as necessary conditions for advancing medical knowledge and saving lives. Terry examines the treatment of war-generated polytrauma, postinjury bionic prosthetics design, and the development of defenses against infectious pathogens, showing how the interdependence between war and biomedicine is interwoven with neoliberal ideals of freedom, democracy, and prosperity. She also outlines the ways in which military-sponsored biomedicine relies on racialized logics that devalue the lives of Afghan and Iraqi citizens and U.S. veterans of color. Uncovering the mechanisms that attach all Americans to war and highlighting their embeddedness and institutionalization in everyday life via the government, media, biotechnology, finance, and higher education, Terry helps lay the foundation for a more meaningful opposition to war.

Contents:

Introduction
1. The Biomedicine-War Nexus
2. Promises of Polytrauma: On Regenerative Medicine
3. We Can Enhance You: On Bionic Prosthetics
4. Pathogenic Threats: On Pharmaceutical War Profiteering
Epilogue

And here is the (equally brilliant) Laleh Khalili:

This brilliant book is a thoughtful and profoundly original study of how war becomes an object of attachment and support in the United States. Jennifer Terry’s discussion of wounding, injury, trauma, and prosthetics is one of the most fascinating, moving, and intensely generative studies I have read about how war is normalized, made everyday, and embedded in practices and beliefs and affect(ion)s of ordinary folks.

You can read the Introduction over at Catalyst: feminism, theory, technoscience here, and watch presentations on ‘Militarization, medicalization, responsibility’ (from 2015) by Jennifer and Nadia Abu el-Haj on You Tube here.

The Right to Maim

Following all too closely on the heels of my last post, a new book from Jasbir Puar, out from Duke University Press in November: The Right to Maim: debility, capacity, disability:

In The Right to Maim Jasbir K. Puar brings her pathbreaking work on the liberal state, sexuality, and biopolitics to bear on our understanding of disability. Drawing on a stunning array of theoretical and methodological frameworks, Puar uses the concept of “debility”—bodily injury and social exclusion brought on by economic and political factors—to disrupt the category of disability. She shows how debility, disability, and capacity together constitute an assemblage that states use to control populations. Puar’s analysis culminates in an interrogation of Israel’s policies toward Palestine, in which she outlines how Israel brings Palestinians into biopolitical being by designating them available for injury. Supplementing its right to kill with what Puar calls the right to maim, the Israeli state relies on liberal frameworks of disability to obscure and enable the mass debilitation of Palestinian bodies. Tracing disability’s interaction with debility and capacity, Puar offers a brilliant rethinking of Foucauldian biopolitics while showing how disability functions at the intersection of imperialism and racialized capital.

Contents:

Introduction: The Cost of Getting Better
1. Bodies with New Organs: Becoming Trans, Becoming Disabled
2. Crip Nationalism: From Narrative Prosthesis to Disaster Capitalism
3. Disabled Diaspora, Rehabilitating State: The Queer Politics of Reproduction in Palestine/Israel
4. “Will Not Let Die”: Debilitation and Inhuman Biopolitics in Palestine  1
Postscript: Treatment without Checkpoints

Here are three pre-publication reviews, first from Elizabeth Povinelli:

In signature style, Jasbir K. Puar takes readers across multiple social and textual terrains in order to demonstrate the paradoxical embrace of the politics of disability in liberal biopolitics. Puar argues that even as liberalism expands its care for the disabled, it increasingly debilitates workers, subalterns, and others who find themselves at the wrong end of neoliberalism. Rather than simply celebrating the progressive politics of disability, trans identity, and gay youth health movements, The Right to Maim shows how each is a complex interchange of the volatile politics of precarity in contemporary biopower.

Paul Amar:

Jasbir K. Puar’s must-read book The Right to Maim revolutionizes the study of twenty-first-century war and biomedicine, offering a searingly impressive reconceptualization of disability, trans, and queer politics. Bringing together Middle East Studies and American Studies, global political economy and gendered conflict studies, this book’s exciting power is its revelation of the incipient hegemony of maiming regimes. Puar’s shattering conclusions draw upon rigorous and systematic empirical analysis, ultimately offering an enthralling vision for how to disarticulate disability politics from this maiming regime’s dark power.

And Judith Butler:

Jasbir K. Puar’s latest book offers us a new vocabulary for understanding disability, debility, and capacity, three terms that anchor a sharp and provocative analysis of biopolitics of neoliberalism, police power, and militarization. Gaining recognition for disability within terms that instrumentalize and efface its meanings carries a great risk. So too does opting out of discourse altogether. Puar references a wide range of scholarly and activist resources to show how maiming becomes a deliberate goal in the continuing war on Palestine, and how the powers of whiteness deflect from the demographics of disability and ability. Lastly, her deft understanding of how the attribution of ‘capacity’ can work for and against people in precarious positions will prove crucial for a wiser and more radical struggle for justice.

If you can’t wait until November, you can get a taste of Jasbir’s arguments in her essay for borderlands 14 (1) (2015) ‘The ‘Right’ to Maim: Disablement and Inhumanist Biopolitics in Palestine‘ available as an open access pdf here.  I’ve been attending closely to Jasbir’s vital arguments as I re-think the sketches I made in Meatspace? and The prosthetics of Military Violence: more soon.

Death and the Contemporary

The latest (double) issue of New Formations (89/90: 2017) is devoted to ‘Death and the Contemporary’, and it includes two essays likely to be of particular interest to readers of this blog.

First, François Debrix, ‘Horror beyond Death: Geopolitics and the pulverisation of the human‘:

From territorial conquests or wars of attrition to the concentration camps or policies of control of displaced populations, the biopolitical capture of human life in configurations of geopolitical power has often involved the putting to death of populations. While, following Foucault’s work, we can argue that late modern political power has been concerned with the management of people’s lives or with the ‘health’ of a population, this capacity to ‘make live and let die’ (as Foucault put it) is never separate from a modality of force premised upon a right to put to death. Thus, the distinction between biopolitics and what has been called thanatopolitics or necropolitics can no longer be guaranteed. The goal of this essay is to push further the biopolitical/ necropolitical argument by showing that, in key contemporary instances of geopolitical violence and destruction, the life and/or death of populations and individual bodies is not a primary concern. What is of concern, rather, is what I have called the pulverization of the human. I consider this targeting of the human, or of humanity itself, to be a matter of horror. Horror’s aim, when it enters the domain of geopolitical destruction, appears to be to put bodies to death. But, more crucially, its aim is to render human bodies, beyond the fact of life and death, unrecognizable, unidentifiable, and sometimes undistinguishable from non-human matter. Horror does not care to recompose human life or humanity. This essay briefly details the argument about horror and horror’s ‘objectives’ beyond death. It also takes issue with recent theories that have argued that traces of human life can be recovered from contemporary instances of geopolitical violence and destruction. Finally, this essay offers two contemporary illustrations of horror’s targeting of the human by examining the role and place of horror in suicide bombings and in drone attacks.

