POV in the killbox

Killbox Player 1

An update on Joe DeLappe‘s Killbox project (my original post, with links to more info on the concept of a killbox, is here).

Over at Quartz, Ananya Bhattacharya provides more details about the latest iteration of the simulation:

Killbox, an online two-player game named after the military term for an area targeted for destruction, serves as a critique of drone warfare. One player is a civilian exploring her surroundings with few instructions. The second player is guided with tasks, leading up to the administration of a drone strike. Even if the drone pilot player refuses to deploy the weapons, autopilot kicks in and carries out the attack. When it hits, the drone pilot can see the extent of the destruction on the ground but hear nothing. Meanwhile, the child on the ground is barraged by sound. And just in case the first strike doesn’t demolish enough, a second strike is administered—the classic “double-tap” attack to stop rescuers from getting help to the injured and retrieving the deceased.

The game is modelled – in some measure, at least – on the drone strike that killed Mamana Bibi as she gathered okra from the fields around her home in North Waziristan:

The characters in the game aren’t realistic though—they look like odd-shaped blobs. At first, non-human avatars seem less effective, but there’s meaning behind the simplistic design: “We were looking at the map where the drone strike killed people and these maps identified victims with little dots,” said DeLappe. “Almost like map pins, like they’ve been symbolically degraded in some way.”

Killbox player 2

I opened my essay on drone strikes in the Federally Administered Tribal Areas – and on the constitution of the FATA as a space of exception (see “Dirty Dancing” under the DOWNLOADS tab) – with a comparison between this strike, the murder of an innocent grandmother as she worked in the fields with her grandchildren,  and the targeted killing of Baitullah Mehsud, the leader of the Pakistan Taliban, in South Waziristan in 2009 (see also my posts here and here).

In Drone: remote control warfare Hugh Gusterson opens with exactly the same comparison but to a different effect – and one that resonates with Killbox.  Drawing on Jane Mayer‘s account of the assassination of Mehsud, based on testimony from those who watched the video feed from the Predator, he writes:

A technology that is almost magical gives its owners, who are looking on the scene from high in the sky, a godlike power over life and death. The observation of the scene is simultaneously intimate and remote. It is also deeply asymmetrical: Mehsud, unaware of his exposure, is watched by faraway drone operators who can see him as if close up, reclining on the roof of his house on a hot evening as his wife attends to his medical needs. They get to frame the picture while he does not even realize he is in it. Without warning, he is killed as if by a god’s thunderbolt from the sky. Seen from Virginia, the drone strike is quick, clean, and bloodless. Mehsud’s death is instant. Nor, described unambiguously as a terrorist, does he seem undeserving of death. Twelve people die altogether, but the narrative marks only Mehsud’s death as significant. The other deaths are almost outside the frame. And in a way that amplifies the strange mix of distance and intimacy, the scene is mediated entirely through a single sense—vision. The attack has no sound, smell, taste, or texture. And we are invited to experience it through a narrative of mastery and control—of the cool, righteous exercise of overwhelming power.

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Drawing on testimony from Mamana Bibi’s family before a virtually empty Congressional hearing, Hugh writes:

This account is from the point of view of the victims, not the executioners. We share the experience of those who do not even realize that they are in the crosshairs until they are attacked. The account emphasizes the sudden incomprehensible eruption of violent force, literally out of the blue, in a warm scene of familial togetherness on an important holy day. We are led to experience the drone strike through multiple senses, of which sight may be the least salient: we are told about the blackness of the smoke, the sound of the screaming, the smell of the explosion, the sensation of the ground trembling, and the pain of shrapnel wounds. Unlike the first account, the narrative does not end shortly after the drone strike but dwells on the aftermath—the physical pain of the survivors, the enduring grief over the loss of the person “that held our family together.” Above all, this account foregrounds what is absent in the view from CIA headquarters—the psychological suffering of those on the ground, especially children, and the sense that the safe predictability of life has been permanently destroyed. It is a narrative of helplessness, terror, and injustice. The drone operators’ perspective was remote and objectifying, but this narrative is so affecting that it made the translator break down in tears.

The special effects created by privileging the visual are explored with skill and sensitivity in Nasser Hussain‘s brilliant essay, ‘The sound of terror: phenomenology of a drone strike‘, here.

[I]n order to widen our vision, I provide a phenomenology of drone strikes, examining both how the world appears through the lens of a drone camera and the experience of the people on the ground. What is it like to watch a drone’s footage, or to wait below for it to strike? What does the drone’s camera capture, and what does it occlude?

