Last week, i was in Berlin for the talks and screenings organized by the Disruption Network Lab, a platform of events and research focused on art, hacktivism and disruption. DNL opened its program with Eyes from a Distance. On Drone-Systems and their Strategies, a conference that explored the politics and the regime of power beyond drone-systems. A couple of the talks have already been uploaded online. They will all be there eventually and in the meantime i'm going to dutifully post my notes from the conference.
Starting with the brilliant panel of the first evening. The Grey Zone. On the (il)legitimacy of targeted killing by drones, moderated by journalist Laura Lucchini, explored drone strikes under the perspectives of an investigative journalist, a criminal law researcher, an activist and a blogger/journalist who lives in Gaza under the constant surveillance of the Israeli drones (more about her in a later post but go ahead if you're curious...)
The grey zone is of course the dangerous, blurry area where drone attacks operate. The practice of targeted killing by drones raises many questions: "How many civilians have been killed as collateral damage during these strikes?" "And even if we're talking about militants, how can the killings be justified when there has been judicial supervision? "If these drones can reach their targets anywhere, then how is the battlefield defined?" "87 countries (and counting) are now equipped with military drones, which they use mostly for surveillance. Only 3 countries use drones for targeted killings: the U.S., Israel and the UK. Where will this stop?" "And if these targeted killings are illegal, why does Europe keep silent?"
The first panelist was John Goetz, an American investigative journalist and author based in Berlin. He wrote, together with Christian Fuchs, the book Geheimer Krieg (Secret War) which reveals how the war on terror is secretly conducted from covert U.S. bases in Germany.
Goetz's presentation attempted to reconstruct one day of a drone attack in Somalia and as the narrative unfolded, we got to hear about Germany's involvement into these military operations, the way the U.S. gather intelligence in foreign territories and how innocents end up being caught in the line, if not directly targeted due to inaccurate information.
As he explained at the conference (and as an article in The Intercept further confirmed), drone strikes wouldn't be possible without the support of Germany. The Germans might not launch the attacks themselves but they provide intelligence and they coordinate the strikes that target suspected terrorists in Africa and the Middle East, but that also kill civilians.
The U.S. drone war in Africa is controlled from U.S. bases in Germany, namely Ramstein and Stuttgart. Germany is also responsible for gathering human intelligence. There are many Somali immigrants and asylum seekers in Germany and as they arrive, they are asked about streets, shops, location of members of Al-Shabaab, etc. Any information that could be used by the "War on Terror" is immediately relayed to U.S. intelligence officers.
The second speaker was Chantal Meloni, a criminal lawyer and the author of Is there a Court for Gaza? A Test Bench for International Justice, a book about the crimes perpetrated during the Operation Cast Lead against the Gaza Strip.
Meloni put the issue of targeted killing by drones into a legal framework.
Since 2004, up to 5,500 people have been killed by drone strikes in Somalia, Yemen and Pakistan. These are countries the U.S. is not officially at war with.
Killing has supplanted capture as the centerpiece of the U.S. counter terrorism strategy. Opposition to drone killing is growing but it is not as effective as the opposition to torture was. A reason for that might be that the legal framework for drone strikes is more complex.
Drone strikes have escalated under the Obama administration and they are characterized by a lack of transparency: states don't disclose who has been killed, why and who are the collateral casualties. Obama doesn't disclose the identity of the people on the kill list. There is no public presentation of evidence, nor any judicial oversight. The level of opacity is actually ridiculous. The little information we have is provided by media reports, leaks or testimonies.
An analysis by the human rights organization Reprieve found that US operators targeting 41 men have killed an estimated 1,147 people. So who are the 1,106 individuals? We don't know, most of them remain unnamed. What is sure is that the collateral damage shows that drones are not as 'surgically precise' as the U.S. claims.
Rosa Brooks, a Georgetown professor and former Pentagon official under President Obama, sums up the situation: "Right now we have the executive branch making a claim that it has the right to kill anyone, anywhere on Earth, at any time, for secret reasons based on secret evidence, in a secret process undertaken by unidentified officials."
We associate the start of the drone attacks with the U.S. and their post-9/11 counter-terrorist strategy but the military use of drones started long before that, in Israel, a country that has the longest track record for targeted killing (aka "targeted prevention") of Palestinians. Targeted killings can be defined as the state-sponsored practice of eliminating enemies outside the territory.
Nowadays, most of the drones sold around the world are used for surveillance purposes but it has been forecast that in 10 years every country will have armed drones.
60% of the world export of drones come from Israel. Israeli manufacturer Elbit is producing the best selling model: the Hermes drone which was used in the latest attacks on Gaza. 37% of the killings that occurred during the attacks on Gaza can be attributed to drones.