Second, Andrea Brady, ‘Drone poetics‘:

‘Drone Poetics’ considers the challenge to the theory and practice of the lyric of the development of drone warfare. It argues that modernist writing has historically been influenced by aerial technology; drones also affect notions of perception, distance and intimacy, and the self-policing subject, with consequences for contemporary lyric. Indeed, drone artworks and poems proliferate; and while these take critical perspectives on drone operations, they have not reckoned with the phenomenological implications of execution from the air. I draw out six of these: the objectification of the target, the domination of visuality, psychic and operational splitting, the ‘everywhere war’, the intimacy of keyhole observations, and the mythic or psychoanalytic representation of desire and fear. These six tropes indicate the necessity for a radical revision of our thinking about the practice of writing committed poetry in the drone age.

The weaponisation of health care

I’m continuing to work on attacks on hospitals and health care workers in conflict zones – see ‘The Death of the Clinic’ here for a general discussion – and I’ve just finished reading the preliminary report on the weaponisation of health care from The Lancet-American University of Beirut Commission on Syria.  You can find out more on the Commission here and download the open access report here.

The authors propose the ‘weaponisation of health care’ to capture ‘the phenomenon of large-scale use of violence to restrict or deny access to care as a weapon of war’:

Weaponisation is multi-dimensional and includes practices such as attacking health-care facilities, targeting health workers, obliterating medical neutrality, and besieging medicine. Through large-scale violations of international humanitarian laws, weaponisation of health care amounts to what has been called a “war-crime strategy”. Weaponisation of health care in the Syria conflict is manifested most notably in the targeting of health workers and facilities.

They trace the targeting of health-care workers by pro-government forces in Syria back to the earliest weeks of protest against the regime, but the ‘substantial militarisation’ that followed – especially after the ‘military surge’ that began in September 2015 when Russia joined the Syrian government forces – made those attacks ever more aggressive and ever more systematic.  This map, based on the work of Physicians for Human Rights, provides a minimal accounting of attacks on doctors, nurses and other healthcare workers:

Attacks on hospitals – some of which I described in detail in a previous post – became not only more systematic but even repetitive, on a scale which the authors is wholly unprecedented.

‘Examination of attacks since 2012 on health facilities has revealed a distinct pattern of weaponisation.Analysis of attacks over several years in important opposition-held areas of Aleppo, Hama, Idlib, eastern Ghouta, and Homs reveals a pattern of repeated targeting with intention to shut access to health care, whether to impede opposition forces or to force civilian displacement.’

They list the effects of these attacks on healthcare in areas outside the control of the Syrian government – ‘rebel-held areas’ – but they also sketch the situation in areas under the control of the Islamic State:

Efforts to recruit foreign doctors through social media have reportedly helped IS to develop a functioning health system with modern facilities and equipment, qualified health workers, and a medical school in Raqqa where students train for free. But this health system is exclusive to IS, and foreign doctors are only permitted to provide care for IS members. For the rest of Raqqa’s civilians, over 1 million people, there are only 33 specialist doctors including just three obstetricians and one ophthalmologist, and just two public hospitals. Anecdotal reports indicate that health workers are forced to deliver care at gunpoint while others are arrested, abducted, or even executed for refusing to deliver care. To stop the exodus of health workers, IS uses the threat of seizure of homes and clinics in case of absence from work. Gender separation in these areas means that female health providers are subject to additional stress and restrictions, being forced to abide by IS dress code and to treat only female patients.

And for the benefit of the useful idiots inside the academy who deny these predations by the Syrian government on its own people, I should add that the report also discusses the situation inside government-controlled areas:

The bulk of Syria’s remaining health workers are in government-controlled areas, where there is variability in the capacity of health facilities and personnel. Workers from these areas have also reported challenges, but of a different nature to those working in non-government- controlled areas. Indiscriminate mortar attacks from rebel areas have adversely affected daily life and the public’s sense of security. Many health workers report facing multiple security checkpoints for their daily trip to a hospital or clinic. The collapsing economy has eroded living standards and restricted school and career options for offspring of health workers. Medical students fear the military draft and the risk of being sent to the battlefield. To avoid that fate, many seek whatever residency training positions are available upon graduation, irrespective of specialty. However, with the emigration of many experienced senior academics, fewer high-quality specialists are available to supervise the training of younger doctors. Travel restrictions due to sanctions and the need for leave permits from the government leave few choices for these doctors. Some doctors in these areas have indicated that the international media pay little attention to their plight. Others report being forced to breach ethical principles under unbearable pressure.

You can find an elaboration of these claims in personal testimonials here, which include this:

In November 2011, Dr. Zaki [a pseudonym], a military anaesthetist, was sent to Aleppo Military Hospital. This hospital usually received injured Syrian army combatants, but from the start of 2012, it began receiving civilian patients injured by pro-government forces during the peaceful demonstrations taking place in Idleb and Aleppo. Notably there was no conflict at this time in either city. These civilian patients were interrogated and tortured — either directly through electric shocks or beatings with rubber hoses, or indirectly, by leaving gunshot wounds or open fractures untreated,. A few days prior to the visit to the hospital by the UN-Arab League Special Envoy, who insisted on visiting all patients, Dr. Zaki was ordered by his superiors to find a way to keep these patients silent. The subtext of the order, issued by three generals, the first in charge of the hospital, the second, the head of military intelligence, and the third, head of the military secret police in Aleppo, was clear: “we know exactly who your family are and your wife’s family, and they will be arrested unless you comply” Under those conditions, Dr. Zaki used a combination of anaesthetic agents to sedate over 60 patients, so their wounds and shackles could literally be covered up, and no patient would be able to describe the torture and conditions of their confinement to the Special Envoy. Shortly after this, Dr. Zaki defected and fled to Turkey, along with his entire family and his wife’s family.