…  Although the pilots can hear ground commands, there is no microphone equivalent to the micro-scopic gaze of the drone’s camera. This mute world of dumb figures moving about on a screen has particular consequences for how we experience the image. As Michel Chion notes in The Voice in Cinema, although sound or voice is easily swallowed up by the image, it nonetheless structures the image: “only the creators of a film’s sound—recordist, sound effects person, mixer, director—know that if you alter or remove these sounds, the image is no longer the same.” In the case of the drone strike footage, the lack of synchronic sound renders it a ghostly world in which the figures seem unalive, even before they are killed. The gaze hovers above in silence. The detachment that critics of drone operations worry about comes partially from the silence of the footage.

… If drone operators can see but not hear the world below them, the exact oppositeis true for people on the ground. Because drones are able to hover at or above 30 thousand feet, they are mostly invisible to the people below them. But they can be heard. Many people from the tribal areas of Pakistan (FATA) describe the sound as a low-grade, perpetual buzzing, a signal that a strike could occur at any time. The locals call the drones machar, mosquitos. Because the drone can surveil the area for hours at a time, and because each round of surveillance may or may not result in a strike, the fear and anxiety among civilians is diffuse and chronic.

That sense of optical power is not necessarily one of detachment.  For we surely know how vision, power and desire can be commingled; and today I learned – from Theodor Nadelson‘s Trained to kill: soldiers at war – that (some) US Marines describe setting their sights on a human target as ‘eye fucking’…

The Body of War

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The program for ‘The Body of War’ Symposium at Lancaster in November has just been announced.  It’s organized around four panels and three keynotes:

(I) The Drones Imaginaria

  • Andreas GRAAE (University of Southern Denmark), The Bipolar Drone Queen: Intimacy and Distance in Showtime’s Homeland
  • Peter LEE (Portsmouth), Death, Truth and Knowing in the Drones Imaginarium
  • Claudette LAUZON (Simon Frazer University, Canada), Drones Gone Wild, and Other Unruly Bodies of War

ADAM HARVEY: Algorithmic control and violence through latent biometrics

(II) Drone warfare: evolution and new challenges

  • Heather HAYES (Whitman College, USA), The Dawn of Humanitarian Weapons: Discourses of a Kinder, Friendlier Killing Machine
  • Oliver DAVIS (Warwick), Theorizing the Advent of Weaponized Drones as Techniques of Domestic Paramilitary Policing
  • Bianca BAGGIARINI (Toronto) & Sean RUPKA (CUNY), Remembering the Drone Wars: Disembodied Combat and the Trauma Lacuna

(III) Theorizing ‘Enmity’ in the age of global counterterrorism

  • Edward FAIRHEAD (Kent, UK), The ‘Enemy’ of Obama’s Targeted Killing Regime
  • Elisabeth SCHWEIGER (Edinburgh), Something New, Something Old, Something Borrowed: The Political Connotations of the Concept of ‘Targeted Killing’ in International Law
  • Elke SCHWARZ (Leicester), Flesh Vs. Steel: Antithetical Materialities in (Counter) Terrorism Warfare

DAVID COOK: The routinization of martyrdom operations in the age of IS and Boko Haram

(IV) The Bodies of the Enemy

  • Caroline HOLMQVIST (Université libre de Bruxelles), Spectres of War
  • Charlotte HEATH-KELLY (Warwick), ISIS and the Hysteric: Desiring the Enemy through Lacan
  • Arthur BRADLEY (Lancaster), Lethal Force: Contract, Conflict, Killing

DEREK GREGORY: Drones and the prosthetics of military violence

You can find more information here.

 

Game of Drones

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Joe Pugliese has sent me a copy of his absorbing new essay, ‘Drone casino mimesis: telewarfare and civil militarization‘, which appears in Australia’s Journal of sociology (2016) (online early).  Here’s the abstract:

This article stages an examination of the complex imbrication of contemporary civil society with war and militarized violence. I ground my investigation in the context of the increasing cooption of civil sites, practices and technologies by the United States military in order to facilitate their conduct of war and the manner in which drone warfare has now been seamlessly accommodated within major metropolitan cities such as Las Vegas, Nevada. In the context of the article, I coin and deploy the term civil militarization. Civil militarization articulates the colonizing of civilian sites, practices and technologies by the military; it names the conversion of such civilian technologies as video games and mobile phones into technologies of war; and it addresses the now quasi-seamless flow that telewarfare enables between military sites and the larger suburban grid and practices of everyday life. In examining drone kills in the context of Nellis Air Force Base, Las Vegas, I bring into focus a new military configuration that I term ‘drone casino mimesis’.