One can see the appeal of drones for governments and policy makers: they are relatively cheap, they are claimed to be 'surgically precise', they make it easy to kill without any risk and they allow the army to reach their target in areas that would otherwise be difficult to reach. But do their use comply with the martial law?
Targeted killings are generally unlawful under international laws.
The laws under war time are more permissible regarding the use of lethal forces. However, the right to use armed force is not unlimited. Civilians, for example, need to be protected from direct attacks.
States have thus expanded the concept of war on the battlefield as to include situations that should in fact be regulated by law enforcement agencies. The 'war on terror' is a total war for which no end nor boundaries is conceived. The number of enemies is infinite too. Governments justify the use of lethal forces by claiming that this is 'anticipatory self-defense' but, under the laws applicable under war time, the self-defense argument allows killing only when all other solutions, such as capture, have been exhausted. Most targeted killings outside the battlefield constitute thus premeditated deprivations of life, violations of the right to life.
When killings cannot be justified they constitute war crimes and other states have the duty to investigate and not leave dormant this huge accountability vacuum.
Tactical Technology Collective, Unseen War (Exposing the Invisible)
The final speaker was Marek Tuszynski, the co-founder of Tactical Tech, an organization 'dedicated to the use of information in activism.'
Tuszynski's talk focused on a series of short documentaries called Exposing the Invisible. The films look at the investigative work of journalists, artists, reporters, activists and technologists who explore publicly accessible data in order counter mainstream reports and go further than traditional journalistic investigations. One of the documentaries, Unseen War examines the physical, moral and political invisibility of US drone strikes in Pakistan.
He argued that counter powers should build their own intelligence practice.
The operations in Pakistan might be located far away but they concern us because
But there's no reason to be passive, we need to protect ourselves because surveillance doesn't require machines flying above our heads, we are already providing a vast quantity of valuable indormation when we use social media and that data can be used to analyse our digital behaviour. To protect yourself from intrusion to privacy, check out Tactical Tech's Security in-a-Box website.
Image on the homepage cnet.
Two years ago, indigenous and non-indigenous activists started joining forces to stop a UK-based mining company, Beowulf, from carrying out another drilling program in Kallak, in northern Sweden. Local opposition to mining projects is nothing extraordinary. In other parts across the world, people are campaigning against drilling, fracking, mining and other projects that translate short term profit into long-lasting damage to the environment (if you have any doubt about this, check out a story this morning about a Swedish mining town that will have to be moved away or 'risk plunging into the earth.') But what made the fight against the mining company particularly moving is that Kallak is a reindeer winter grazing land and an area of great spiritual and cultural importance to the Sami Peoples.
The Sami live in the the Arctic area of Sápmi, which covers parts of far northern Norway, Sweden, Finland and the Kola Peninsula of Russia. They are regarded as a minority in these countries but they've inhabited that area for at least 5,000 years, live in close connection with nature and are one of the very few remaining indigenous people in Europe. The right to own their own land, the right to speak their own language or live according to their own culture is dependent on the nation states within which they live. Finland, for example, still has to ratify the ILO Convention No. 169 which would grant rights to the Sami people to their land and give them power in matters that affect their future.
The Swedish government ended up refusing to allow Beowulf to exploit the Kallak area for iron ore but that doesn't mean that the fight is over for the Saami. They inhabit what is probably the last true wilderness of Europe and because this wilderness is rich in precious natural resources, the Sami have to face many other cultural and environmental threats.
So far, we haven't hear Saami people's voice a lot outside of Scandinavia but this will hopefully change thanks to the work of a Sami collective called Suohpanterror. The anonymous group of artists uses wit, iconic images and humour as weapons to comment on the issues their people have to experience on a daily basis: discrimination, racism, marginalisation, colonialism, dam building, logging, military bombing ranges, as well as exploitation by the tourism and energy industries. And of course, climate change.
Suohpanterror reinvents, re-purposes and 'Sami-fies' well-known icons of advertising, art history, cinema, street art and other manifestations of popular culture to striking results. The first time i saw one of their images, i had no idea what it represented exactly but i could sense that there was something powerful and meaningful at stake.
I recently got in touch with Jenni Laiti, a performance artist and spokesperson for Suohpanterror, and she kindly accepted to answer my questions via a skype interview. I wrote down out Q&A:
Hi Jenni! Where does the name Suohpanterror come from?
Suohpan means lasso. The lasso plays an important role in our culture. To catch reindeer, you need a good lasso hand, it´s called Suohpangiehta, Lasso hand. And of course, it also has a deeper meaning. We are very peaceful people. If we had our own army, the lasso would be our weapon of choice.