I urge you to read the whole report (it’s only 11 Lancet pages).

The report describes what it calls ‘siege medicine’, and for an update you can turn to another new report, this one from Physicians for Human Rights: Access Denied: UN aid deliveries to Syria’s besieged and hard-to-reach areas.

This is how it begins:

Death by infection because security forces do not allow antibiotics through checkpoints.

Death in childbirth because relentless bombing blocks access to clinics.

Death from diabetes and kidney disease because medicines to treat chronic illnesses ran out months ago.

Death from trauma because snipers stand between injured children and functioning hospitals.

And – everywhere – slow, painful death by starvation.

This is what one million besieged people – trapped mostly by their own government – face every day in Syria.

This is the unseen suffering – hidden under the shadow of barrel bombs and car bombs – that plagues the Syrian people as they enter a seventh grim year of conflict.

This is murder by siege.

The report is limited to ‘the failure of the two-step approval process in ensuring the completion of UN interagency humanitarian convoys to besieged and hard-to-reach areas across Syria’; this excludes operations outside that approval process, but it still makes for remarkably grim reading.  Here are the raw figures tabulating aid deliveries requested, approved and completed under the two-step process:

Even within these diminished envelopes there were further specific restrictions on medical supplies:

Throughout 2016, Syrian authorities specifically restricted medical aid to besieged and hard-to-reach areas, in direct violation of international humanitarian law.From February through December 2016, Syrian authorities prevented the delivery of more than 300,000 medical treatments to besieged and hard-to-reach areas.28 There is no clear definition of what constitutes a “medical treatment,” nor is there publicly available data on how much of each type of aid was removed from convoys. However, as [the examples in the tabulation below show], the disallowed medical aid included basic medicine, supplies, and equipment needed to treat traumatic, chronic, and acute conditions resulting from or aggravated by the sieges. In addition, it included medical aid speci cally meant to treat infants and children. Some of the disallowed medical aid could have been reused repeatedly to treat numerous people, thus its exclusion likely a ected large populations for prolonged periods of time.

In one particularly egregious example, Syrian government forces turned away an entire aid convoy as it was about to enter besieged Daraya in May 2016 because it contained medical aid and infant formula. Ironically, Syrian authorities in Damascus had limited the type of aid allowed on that convoy speci cally to medical aid, infant formula, and school supplies.

Meatspace?

In Lucy Suchman‘s marvellous essay on ‘Situational Awareness’ in remote operations she calls attention to what she calls bioconvergence:

A corollary to the configuration of “their” bodies as targets to be killed is the specific way in which “our” bodies are incorporated into war fighting assemblages as operating agents, at the same time that the locus of agency becomes increasingly ambiguous and diffuse. These are twin forms of contemporary bioconvergence, as all bodies are locked together within a wider apparatus characterized by troubling lacunae and unruly contingencies.

bioconvergence-and-the-bomber-crew-001

In the wake of her work, there has been a cascade of essays insisting on the embodiment of air strikes carried out by Predators and Reapers – the bodies of the pilots, sensor operators and the legion of others who carry out these remote operations, and the bodies of their victims – and on what Lauren Wilcox calls the embodied and embodying nature of drone warfare (‘Embodying algorithmic war: Gender, race, and the posthuman in drone warfare’ in Security dialogue, 2016; see also Lorraine Bayard de Volo, ‘Unmanned? Gender recalibrations and the rise of drone warfare’, Politics and gender, 2015).  Lauren distinguishes between visual, algorithmic and affective modes of embodiment, and draws on the transcript of what has become a canonical air strike in Uruzgan province (Afghanistan) on 21 February 2010 to develop her claims (more on this in a moment).

And yet it’s a strange sort of embodying because within the targeting process these three registers also produce an estrangement and ultimately an effacement.  The corporeal is transformed into the calculative: a moving target, a data stream, an imminent threat.  If this is still a body at all, it’s radically different from ‘our’ bodies.  As I write these words, I realise I’m not convinced by the passage in George Brant‘s play Grounded in which the face of a little girl on the screen, the daughter of a ‘High Value Target’, becomes the face of the Predator pilot’s own daughter.  For a digital Orientalism is at work through those modes of embodiment that interpellates those watching as spectators of what Edward Said once called ‘a living tableau of queerness’ that in so many cases will become a dead tableau of bodies which remain irredeemably Other.

There is a history to the embodiment of air strikes, as my image above shows.  Aerial violence in all its different guises has almost invariably involved an asymmetric effacement.  The lives – and the bodies – of those who flew the first bombing missions over the Western Front in the First World War; the young men who sacrificed their lives during the Combined Bomber Offensive in the Second World War; and even the tribulations and traumas encountered by the men and women conducting remote operations over Afghanistan and elsewhere have all been documented in fact and in fiction.

And yet, while others – notably social historians, investigative journalists and artists – have sought to bring into view the lives shattered by aerial violence, its administration has long mobilised an affective distance between bomber and bombed.  As I showed in ‘Doors into nowhere’ and ‘Lines of descent’ (DOWNLOADS tab), the bodies of those crouching beneath the bombs are transformed into abstract co-ordinates, coloured lights and target boxes.  Here is Charles Lindbergh talking about the air war in the Pacific in May 1944:

You press a button and death flies down.  One second the bomb is hanging harmlessly in your racks, completely under your control.  The next it is hurtling through the air, and nothing in your power can revoke what you have done…  How can there be writhing, mangled bodies?  How can this air around you be filled with unseen projectiles?  It is like listening to a radio account of a battle on the other side of the earth.  It is too far away, too separated to hold reality.

Or Frank Musgrave, a navigator with RAF Bomber Command, writing about missions over Germany that same year:

These German cities were simply coordinates on a map of Europe, the first relatively near, involving around six hours of flying, the second depressingly distant, involving some eight or nine hours of flying. Both sets of coordinates were at the centre of areas shaded deep red on our maps to indicate heavy defences. For me ‘Dortmund’ and ‘Leipzig’ had no further substance or concrete reality.