I’m particularly interested in what Joe has to say about what he calls the ‘casino logic and faming mimesis’ of ‘the drone habitus’.  Most readers will know that ‘Nellis’ (more specifically, Creech Air Force Base, formerly Indian Springs), for long the epicentre of the US Air Force’s remote operations, is a short drive from Las Vegas – and those who have seen Omar Fast‘s 5,000 Feet is Best will remember the artful way in which it loops between the two.

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Two passages from Joe’s essay have set me thinking.  First Joe moves far beyond the usual (often facile) comparison between the video displays in the Ground Control Station and video games to get at the algorithms and probabilities that animate them:

‘…there are mimetic relations of exchange between Las Vegas’s and Nellis’s gaming consoles, screens and cubicles.

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‘Iconographically and infrastructurally, casino gaming and drone technologies stand as mirror images of each other. My argument, however, is not that both these practices and technologies merely ‘reflect’ each other; rather, I argue that gaming practices and technologies effectively work to constitute and inflect drone practices and technologies on a number of levels. Casino drone mimesis identifies, in new materialist terms, the agentic role of casino and gaming technologies precisely as ‘actors’ (Latour, 2004: 226) in the shaping and mutating of both the technologies and conduct of war. Situated within a new materialist schema, I contend that the mounting toll of civilian deaths due to drone strikes is not only a result of human failure or error – for example, the misreading of drone video feed, the miscalculation of targets and so on. Rather, civilian drone kills must be seen as an in-built effect of military technologies that are underpinned by both the morphology (gaming consoles, video screens and joysticks) and the algorithmic infrastructure of gaming – with its foundational dependence on ‘good approximation’ ratios and probability computation.’

And then this second passage where Joe develops what he calls ‘the “bets” and “gambles” on civilian life’:

‘[Bugsplat’ constitutes a] militarized colour-coding system that critically determines the kill value of the target. In the words of one former US intelligence official:

You say something like ‘Show me the Bugsplat.’ That’s what we call the probability of a kill estimate when we are doing this final math before the ‘Go go go’ decision. You would actually get a picture of a compound, and there will be something on it that looks like a bugsplat actually with red, yellow, and green: with red being anybody in that spot is dead, yellow stands a chance of being wounded; green we expect no harm to come to individuals where there is green. (Quoted in Woods, 2015: 150)

Described here is a mélange of paintball and video gaming techniques that is underpinned, in turn, by the probability stakes of casino gaming: as the same drone official concludes, ‘when all those conditions have been met, you may give the order to go ahead and spend the money’ (quoted in Woods, 2015: 150). In the world of drone casino mimesis, when all those gaming conditions have been met, you spend the money, fire your missiles and hope to make a killing. In the parlance of drone operators, if you hit and kill the person you intended to kill ‘that person is called a “jackpot”’ (Begley, 2015: 7). Evidenced here is the manner in which the lexicon of casino gaming is now clearly constitutive of the practices of drone kills. In the world of drone casino mimesis, the gambling stakes are high. ‘The position I took,’ says a drone screener, ‘is that every call I make is a gamble, and I’m betting on their life’ (quoted in Fielding-Smith and Black, 2015).

There is much more to Joe’s essay than this, but these passages add considerably to my own discussion of the US targeted killing program in the Federally Administered Tribal Areas of Pakistan in ‘Dirty dancing’.  You can find the whole essay under the DOWNLOADS tab, but this is the paragraph I have in mind (part of an extended discussion of the ‘technicity’ of the US targeted killing program and its reliance on kill lists, signals intercepts and visual feeds):

The kill list embedded in the [disposition] matrix has turned out to be infinitely extendable, more like a revolving door than a rolodex, so much so that at one point an exasperated General Kayani demanded that Admiral Mullen explain how, after hundreds of drone strikes, ‘the United States [could] possibly still be working its way through a “top 20” list?’  The answer lies not only in the remarkable capacity of al Qaeda and the Taliban to regenerate: the endless expansion of the list is written into the constitution of the database and the algorithms from which it emerges. The database accumulates information from multiple agencies, but for targets in the FATA the primary sources are ground intelligence from agents and informants, signals intelligence from the National Security Agency (NSA), and surveillance imagery from the US Air Force. Algorithms are then used to search the database to produce correlations, coincidences and connections that serve to identify suspects, confirm their guilt and anticipate their future actions. Jutta Weber explains that the process follows ‘a logic of eliminating every possible danger’:

‘[T]he database is the perfect tool for pre-emptive security measures because it has no need of the logic of cause and effect. It widens the search space and provides endless patterns of possibilistic networks.’