The posters you make are really striking. But being from Belgium i suspect that i'm not the best person to understand these images. Which kind of reaction do you hope to raise with the posters? Anger, laughter, mere uneasiness?
Outsiders can't read the symbolic the way we do. To us these posters often have a wider symbolic and several layers of meanings. Each member of Suohpanterror has its own idea of what the images convey. Some are meant to make you angry. Others are ironic or satiric. Some have more of a 'feel good' feeling. Others describe the anxiety we are carrying within ourselves. Some makes us feel powerful. Etc. And of course the images will resonate differently according to who you are.
Take the Suohpanterror version of the American We Can Do It poster for example. Every one recognizes the image and where it comes from. It's America, it's feminism. It will have additional meanings for a Sami, a Scandinavian or someone from another part of the world. To us, it conveys an encouraging message, it says "This is who we are and we can do it."
More generally what do you think that images can achieve? Why use posters rather than other forms of action?
One of the main reasons is that there is a lack of this kind of art in Sami culture. So the posters are filling a gap. On the other hand, they make for good communication between us and other people. They are easy to understand and everyone can also perceive the added Sami dimension of these pictures.
But it doesn't stop at images. There are many other revolutionary things going on. I also do performances, for example. We also use cultural jamming, performance, artivism, direct actions, etc. All the strategies are useful to us.
Other members of Suohpanterror prefer to remain anonymous. Is there a reason for that?
Many people are asking "Who is Suohpanterror?" One could answer that question "Who isn´t Suohpanterror?"
We are indigenous people, also a minority and face a lot of racism. It is very difficult to live as a Sami today when your culture is not appreciated, when you and your people are hated and the majority doesn't share the same values. The Sami are little more than 100 000 people and we live in small communities. Some of us want to protect themselves and their families from the physical and psychical violence and threat that we are already experiencing.
Would you mind commenting on some of the images below?
The background of the image is a mine in North Sweden. It's a reference to the touristic marketing campaign Visit Lapland. Our land is the last wilderness in Europe and the state is happy to welcome everyone to visit it but what if all that's left to see one day are just mines?
We are peaceful people. We don't want fight. On the other hand, it's difficult not to get angry at the way companies are treating us. At every stage of any discussion, we have to listen to a monologue (they call it a 'dialogue'.) The only way companies enter in a dialogue is by speaking and not listening to anything we have to say. And then suddenly the meeting is over. So i think what this image says is that both sides need to be involved in the discussion for a real dialogue to emerge. If instead companies continue this deaf monologue, we should just kick them out!
In Finland, both the government and the tourism industry exploit us, sell us without ever asking for our permission. They describe us as cartoon characters, who smile, who are cute but aren't real people. The reality however, is that their policies that do not support our livelihood are killing the reindeer.
The character of this version of Edvard Munch's The Scream is horrified by the many ways our land is exploited. There are wind turbines, hydro power, mining. The sign says "Mining Area. Trespassing Forbidden." This image describes what is really happening in Sápmi, our homeland, which has been colonized and exploited and have been dislocated and disconnected from our land and from each other. This is the reality we are living. Or more, instead of living, we are just surviving.
Sámi rights movement is having this campaign "Show your Sami spirit." And this is one of the symbols for the Sami rights movement. It's quite an aggressive picture. Even the reindeer are carrying bombs on their back. The image is challenging us, calling for a revolution, a mobilization. We need to defend our own country, our people.
This is a reference to an old game popular in Sweden and Finland. Afrikan tähti (the star of Africa). If you superimpose the map that shows the protected zones of Sapmi and the areas for reindeer herding with maps that display active mining areas and areas with a high potential for mining all kinds of resources, you realize that they are in conflict with each other. If you combine touristic infrastructure, logging, hydro power, mining and zones threatened by climate change (that's actually the biggest threat for us), we've got nowhere left to escape. Mining companies are arguing that they will only implement 'sustainable' mining that can coexist with reindeer herding but that's not possible. Mining companies come from Canada and Australia. They arrive, they exploit the land and when they are done, they leave nothing but a big hole behind them. The land never recovers from it. I recently went to visit an area that had been mined 20 years ago. It was supposed to be a 'recovered' area. But the reality is that the land had not recovered at all.
We are living in an Arctic area and the legislation about land recovering from mining is made for southern areas. Regrowth is much slower over here. What we're fighting for is our very existence, our land and our right to use it.
Is it that bad? Do you feel that the threats to your livelihood have worsen over the past few years?
Definitely. Threats have been multiplying over the past few years. The North of Scandinavia has the last wilderness of Europe and there are many governments and corporations interested in taking over everything they can in the Arctic area.
What are the biggest, most urgent issues on top of Suohpanterror's agenda?