Harold Nash, another navigator:

It was black, and then suddenly in the distance you saw lights on the floor, the fires burning.  As you drew near, they looked like sparkling diamonds on a black satin background… [T]hey weren’t people to me, just the target.  It’s the distance and the blindness which enabled you to do these things.

hamburg-24-july

One last example – Peter Johnson, a Group Captain who served with distinction with RAF Bomber Command:

Targets were now marked by the Pathfinder Force … and these instructions, to bomb a marker, introduced a curiously impersonal factor into the act of dropping huge quantities of bombs.  I came to realize that crews were simply bored by a lot of information about the target.  What concerned them were the details of route and navigation, which colour Target Indicator they were to bomb… In the glare of searchlights, with the continual winking of anti-aircraft shells, the occasional thud when one came close and left its vile smell, what we had to do was search for coloured lights dropped by our own people, aim our bombs at them and get away.

The airspace through which the bomber stream flew was a viscerally biophysical realm, in which the crews’ bodies registered the noise of the engines, the shifts in course and elevation, the sound and stink of the flak, the abrupt lift of the aircraft once the bombs were released.  They were also acutely aware of their own bodies: fingers numbed by the freezing cold, faces encased in rubbery oxygen masks, and frantic fumblings over the Elsan.  But the physicality of the space far below them was reduced to the optical play of distant lights and flames, and the crushed, asphyxiated and broken bodies appeared – if they appeared at all – only in their nightmares.

These apprehensions were threaded into what I’ve called a ‘moral economy of bombing’ that sought (in different ways and at different times) to legitimise aerial violence by lionising its agents and marginalising its victims (see here: scroll down).

But remote operations threaten to transform this calculus.  Those who control Predators and Reapers sit at consoles in air-conditioned containers, which denies them the physical sensations of flight.  Yet in one, as it happens acutely optical sense they are much closer to the devastation they cause: eighteen inches away, they usually say, the distance from eye to screen.  And the strikes they execute are typically against individuals or small groups of people (rather than objects or areas), and they rely on full-motion video feeds that show the situation both before and after in detail (however imperfectly).  Faced with this highly conditional intimacy, as Lauren shows, the bodies that appear in the cross-hairs are produced as killable bodies through a process of somatic abstraction – leaving the fleshy body behind – that is abruptly reversed once the missile is released.

Thus in the coda to the original version of ‘Dirty Dancing’ (DOWNLOADS tab) – and which I’ve since excised from what was a very long essay; reworked, it will appear in a revised form as ‘The territory of the screen’ – I described how

intelligence agencies produce and reproduce the [Federally Administered Tribal Areas in Pakistan] as a data field that is systematically mined to expose seams of information and selectively sown with explosives to be rematerialised as a killing field. The screens on which and through which the strikes are animated are mediations in an extended sequence in which bodies moving into, through and out from the FATA are tracked and turned into targets in a process that Ian Hacking describes more generally as ‘making people up’: except that in this scenario the targets are not so much ‘people’ as digital traces. The scattered actions and interactions of individuals are registered by remote sensors, removed from the fleshiness of human bodies and reassembled as what Grégoire Chamayou calls ‘schematic bodies’. They are given codenames (‘Objective x’) and index numbers, they are tracked on screens and their danse macabre is plotted on time-space grids and followed by drones. But as soon as the Hellfire missiles are released the transformations that have produced the target over the preceding weeks and months cascade back into the human body: in an instant virtuality becomes corporeality and traces turn into remains.

There are two difficulties in operationalising that last sentence.  One is bound up with evidence – and in particular with reading what Oliver Kearns calls the ‘residue’ of covert strikes (see his ‘Secrecy and absence in the residue of covert drone strikes’, Political Geography, 2016) – and the other is one that I want to address here.

To do so, let me turn from the FATA to Yemen.  The Mwatana Organisation for Human Rights in Sa’ana has released a short documentary, Waiting for Justice, that details the effects of a US drone strike on civilians:

If the embedded version doesn’t work, you can find it on YouTube.

At 6 a.m. on 19 April 2014 a group of men – mainly construction workers, plus one young father hitching a ride to catch a bus into Saudi Arabia –  set off from from their villages in al-Sawma’ah to drive to al-Baidha city; 20 to 30 metres behind their Toyota Hilux, it turned out, was a Toyota Land Cruiser carrying suspected members of Al Qaeda in the Arabian Peninsula.

waiting-for-justice-1

waiting-for-justice-2

waiting-for-justice-3

That car was being tracked by a drone: it fired a Hellfire missile, striking the car and killing the occupants, and shrapnel hit the Hilux.  Some of the civilians sought refuge in an abandoned water canal, when the drone (or its companion) returned for a second strike.

Four of them were killed – Sanad Hussein Nasser al-Khushum (30), Yasser Abed Rabbo al-Azzani (18), Ahmed Saleh Abu Bakr (65) and Abdullah Nasser Abu Bakr al-Khushu – and five were injured: the driver, Nasser Mohammed Nasser (35), Abdulrahman Hussein al-Khushum (22), Najib Hassan Nayef (35 years), Salem Nasser al-Khushum (40) and Bassam Ahmed Salem Breim (20).

death-by-drone

The film draws on Death by Drone: civilian harm caused by US targeted killing in Yemen, a collaborative investigation carried out by the Open Society Justice Initiative in the United States and Mwatana in Yemen into nine drone strikes: one of them (see pp. 42-48) is the basis of the documentary; the strike is also detailed by the Bureau of Investigative Journalism as YEM159 here.

That report, together with the interview and reconstruction for the documentary, have much to tell us about witnesses and residues.

In addition the father of one of the victims, describing the strike in the film, says ‘They slaughter them like sheep‘…

they-slaughter-them-like-sheep

… and, as Joe Pugliese shows in a remarkable new essay, that phrase contains a violent, visceral truth.

Joe describes a number of other US strikes in Yemen – by cruise missiles and by Hellfire missiles fired from drones (on which see here; scroll down) – in which survivors and rescuers confronted a horrific aftermath in which the incinerated flesh of dead animals and the flesh of dead human beings became indistinguishable.  This is a radically different, post-strike bioconvergence that Joe calls a geobiomorphology:

The bodies of humans and animals are here compelled to enflesh the world through the violence of war in a brutally literal manner: the dismembered and melted flesh becomes the ‘tissue of things’ as it geobiomorphologically enfolds the contours of trees and rocks. What we witness in this scene of carnage is the transliteration of metadata algorithms to flesh. The abstracting and decorporealising operations of metadata ‘without content’ are, in these contexts of militarised slaughter of humans and animals, geobiomorphologically realised and grounded in the trammelled lands of the Global South.