Although she suggests that the growth of ‘big data’ and the transition from hierarchical to relational and now post-relational databases has marginalised earlier narrative forms, these reappear as soon as suspects have been conjured from the database. The case for including – killing – each individual on the list is exported from its digital target folder to a summary Powerpoint slide called a ‘baseball card’ that converts into a ‘storyboard’ after each mission. Every file is vetted by the CIA’s lawyers and General Counsel, and by deputies at the National Security Council, and all ‘complex cases’ have to be approved by the President. Herein lies the real magic of the system. ‘To make the increasingly powerful non-human agency of algorithms and database systems invisible,’ Weber writes, ‘the symbolic power of the sovereign is emphasised: on “Terror Tuesdays” it (appears that it) is only the sovereign who decides about life and death.’ But this is an optical illusion. As Louise Amoore argues more generally, ‘the sovereign strike is always something more, something in excess of a single flash of decision’ and emerges instead from a constellation of prior practices and projected calculations.

More terror from the skies

IS drone imagery Syria

Commentators have been worrying away at the likelihood of terrorist groups turning to small commercial drones not only for surveillance – IS have been doing that for some time now (see the image above) – but also for air strikes (see, for a recent example, Robert J Bunker‘s report for the US Army War College here).  The surveillance capabilities of quadcopters have been used to direct attacks by IS ground forces, including vehicles carrying suicide bombs, but the Pentagon now reports that the drones have also been equipped with improvised explosive devices (IEDs).

In response, the Pentagon has asked for $20 million for its Joint Improvised-Threat Defeat Agency to develop counter-measures: to ‘identify, acquire, integrate and conduct testing’ of methods that are able to ‘counter the effects of unmanned aerial systems and the threats they pose to U.S. forces.’

Perhaps they should also look closer to home.  Two men in Connecticut have contested the right of the Federal Aviation Administration to investigate their use of ‘recreational drones’ equipped with a handgun and a flamethrower.  Here’s a video clip:

And other commentators are already looking beyond war zones: systems like these enable groups like IS – and individuals – to carry the fight far beyond the territory they control and into the heart of cities in North America, Europe and elsewhere.

The Last Dance

Mansour strike photo

I have – at long last – finished the longform version of “Dirty dancing: drones and death in the borderlands“, which analyses drone strikes in Pakistan’s Federally Administered Tribal Areas and situates them within a wider context of military violence in the region.  You can find it under the DOWNLOADS tab, but I’ve pasted the conclusion below; there’s also a video of the last presentation I gave under that title here.

To make sense of the conclusion, I should explain that the essay opens by juxtaposing the killing of two people, Baitullah Mehsud (leader of the Pakistan Taliban) and Mamana Bibi (a village midwife), to pose the question: what kinds of spaces are the FATA made to be for incidents like these – incidents as unlike as these – to be possible?

My answer works with two framing devices.

The first is the space of exception – a space in which people are knowingly and deliberately exposed to death through the political-juridical removal of legal protections and affordances that would otherwise be available to them.  My version of this is different from that proposed by Giorgio Agamben, and far from invoking a suspension of the law I explore three legal geographies that have been used to prepare the ground for aerial violence in the borderlands.

The second is the space of execution; here I riff off Owen Sheers‘ perceptive remark about ‘the territory of the screen’ (as I note, ‘Killing somebody with a Hellfire missile controlled from thousands of miles away depends upon a screen – or more accurately a series of screens – on which the image of a human body will eventually be touched by the cross-hairs of a targeting pod’).  Owen’s phrase is much more than metaphor, so I treat ‘territory’ as a (bio)political technology whose calibrations enable states to assert, enact and enforce a claim over bodies-in-space (you can no doubt hear the echoes of Stuart Elden) and then explore the technicity involved in three of its screen elements that jointly transform the FATA into a space of execution: kill lists, signals intercepts and visual feeds.

***

Mamana Bibi's surviving family

Here, then, is the conclusion:

The production of the borderlands as spaces of exception and spaces of execution are attempts to force those who live there into particular subject-positions as a means of subjugation. These positions are partial and precarious but the project to establish them as legitimate and rational has consequences that are material and affective. They clearly affect those targeted – people like Baitullah Mehsud – whose political agency exceeds in terrifying ways the normative space allowed them by the state of Pakistan and the United States and in so doing brings their actions to the attention of both. But they also impact the rest of the population in the FATA, constricting their mobilities and stoking their fears to such a degree that ‘normal life’ for many of them threatens to become a memory or a fantasy. Their existence is rendered more precarious because the subject-positions to which they are so brutally assigned are racialized. These are ‘tribal peoples’, different from those who inhabit ‘mainland Pakistan’, while the United States writes off their incidental deaths as ‘collateral damage’ whose anonymity confers on them no individuality only a collective ascription. When a CIA-directed drone strike on a compound in the Shawal Valley of South Waziristan on 15 January 2015 was found to have killed not only a deputy leader of al-Qaeda in the Indian subcontinent and a local Taliban commander but also two hostages, an American development contractor and an Italian aid worker, a ‘grim-faced’ and ‘visibly moved’ Obama made a personal and public apology. [i] The rarity of the gesture is revealing. For the value of their lives was acknowledged and their deaths were made grievable in ways that others – which is to say Others – were not. Nobody has ever accepted responsibility or apologised for the death of Mamana Bibi or any of the other innocent victims of aerial violence.