Indeed, he’s adamant that it is no longer possible to speak of the corporeal in the presence of such ineffable horror:

One can no longer talk of corporeality here. Post the blast of a drone Hellfire missile, the corpora of animals-humans are rendered into shredded carnality. In other words, operative here is the dehiscence of the body through the violence of an explosive centripetality that disseminates flesh. The moment of lethal violence transmutes flesh into unidentifiable biological substance that is violently compelled geobiomorphologically to assume the topographical contours of the debris field.

By these means, he concludes,

the subjects of the Global South [are rendered] as non-human animals captivated in their lawlessness and inhuman savagery and deficient in everything that defines the human-rights-bearing subject. In contradistinction to the individuating singularity of the Western subject as named person, they embody the anonymous genericity of the animal and the seriality of the undifferentiated and fungible carcass. As subjects incapable of embodying the figure of “the human,” they are animals who, when killed by drone attacks, do not die but only come to an end.

You can read the essay, ‘Death by Metadata: The bioinformationalisation of life and the transliteration of algorithms to flesh’, in Holly Randell-Moon and Ryan Tippet (eds) Security, race, biopower: essays on technology and corporeality (London: Palgrave, 2016) 3-20.

It’s an arresting, truly shocking argument.  You might protest that the incidents described in the essay are about ordnance not platform – that a cruise missile fired from a ship or a Hellfire missile fired from an attack helicopter would produce the same effects.  And so they have.  But Joe’s point is that where Predators and Reapers are used to execute targeted killings they rely on the extraction of metadata and its algorithmic manipulation to transform individualised, embodied life into a stream of data – a process that many of us have sought to recover – but that in the very moment of execution those transformations are not simply, suddenly reversed but displaced into a generic flesh.  (And there is, I think, a clear implication that those displacements are pre-figured in the original de-corporealisation – the somatic abstraction – of the target).

Joe’s discussion is clearly not intended to be limited to those (literal) instances where animals are caught up in a strike; it is, instead, a sort of limit-argument designed to disclose the bio-racialisation of targeted killing in the global South.  It reappears time and time again.  Here is a sensor operator, a woman nicknamed “Sparkle”,  describing the aftermath of a strike in Afghanistan conducted from Creech Air Force Base in Nevada:

Sparkle could see a bunch of hot spots all over the ground, which were likely body parts. The target was dead, but that isn’t always the case. The Hellfire missile only has 12 pounds of explosives, so making sure the target is in the “frag pattern,” hit by shrapnel, is key.

As the other Reaper flew home to refuel and rearm, Spade stayed above the target, watching as villagers ran to the smoldering motorbike. Soon a truck arrived. Spade and Sparkle watched as they picked up the target’s blasted body.

“It’s just a dead body,” Sparkle said. “I grew up elbows deep in dead deer. We do what we needed to do. He’s dead. Now we’re going to watch him get buried.”

The passage I’ve emphasised repeats the imaginary described by the strike survivor in Yemen – but from the other side of the screen.

Seen thus, Joe’s argument speaks directly to the anguished question asked by one of the survivors of the Uruzgan killings in Afghanistan:

uruzgan-survivor

How can you not identify us? (The question – and the still above – are taken from the reconstruction in the documentary National Bird).  We might add: How do you identify us?  These twin questions intersect with a vital argument developed by Christiane Wilke, who is deeply concerned that civilians now ‘have to establish, perform and confirm their civilianhood by establishing and maintaining legible patterns of everyday life, by conforming to gendered and racialized expectations of mobility, and by not ever being out of place, out of time’ (see her chapter, ‘The optics of war’, in Sheryl Hamilton, Diana Majury, Dawn Moore, Neil Sargent and Christiane Wilke, eds., Sensing Law [2017] pp 257-79: 278).  As she wrote to me:

I’m really disturbed by the ways in which the burden of making oneself legible to the eyes in the sky is distributed: we don’t have to do any of that here, but the people to whom we’re bringing the war have to perform civilian-ness without fail.

Asymmetry again.  Actors required to perform their civilian-ness in a play they haven’t devised before an audience they can’t see – and which all too readily misunderstands the plot.  And if they fail they become killable bodies.

But embodying does not end there; its terminus is the apprehension of injured and dead bodies.  So let me add two riders to the arguments developed by Lauren and Joe.  I’ll do so by returning to the Uruzgan strike.

I should say at once that this is a complicated case (see my previous discussions here and here).  In the early morning three vehicles moving down dusty roads and tracks were monitored for several hours by a Predator controlled by a flight crew at Creech Air Force Base in Nevada; to the south a detachment of US Special Forces was conducting a search operation around the village of Khod, supported by Afghan troops and police; and when the Ground Force Commander determined that this was a ‘convoy’ of Taliban that posed a threat to his men he called in an air strike executed by two OH-58 attack helicopters that killed 15 or 16 people and wounded a dozen others.  All of the victims were civilians.  This was not a targeted killing, and there is little sign of the harvesting of metadata or the mobilisation of algorithms – though there was some unsubstantiated  talk of the possible presence of a ‘High-Value Individual’ in one of the vehicles, referred to both by name and by the codename assigned to him on the Joint Prioritised Effects List, and while the evidence for this seems to have been largely derived from chatter on short-wave radios picked up by the Special Forces on the ground it is possible that a forward-deployed NASA team at Bagram was also involved in communications intercepts.  Still, there was no geo-locational fixing, no clear link between these radio communications and the three vehicles, and ultimately it was the visual construction of their movement and behaviour as a ‘hostile’ pattern of life that provoked what was, in effect, a signature strike.  But this was not conventional Close Air Support either: the Ground Force Commander declared first a precautionary ‘Air TIC’ (Troops In Contact) so that strike aircraft could be ready on station to come to his defence – according to the investigation report, this created ‘a false sense of urgency’ –  and then ‘Troops in Contact’.  Yet when the attack helicopters fired their missiles no engagement had taken place and the vehicles were moving away from Khod (indeed, they were further away than when they were first observed).  This was (mis)read as ‘tactical maneuvering’.

My first rider is that the process is not invariably the coldly, calculating sequence conjured by the emphasis on metadata and algorithms – what Dan McQuillan calls ‘algorithmic seeing’ – or the shrug-your-shouders attitude of Sparkle.  This is why the affective is so important, but it is multidimensional.  I doubt that it is only in films like Good Kill (below) or Eye in the Sky that pilots and sensor operators are uncomfortable, even upset at what they do.  Not all sensor operators are Brandon Bryant – but they aren’t all Sparkle either.

good-kill-2-1024x463

All commentaries on the Uruzgan strike – including my own – draw attention to how the pilot, sensor operator and mission intelligence coordinator watching the three vehicles from thousands of miles away were predisposed to interpret every action as hostile.  The crew was neither dispassionate nor detached; on the contrary, they were eager to move in for the kill.  At least some of those in the skies above Uruzgan had a similar view.  The lead pilot of the two attack helicopters that carried out the strike was clearly invested in treating the occupants of the vehicles as killable bodies.  He had worked with the Special Operations detachment before, knew them very well, and – like the pilot of the Predator – believed they were ‘about to get rolled up and I wanted to go and help them out… [They] were about to get a whole lot of guys in their face.’

Immediately after the strike the Predator crew convinced themselves that the bodies were all men (‘military-aged males’):

08:53 (Safety Observer): Are they wearing burqas?

08:53 (Sensor): That’s what it looks like.

08:53 (Pilot): They were all PIDed as males, though. No females in the group.

08:53 (Sensor): That guy looks like he’s wearing jewelry and stuff like a girl, but he ain’t … if he’s a girl, he’s a big one.

Reassured, the crew relaxed and their conversation became more disparaging:

09:02 (Mission Intelligence Coordinator (MC)): There’s one guy sitting down.

09:02 (Sensor): What you playing with? (Talking to individual on ground.)

09:02 (MC): His bone.

….

09:04 (Sensor): Yeah, see there’s…that guy just sat up.

09:04 (Safety Observer): Yeah.

09:04 (Sensor): So, it looks like those lumps are probably all people.

09:04 (Safety Observer): Yep.

09:04 (MC): I think the most lumps are on the lead vehicle because everybody got… the Hellfire got…

….

09:06 (MC): Is that two? One guy’s tending the other guy?

09:06 (Safety Observer): Looks like it.

09:06 (Sensor): Looks like it, yeah.

09:06 (MC): Self‐Aid Buddy Care to the rescue.

09:06 (Safety Observer): I forget, how do you treat a sucking gut wound?

09:06 (Sensor): Don’t push it back in. Wrap it in a towel. That’ll work.

The corporeality of the victims flickers into view in these exchanges, but in a flippantly anatomical register (‘playing with … his bone’; ‘Don’t push it back in.  Wrap it in a towel..’).

But the helicopter pilots reported the possible presence of women, identified only by their brightly coloured dresses, and soon after (at 09:10) the Mission Intelligence Coordinator said he saw ‘Women and children’, which was confirmed by the screeners.  The earlier certainty, the desire to kill, gave way to uncertainty, disquiet.

These were not the only eyes in the sky and the sequence was not closed around them.   Others watching the video feed – the analysts and screeners at Hurlburt Field in Florida, the staff at the Special Operations Task Force Operations Centre in Kandahar – read the imagery more circumspectly.  Many of them were unconvinced that these were killable bodies – when the shift changed in the Operations Centre the Day Battle Captain called in a military lawyer for advice, and the staff agreed to call in another helicopter team to force the vehicles to stop and determine their status and purpose – and many of them were clearly taken aback by the strike.   Those military observers who were most affected by the strike were the troops on the ground.  The commander who had cleared the attack helicopters to engage was ferried to the scene to conduct a ‘Sensitive Site Exploitation’.  What he found, he testified, was ‘horrific’: ‘I was upset physically and emotionally’.

My second rider is that war provides – and also provokes – multiple apprehensions of the injured or dead body.  They are not limited to the corpo-reality of a human being and its displacement and dismemberment into what Joe calls ‘carcass’.  In the Uruzgan case the process of embodying did not end with the strike and the continued racialization and gendering of its victims by the crew of the Predator described by Lauren.

The Sensitive Site Exploitation – the term was rescinded in June 2010; the US Army now prefers simply  ‘site exploitation‘, referring to the systematic search for and collection of ‘information, material, and persons from a designated location and analyzing them to answer information requirements, facilitate subsequent operations, or support criminal prosecution’ – was first and foremost a forensic exercise.  Even in death, the bodies were suspicious bodies.  A priority was to establish a security perimeter and conduct a search of the site.  The troops were looking for survivors but they were also searching for weapons, for evidence that those killed were insurgents and for any intelligence that could be gleaned from their remains and their possessions.  This mattered: the basis for the attack had been the prior identification of weapons from the Predator’s video feed and a (highly suspect) inference of hostile intent.   But it took three and a half hours for the team to arrive at the engagement site by helicopter, and a naval expert on IEDs and unexploded ordnance who was part of the Special Forces detachment was immediately convinced that the site had been ‘tampered with’.  The bodies had been moved, presumably by people from a nearby village who had come to help:

The bodies had been lined up and had been covered… somebody else was on the scene prior to us … The scene was contaminated [sic] before we got there.

He explained to MG Timothy McHale, who lead the subsequent inquiry, what he meant:

screen-shot-2017-01-29-at-21-59-47

The Ground Force Commander reported that he ‘wouldn’t take photos of the KIA [Killed in Action] – but of the strike’, yet it proved impossible to maintain a clinical distinction between them (see the right hand panel below; he also reported finding bodies still trapped in and under the vehicles).

vehicle-one-uruzgan

His photographs of the three vehicles were annotated by the investigation team to show points of impact, but the bodies of some of the dead were photographed too.  These still photographs presumably also had evidentiary value – though unlike conventional crime scene imagery they were not, so far I can tell, subject to any rigorous analysis.  In any case: what evidentiary value?  Or,  less obliquely, whose crime?  Was the disposition of the bodies intended to confirm they had been moved, the scene ‘contaminated’ – the investigator’s comments on the photograph note ‘Bodies from Vehicle Two did not match blast pattern’ – so that any traces of insurgent involvement could have been erased?  (There is another story here, because the investigation uncovered evidence that staff in the Operations Centres refused to accept the first reports of civilian casualties, and there is a strong suspicion that initial storyboards were manipulated to conceal that fact).  Or do the shattered corpses driven into metal and rock silently confirm the scale of the incident and the seriousness of any violation of the laws of war and the rules of engagement?