For this reason it is important to resist those versions of the space of exception that are complicit in the denial of agency to those who live within its confines. The state of Pakistan administers the inhabitants of the FATA through Political Agents: but this does not remove (though it does diminish) their own political agency. Pakistan’s armed forces conduct clearing operations that ruthlessly drive people from their homes and into camps for displaced persons: but this does not turn the FATA into one vast ‘camp’. The presence of US drones strips those who live under them of their well-being and dignity: but this does not reduce them to ‘bare life’. Similarly, the emergent subject that is produced within the space of execution, apprehended as a network trace, a sensor signature and a screen image, is a cipher that stands in for – and in the way of – a corporeal actor whose existence is not measured by the calculative alone.

***

This version, or something very much like it, will appear in a collection edited by Caren Kaplan and Lisa Parks, Life in the Age of Drones.  But an (even longer!) version will eventually appear in my own book, with images and maps (you can find many of them scattered through my previous posts: for example here, here and here), so I really would welcome any comments or suggestions if you have time to read the full thing: derek.gregory@ubc.ca.

 

Vertical fields

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.

In continent

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Over at the LA Review of Books Will Govinsky has a fine essay on Eye in the Sky called ‘The beauty of an imperial dilemma‘.  It begins with the image of a French gunboat firing shots into the African rainforest from Joseph Conrad‘s Heart of Darkness:

The ship’s absurdly one-sided battle becomes, for Marlow, an emblem of pointless, indiscriminate imperial violence: “[T]here she was, incomprehensible, firing into a continent.”

Will’s point is about the parallel between the anonymity of imperial violence in the African rainforest and the anonymity of the US (un)targeted killing program:

The chilling anonymity of this “targeted” drone program’s victims, crossed with the sanguine official line, again recalls Conrad’s French warship. “There was a touch of insanity in the proceeding,” Marlow says, which “was not dissipated by somebody on board assuring me earnestly there was a camp of natives ­— he called them enemies! — hidden out of sight somewhere.”

Conrad’s critique of European imperial violence moves with notorious swiftness from the opacity of the victim to the opacity at the heart of the colonizer. Marlow does not know who exactly are the victims of the French warship’s shells, but Conrad’s racism, as Chinua Achebe famously argued, precludes his narrator from caring that much. Marlow’s concern is not for the mangled bodies on the receiving end of colonial violence, but for the deplorable madness at the heart of the imperialist himself.

As I’ve described elsewhere, the genealogy can be traced across multiple theatres.  Here, for example, is Arnold Bennett on the Western Front:

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And here is Frederic Downs describing a US artillery bombardment in Vietnam – Francis Ford Coppola‘s setting for Heart of Darkness – in terms which loop back directly to Will’s (Conrad’s) point about anonymity, impersonality and the madness of it all:

The coordinates for that location and the time for firing would be relayed to the gun crews. At the specified time, the gun crews would be awakened. Perhaps it would be just after midnight. As the minutes ticked closer to a time set by an unknown intelligence the men would load the artillery pieces, anticipating the release of their impersonal death into a grid square. The gun commander would give the order to fire and the night would explode with man’s lightning and thunder. After the prescribed rounds, the guns would cease, the cleanup would begin, and the men would go back to their bunks. Thinking what? Within the range of those guns, within a specified area, the Central Highlands had for a brief moment changed from the jungle it had been for thousands of years into the particular insanity of man.

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In these two cases, clearly, the gunners were firing blind – but what lay behind their guns was a stream of co-ordinates.

This raises two issues that bear directly on the use of today’s remote platforms.

The first is about the ethics of killing at a distance which, as Will notes, also has a (far longer) genealogy.  He cites Chateaubriand‘s question – ‘If, merely by wishing it, you could kill a man in China and inherit his fortune in Europe, being assured by supernatural means that the deed would remain forever unknown, would you allow yourself to form that project?’ – and explains that ‘killing the mandarin’ became shorthand in French for committing ‘an evil action in the hope that it will remain unknown.’

But the US targeted killing program is hardly unknown, and my own preference – which turns out to be closely related to tuer le mandarin – is to turn to Denis Diderot:

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The intimate connection between distance and blindness can be read again and again in accounts of bombing during the Second World War, most directly here:

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But again, what lay behind ‘the distance and the blindness’ was a stream of intelligence.

Recognising the importance of those intelligence streams – and conceding that ‘crunching petabytes of metadata just wouldn’t make for good cinema’ – Will’s key point (and the second issue) is that in its representation of a drone strike in East Africa Eye in the Sky artfully reverses Conrad’s trope:

It asks what we would do if we knew everything. In a taut 102 minutes, the film condenses the ambiguities of drone warfare into a balance sheet of nigh certainties.

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In a fine passage, he suggests the film offers the fantasy

of perfect, visual knowledge — a platform for the terrible beauty of a globe-girdling ethical dilemma. Poised, confident, her silver hair luminescent in the metallic grey-blue glow of her theater-like command center, [Helen] Mirren’s Col. Powell gathers up in her steely 10,000-mile stare the awful knowledge of her options.

But – as I argued in my own commentary on Eye in the Sky – this is indeed a fantasy.  The video feeds from remote platforms do not render the battle space transparent, and the make-believe that they do, Will concludes, renders the film ‘less a representation of drone warfare than a grotesque abstraction of it.’  Hence his brilliantly sobering conclusion:

We need plots that provide the narrative space to ask questions: whether the very terms of our dilemmas are spurious; whether firing into continents, day in and day out, can be anyone’s prerogative, let alone ours.

Grim Reapers

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Sky News has a report on Launch & Recovery crews responsible for US/UK drone operations against IS in Iraq and Syria based “somewhere in the Middle East”.

Much of it will be all too familiar to most readers:

Relentlessly watching their prey. Monitoring every movement a high profile Islamic State target makes.

In the words of the American officer I speak to, “we are the unblinking eye”…

“We are going to be on that target as long as the weather allows and as long as the mission allows.

In many cases there is more than one asset on that individual.

“You know when he’s going to go to the bathroom, you know when he’s going to go to eat, you know when he’s going to go to prayer time.

“You know where he goes, his associates.

“That’s all about building that picture so that we know and we can project when he’s going and where he’s going to be.”

But the video embedded in the report repays close attention, not least for the brief glimpses of the video feeds from the drones themselves.

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The first two images (above) are clips from the video used by the pilot to control the aircraft – a view of the runway before take-off and an airborne view before control is handed off to the crew who will fly the assault mission from ground control stations in either the US or the UK – while the third (below) is from the imagery used to identify a ‘possible target’.  The comparison between this last image and the equally ‘High Definition’ imagery released from an Italian MQ-9 Reaper late last year is instructive: see my post here.

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You can find updates on the UK campaign in Iraq and Syria at Drone Wars UK here and here.

As Chris Cole reports there, too, the use of remote platforms [RPAs] to strike targets in Afghanistan has increased dramatically following the draw-down of US and NATO forces:

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It is surely not coincidental that last month the US Air Force renamed eight of its RPA reconnaissance squadrons ‘attack squadrons’:

‘Eight RPA reconnaissance squadrons [based at Holloman AFB in New Mexico, Whiteman AFB in Missouri, and Creech AFB in Nevada] will be redesignated as attack squadrons [and]… Air Force Chief of Staff Gen. Mark A. Welsh III authorized RPA aircrews to log combat time when flying an aircraft within designated hostile airspace, regardless of the aircrew’s physical location.

The changes were two of many recommendations that emerged as part of Air Combat Command’s Culture and Process Improvement Program, which seeks to address a number of issues affecting operations and the morale and welfare of Airmen across the RPA enterprise….

“Aerial warfare continues to evolve. Our great RPA Airmen are leading that change. They are in the fight every day,” Welsh said. “These policy changes recognize the burdens they bear in providing combat effects for joint warfighters around the world.”’

Hollow men?

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In my commentary on Eye in the Sky I emphasised the dispersed geography of command and responsibility involved, and it turns out that was a key concern of the film’s director Gavin Hood.  In an interview with Dan Gettinger for Bard’s Center for the Study of the Drone, he explains:

‘… we obviously designed the film frankly as a thought experiment; it is based on a very specific set of circumstances … these circumstances are not the circumstances of every drone strike. As you know, it is not the case that in every single drone strike the question of whether to fire or to not fire is referred all the way up the kill chain to the foreign secretary, or the prime minister, or in the case of the United States, the secretary of state, secretary of defense, or indeed the president. Depending on the geographical location of these strikes, different rules apply. If you are striking within an already defined conflict zone with clear rules of engagement, in areas such as Iraq or Afghanistan, then sadly this level of debate does not always happen. It very much depends on who is being targeted and where that target is taking place, as to whether the authorization of the strike is referred high up the kill chain.