casualties-uruzgan

The Ground Force Commander also had his medics treat the surviving casualties, and called in a 9-line request (‘urgent one priority’) for medical evacuation (MEDEVAC).  Military helicopters took the injured to US and Dutch military hospitals at Tarin Kowt, and en route they became the objects of a biomedical gaze that rendered their bodies as a series of visible wounds and vital signs that were distributed among the boxes of standard MEDEVAC report forms:

medevac-2

At that stage none of the injured was identified by name (see the first box on the top left); six of the cases – as they had become – were recorded as having been injured by ‘friendly’ forces, but five of them mark ‘wounded by’ as ‘unknown’.  Once in hospital they were identified, and the investigation team later visited them and questioned them about the incident and their injuries (which they photographed).

These photographs and forms are dispassionate abstractions of mutilated and pain-bearing bodies, but it would be wrong to conclude from these framings that those producing them – the troops on the ground, the medics and EMTs – were not affected by what they saw.

And it would also be wrong to conclude that military bodies are immune from these framings.  Most obviously, these are standard forms used for all MEDEVAC casualties, civilian or military, and all patients are routinely reduced to an object-space (even as they also remain so much more than that: there are multiple, co-existing apprehensions of the human body).

k9963Yet I have in mind something more unsettling.  Ken MacLeish reminds us that

for the soldier, there is no neat division between what gore might mean for a perpetrator and what it might mean for a victim, because he is both at once. He is stuck in the middle of this relation, because this relation is the empty, undetermined center of the play of sovereign violence: sometimes the terror is meant for the soldier, sometimes he is merely an incidental witness to it, and sometimes he, or his side, is the one responsible for it.

If there is no neat division there is no neat symmetry either; not only is there a spectacular difference between the vulnerability of pilots and sensor operators in the continental United States and their troops on the ground – a distance which I’ve argued intensifies the desire of some remote crews to strike whenever troops are in danger –  but there can also be a substantial difference between the treatment of fallen friends and foe: occasional differences in the respect accorded to dead bodies and systematic differences in the (long-term) care of injured ones.

But let’s stay with Ken.  He continues:

Soldiers say that a body that has been blown up looks like spaghetti. I heard this again and again – the word conjures texture, sheen, and abject, undifferentiated mass, forms that clump into knots or collapse into loose bits.

He wonders where this comes from:

Does it domesticate the violence and loss? Is it a critique? Gallows humor? Is it a reminder, perhaps, that you are ultimately nothing more than the dumb matter that you eat, made whole and held together only by changeable circumstance? Despite all the armor, the body is open to a hostile world and can collapse into bits in the blink of an eye, at the speed of radio waves, electrons, pressure plate springs, and hot metal. The pasta and red sauce are reminders that nothing is normal and everything has become possible. Some body—one’s own body—has been placed in a position where it is allowed to die. More than this, though, it has been made into a thing…

One soldier described recovering his friend’s body after his tank had been hit by an IED:

… everything above his knees was turned into fucking spaghetti. Whatever was left, it popped the top hatch, where the driver sits, it popped it off and it spewed whatever was left of him all over the front slope. And I don’t know if you know … not too many people get to see a body like that, and it, and it…

We went up there, and I can remember climbing up on the slope, and we were trying to get everybody out, ’cause the tank was on fire and it was smoking. And I kept slipping on – I didn’t know what I was slipping on, ’cause it was all over me, it was real slippery. And we were trying to get the hatch open, to try to get Chris out. My gunner, he reached in, reached in and grabbed, and he pulled hisself back. And he was like, “Holy shit!” I mean, “Holy shit,” that was all he could say. And he had cut his hand. Well, what he cut his hand on was the spinal cord. The spine had poked through his hand and cut his hand on it, ’cause there was pieces of it left in there. And we were trying to get up, and I reached down and pushed my hand down to get up, and I reached up and looked up, and his goddamn eyeball was sitting in my hand. It had splattered all up underneath the turret. It was all over me, it was all over everybody, trying to get him out of there…

I think Ken’s commentary on this passage provides another, compelling perspective on the horror so deeply embedded in Joe’s essay:

There is nothing comic or subversive here; only horror. Even in the middle of the event, it’s insensible, unspeakable: and it, and it …, I didn’t know what I was slipping on. The person is still there, and you have to “get him out of there,” but he’s everywhere and he’s gone at the same time. The whole is gone, and the parts – the eye, the spine, and everything else – aren’t where they should be. A person reduced to a thing: it was slippery, it was all over, that was what we sent home. He wasn’t simply killed; he was literally destroyed. Through a grisly physics, there was somehow less of him than there had been before, transformed from person into dumb and impersonal matter.

‘Gore,’ he concludes, ‘is about the horror of a person being replaced by stuff that just a moment ago was a person.’  Explosive violence ruptures the integrity of the contained body – splattered over rocks or metal surfaces in a catastrophic bioconvergence.

I hope it will be obvious that none of this is intended to substitute any sort of equivalence for the asymmetries that I have emphasised throughout this commentary.  I hope, too, that I’ve provided a provisional supplement to some of the current work on metadata, algorithms and aerial violence – hence my title.  As Linda McDowell remarked an age ago – in Working Bodies (pp. 223-4) – the term ‘meatspace’ is offensive in all sorts of ways (its origins lie in cyberpunk where it connoted the opposite to cyberspace, but I concede the opposition is too raw).  Still, it is surely important to recover the ways in which later modern war and militarised violence (even in its digital incarnations) is indeed obdurately, viscerally offensive – for all of the attempts to efface what Huw Lemmey once called its ‘devastation in meatspace‘.