In our case, in the case of the film, we wanted to create a scenario in which as much discussion as possible was possible within our film. We didn’t want to make a film where the discussion ended at the local commander level. That is a story that can and should be told—the story of the strikes over the tribal areas of Pakistan, for example, where signature strikes take place and where many civilians have been killed—but what we felt was helpful was to make a film which would allow many different points of view to be represented in order to help the conversation that is already underway, but which the public is not necessarily particularly aware of.’

See also David Cole‘s ‘Killing from the Conference Room’ here.

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It was partly for the same reason that Ainsley O’Connell travelled to Holloman Air Force Base in New Mexico for Fast Company: to see what the training program for the crews that operate the Air Force’s remote platforms reveals about today’s management.

Her extended report riffs off Tom Cruise‘s Maverick in Top Gun, and his boast that – like all pilots of conventional strike aircraft – ‘You don’t have time to think up there… If you think, you’re dead.’  In contrast, Ainsley reports:

The new Maverick represents the future of work in a fully global world dominated by complex machines, complex communications, and fluid, remote teams. A body of economic research produced over the last 15 years suggests that organizations are shifting to a model of work characterized by continuous learning and flat teams with complementary skill sets. In this model there is room for autonomy and improvisation, but it takes place in the context of managerial surveillance and shared goals. The military, though still wedded to its lock-step hierarchies, is not immune to the trend. And RPA crews, despite their image as video gamers operating in the dark, are arguably one of the best case studies for how the future of work will affect war and conflict.

She finds that remote crews have to develop not only ‘air awareness’ – since they don’t have the physical sensations of flight or situation available to conventional pilots – but also ‘social awareness’: the ability to collaborate and communicate with military actors across the network.

I discuss the layered bureaucracy – and its imperfect network – in more detail in ‘Reach from the sky‘ and will post the text of those two lectures soon (see also here).

In the meantime, there is an earlier report on the training program at Holloman by Corey Mead for the Atlantic here.

Death sentences

Living under drones is both a chilling report and a nightmare reality.  In November 2014, in a New Yorker essay called ‘The unblinking stare‘, Steve Coll reported a conversation with Malik Jalal from North Waziristan:

‘Drones may kill relatively few, but they terrify many more…  They turned the people into psychiatric patients. The F-16s might be less accurate, but they come and go.’

Now Reprieve has put a compelling face to the name – to a man who believes, evidently with good reason, that he has been included in the CIA’s disposition matrix that lists those authorised for targeted killing.

Malik Jalal JPEG

‘Malik’ is an honorific reserved for community leaders, and Jalal is one of the leaders of the North Waziristan Peace Committee (NWPC).  Its main role is to try to keep the peace between the Taliban and local authorities, and it was in that capacity that he attended a Jirga in March 2011.  He says this was on 27 March, but I think it must have been the strike that killed 40 civilians at Datta Khel on 17 March (see the summary from the Bureau of Investigative Journalism here and my post here).

Here are the relevant passages from my ‘Dirty dancing’ essay, following from a discussion of Pashtunwali and customary law in the Federally Administered Tribal Areas (I’ve omitted the footnotes and references):

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‘In short, if many of the Pashtun people in the borderlands are deeply suspicious of and even resentful towards Islamabad (often with good reason) they are ‘neither lawless nor defenceless.’

‘Yet the trope of ‘lawlessness’ persists, and it does important work. ‘By alleging a scarcity of legal regulation within the tribal regions,’ Sabrina Gilani argues, ‘the Pakistani state has been able to mask its use of more stringent sets of controls over and surveillance within the area.’ The trope does equally important work for the United States, for whom it is not the absence of sovereign power from the borderlands that provides the moral warrant for unleashing what Manan Ahmad calls its ‘righteous violence’. While Washington has repeatedly urged Islamabad to do much more, and to be less selective in dealing with the different factions of the Taliban, it knows very well that Pakistan has spasmodically exercised spectacular military violence there. But if the FATA are seen as ‘lawless’ in a strictly modern sense – ‘administered’ but not admitted, unincorporated into the body politic – then US drone strikes become a prosthetic, pre-emptive process not only of law enforcement but also of law imposition. They bring from the outside an ‘order’ that is supposedly lacking on the inside, and are reconstituted as instruments of an aggressively modern reason that cloaks violence in the velvet glove of the law.