Incoming, upcoming

mosse-incoming-still

Richard Mosse‘s Incoming opens at the Barbican Art Centre in London on 17 February and runs until 23 April.  In collaboration with composer Ben Frost and cinematographer Trevor Tweeten, Richard has created an immersive multi-channel video installation (shown across three 26-foot wide screens) that turns military technology against itself – using a camera ‘that sees as a missile sees’ – to show the journeys of refugees (hence the artful title).  He explains :

I am European. I am complicit. I wanted to foreground this perspective in a way, to try to see refugees and illegal immigrants as our governments see them. I wanted to enter into that logic in order to create an image that reveals it. So I chose to represent these stories, really a journey or series of journeys, using an ambivalent and perhaps sinister new European weapons camera technology. The camera is intrusive of individual privacy, yet the imagery that this technology produces is so dehumanized – the person literally glows – that the medium anonymizes the subject in ways that are both insidious and humane. Working against the camera’s intended purpose, my collaborators and I listened carefully to the camera, to understand what it wanted to do — and then tried to reconcile that with these harsh, disparate, unpredictable and frequently tragic narratives of migration and displacement.

If you can’t get to it, there is a book version from Mack:

The major humanitarian and political issue of our time is migration and with his latest video work, Irish artist Richard Mosse has created a searing, haunting and unique artwork. Projected across three 8 meter wide screens, the film is accompanied by a loud dissonant soundtrack to create an overwhelming, immersive experience. Moving from footage of a live battle inside Syria, in which a US aircraft strafes Daesh positions on the ground, to a scene showing pathologists extracting DNA from the bones of unidentified corpses of refugees drowned off the Aegean island of Leros, the film opens a testimonial space of historical document – bearing witness to significant chapters in recent events – mediated through an advanced weapons-grade camera technology. Narratives of the journeys made by refugees and migrants across the Middle East, North Africa, and Europe, are captured using an extremely powerful thermal camera not generally available to the public. This super-telephoto military camera can perceive the human body beyond 50km day or night, reading the biological trace of human life. The camera translates the world into a heat signature of apparent temperature difference, producing a dazzling monochrome halo-image which alludes literally and metaphorically to hypothermia, climate change, weapons targeting, border surveillance, xenophobia, and the ‘bare life’ of stateless people.

The book version recreates the immersive nature of the film, combining still images from the entire sequence over nearly 600 pages to represent the harsh and compelling narrative in a full bleed layout.

mosse-idomeni-2016

A related exhibition of Richard’s photographs from the same body of work – entitled Heat Maps – has opened at the Jack Shainman Gallery in New York.  At the New Yorker Max Campbell describes the exhibition like this:

[U]sing a new “weapon of war,” as he describes it, Mosse captured encampment structures, servicemen, border police, boats at full capacity, and migrants of all ages. Mosse would spend time in the refugee camps before photographing, and some of the migrants sheltered there helped him to arrange his shots. But in the images his subjects are always seen at a distance, photographed from an above-eye-level perspective. Each “Heat Map” was constructed from hundreds of frames shot using a telephoto lens; a robotic system was used to scan the landscapes and interiors and meticulously capture every corner…

By adopting a tool of surveillance, Mosse’s photographs consciously play into narratives that count families as statistics and stigmatize refugees as potential threats. He recognizes that operating the infrared camera entails brushing up against the violent intentions with which the device has been put to use. “We weren’t attempting to rescue this apparatus from its sinister purpose,” he said. Instead, his project acts as a challenge. The people in his images appear as inverted silhouettes, sometimes disjointed, torn by the time passing between individual frames. The thermal readouts rub features out of faces and render flesh in washy, anonymous tones. Someone lays back on a cot, looking at a cell phone. Someone else hangs laundry. We can imagine what these people might look like in person, guess at the expressions on their faces or the color of their skin. Yet seeing them in Mosse’s shadowy renderings erases the lines that have been drawn between refugees, immigrants, natives, citizens, and the rest. His camera makes little distinction between the heat that each body emits.

mosse-larissa-2016

Heat Maps was shown in Berlin last year, where the links with the work of Michel Foucault and Giorgio Agamben were made explicit:

Heat Maps attempts to foreground the biopolitical aspects of the refugee and migration situation that is facing Europe, the Middle East and North Africa. The project charts refugee camps and other staging sites using an extreme telephoto military grade thermographic camera that was designed to detect and identify subjects from as far away as fifty kilometers, day or night.

The camera itself is export controlled under the International Traffic in Arms Regulations — it is regarded as a component in advanced weapons systems and embargoed as such — and was designed for border surveillance and regulation. It can be seen as a technology of governance, a key tool in what Foucault and Agamben have described as biopower. It is an apparatus of the military-humanitarian complex.

The camera translates the world into a heat signature of relative temperature difference, literally reading the biological trace of human life – imperceptive of skin colour – as well as proximity to death through exposure or hypothermia, even from a great distance. The living subject literally glows, and heat radiation creates dazzling optical flare.

Instead of individuals, the camera sees the mass — in Foucault’s words: massifying, that is directed not as man-as-body, but as man-as-species. It elicits an alienating and invasive form of imagery, but also occasionally tender and intimate, tending to both dehumanize and then rehumanize the bare life (Agamben) of the human figure of the stateless refugee and illegal economic migrant, which the camera was specifically designed to detect, monitor, and police.

The camera is used against itself to map landscapes of global displacement and more powerfully represent ambivalent and charged narratives of migration. Reading heat as both metaphor and index, these images attempt to reveal the harsh struggle for human survival lived daily by millions of refugees and migrants, seen but overlooked by our governments, and ignored by many.

You can find out more from a helpful interview with Iona Goulder which puts these twin projects in the context of Richard’s previous work in the Congo (see here and here).  En route, Richard says this:

Reading heat as both metaphor and index, I wanted to reveal the harsh struggle for survival lived daily by millions of refugees and migrants, while investigating one of the sinister technologies that our governments are using against them.

By attaching this camera to a robotic motion-control tripod, I scanned refugee camps across Europe from a high eye-level, to create detailed panoramic thermal images. Each artwork has been painstakingly constructed from a grid of almost a thousand smaller frames, each with its own vanishing point.

Seamlessly blended into a single expansive thermal panorama, I was surprised to find that some of the resulting images seem to evoke the spatial description, minute detail, and human narratives of certain kinds of classical painting, such as Breughel or Bosch. Yet they are also documents disclosing the fence architecture, security gates, loudspeakers, food queues, tents and temporary shelters of camp architecture. Very large in scale, these Heat Maps disclose intimate details of fragile human life in squalid, nearly unliveable conditions in the margins and gutters of first world economies.