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And yet the CIA’s own willingness to submit to the principles and procedures of modern law is selective and conditional; we know this from the revelations about torture and global rendition, but in the borderlands the agency’s disregard for the very system it purports to defend also exposes any group of men sitting in a circle with guns to death: even if they are gathered as a Jirga. On 27 January 2011 CIA contractor Raymond Davis was arrested for shooting two young men in Lahore. The targeted killing program was suspended while the United States negotiated his release from custody, agreeing to pay compensation to the victims’ families under Sharia law so that he could be released from the jurisdiction of the court. On 16 March, the day after Davis’s release, a Jirga was convened in Dhatta Khel in North Waziristan. A tribal elder had bought the rights to log an area of oak trees only to discover that the land also contained chromite reserves; the landowner was from a different tribe and held that their agreement covered the rights to the timber but not the minerals, and the Jirga was called to resolve what had become an inter-tribal dispute between the Kharhtangi and the Datakhel. Maliks, government officials, local police and others involved in the affair gathered at the Nomada bus depot – a tract of open ground in the middle of the small town – where they debated in two large circles. Agreement was not reached and the Jirga reconvened the next morning. Although four men from a local Taliban group were present, the meeting had been authorised by the local military commander ten days earlier and was attended by a counsellor appointed by the government to act as liaison between the state, the military and the maliks. It was also targeted by at least one and perhaps two Predators. At 11 a.m. multiple Hellfire missiles roared into the circles. More than forty people were killed, their bodies ripped apart by the blast and by shattered rocks, and another 14 were seriously injured.

Dhatta Khel before and after drone strike (Forensic Architecture)

There is no doubt that four Taliban were present: they were routinely involved in disputes between tribes with competing claims and levied taxes on chromite exports and the mine operators. But the civilian toll from the strike was wholly disproportionate to any conceivable military advantage, to say nothing of the diplomatic storm it set off, and several American sources told reporters that the attack was in retaliation for the arrest of Davis: ‘The CIA was angry.’ If true, this was no example of the dispassionate exercise of reason but instead a matter of disrespecting the resolution offered by Sharia law and disordering a customary judicial tribunal. Even more revealing, after the strike an anonymous American official who was supposedly ‘familiar with the details of the attack’ told the media that the meeting was a legitimate military target and insisted that there were no civilian casualties. Serially: ‘This action was directed against a number of brutal terrorists, not a county fair’; ‘These people weren’t gathering for a bake sale’; ‘These guys were … not the local men’s glee club’; ‘This was a group of terrorists, not a charity car wash in the Pakistani hinterlands.’ The official – I assume it was the same one, given the difference-in-repetition of the statements – provided increasingly bizarre and offensively absurd descriptions of what the assembly in Datta Khel was not: he was clearly incapable of recognising what it was. Admitting the assembly had been a properly constituted Jirga would have given the lie to the ‘lawlessness’ of the region and stripped the strike of any conceivable legitimacy. The area was no stranger to drone attacks, which had been concentrated in a target box that extended along the Tochi valley from Datta Khel through Miran Shah to Mir Ali, but those responsible for this attack were clearly strangers to the area.

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‘Like others that day,’ Jalal concedes, ‘I said some things I regret. I was angry, and I said we would get our revenge. But, in truth, how would we ever do such a thing? Our true frustration was that we – the elders of our villages – are now powerless to protect our people.’

This was the fourth in a series of strikes that Jalal believes targeted him:

‘I have been warned that Americans and their allies had me and others from the Peace Committee on their Kill List. I cannot name my sources [in the security services], as they would find themselves targeted for trying to save my life. But it leaves me in no doubt that I am one of the hunted.’

He says he is an opponent of the drone wars – but if that were sufficient grounds to be included on the kill list it would stretch into the far distance.

He also says that the Americans ‘think the Peace Committee is a front’ working to create ‘a safe space for the Pakistan Taliban.’

‘To this I say: you are wrong. You have never been to Waziristan, so how would you know?’

And he describes the dreadful impact of being hunted on him and his family:

‘I soon began to park any vehicle far from my destination, to avoid making it a target. My friends began to decline my invitations, afraid that dinner might be interrupted by a missile.

‘I took to the habit of sleeping under the trees, well above my home, to avoid acting as a magnet of death for my whole family. But one night my youngest son, Hilal (then aged six), followed me out to the mountainside. He said that he, too, feared the droning engines at night. I tried to comfort him. I said that drones wouldn’t target children, but Hilal refused to believe me. He said that missiles had often killed children. It was then that I knew that I could not let them go on living like this.’

And so he has travelled to Britain to plead his case:

‘I came to Britain because I feel like Britain is like a younger brother to America. I am telling Britain that America doesn’t listen to us, so you tell them not to kill Waziristanis.’

You can hear an interview with him on BBC’s Today programme here.

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In you think Britain is distanced from all this, read Reprieve‘s latest report on ‘Britain’s Kill Listhere (which focuses on the Joint Prioritised Effects List in Afghanistan and its spillover into Pakistan) and Vice‘s investigation into the UK’s role in finding and fixing targets in Yemen here.