There are two main issues:
One is the indigenous rights of the Sami people. Our right to self-determination. According to the Universal Declaration of Human Rights, all people have the right of self-determination. And within this self-determination, we want to protect the land so that it can nourish future generations. We live in close contact with the land so protecting nature is very important to us. Finland still hasn't ratified the ILO 169 convention.
And finally, there is climate change. I personally feel that the time is very critical We are going to work more and more on the issue of climate change.
Are you showing your work in galleries or festivals as well?
Yes, we've got quite a few exhibitions lined up in 2015 and 2016.
See also: Under Northern Lights, an Al Jazeera video report about mining in Sápmi; The Saami Manifesto 15: Reconnecting Through Resistance ; and the United Nations Declaration on the. Rights of Indigenous Peoples (PDF.)
A Theory of the Drone, by philosopher Grégoire Chamayou
Publisher The New Press writes: In a unique take on a subject that has grabbed headlines and is consuming billions of taxpayer dollars each year, philosopher Grégoire Chamayou applies the lens of philosophy to our understanding of how drones are changing our world. For the first time in history, a state has claimed the right to wage war across a mobile battlefield that potentially spans the globe. Remote-control flying weapons, he argues, take us well beyond even George W. Bush's justification for the war on terror.
What we are seeing is a fundamental transformation of the laws of war that have defined military conflict as between combatants. As more and more drones are launched into battle, war now has the potential to transform into a realm of secretive, targeted assassinations--beyond the view and control not only of potential enemies but also of citizens of the democracies themselves. Far more than a simple technology, Chamayou shows, drones are profoundly influencing what it means for a democracy to wage war. A Theory of the Drone will be essential reading for all who care about this important question.
When a journalist of Libération asked Chamayou about the motivations behind the book, he replied that "some philosophers in the United States and in Israel work hand in hand with the military to elaborate what I call a 'necro-ethics' that tries to justify targeted assassinations. So it is urgent to respond. When ethics is brought into a war, philosophy becomes a battlefield." (via)
Chamayou is a researcher in philosophy. A title that might sound a bit daunting for some readers. But fear not, A Theory of the Drone is as entertaining as it is thought-provoking. The rhythm of the author's reflections are fluid and easy to follow, the chapters are concise and highlight with precision a particular aspect of the weapon under study and Chmayou's references might sometimes be heavy (yet never obscure) on Kant but he also quotes Albert Camus, Harun Farocki, Eyal Weizman and even mentions Adam Harvey's anti-drone clothing.
I haven't read many books about drones. In fact, i think this is the first one i read about the topic but i doubt i could find another publication that explains with so much ease and intelligence the dilemmas posed by unmanned aerial vehicles to the traditional codes of war.
Of course i've always had a visceral feeling that the use of drones by the U.S. and Israeli military is debatable, not to say coward and unethical. Chamayou's book articulates with precision and rigorous references to the history of war philosophy what is wrong with this form of unilateral warfare. Chapter after chapter, his books explores questions such as: What happen to the traditional principles of a military ethos of bravery and sacrifice when only one side of the conflict shoots and deprive the other of the possibility of fighting back? And more generally, how can one justify homicide in a noncombat situation? How does one-way-only armed violence distinguishes between fighting and killing? Within what legal framework do drone strikes take place? What does it mean for a zone of armed conflict to be fragmented into kill boxes the size of a human body? How does post traumatic stress disorder in this context differs from the one experienced by soldiers who fought on the battlefield? How do local populations hack and defy drones? How do you recognize a combatant dressed as a civilian, outside the zone of combat? etc.
The final pages of the book look at how the use of drones, a technology developed in a military context, is already seeping into civil society -mostly for police purposes- and what this will mean in the future for the subjects of a drone-state.
Perhaps part of the answer can be found in this image and these words i found in one of the last chapters of A Theory of the Drone:
In 1924, a popularizing scientific magazine announced a new invention: a radio-commanded policing automaton. The robocop of the twenties was to be equipped with projective eyes, caterpillar tracks, and, to serve as fists, rotating blow-dealing truncheons inspired by the weapons of the Middle Ages.
On its lower belly, a small metal penis allowed it to spray tear gas at unruly parades of human protesters. It had an exhaust outlet for an anus. This ridiculous robot that pissed tear gas and farted black smoke provides a perfect illustration of an ideal of a drone state.
There are three designated "holding" centres for immigrants in Canada but more than one third of detainees are incarcerated in rented beds in provincial prisons, some of them maximum security prisons where visits and support services are limited.
Artist and designer Tings Chak has combined her training in architectural design with her interests in human rights, migrant politics, and spatial justice in a graphic novel called Undocumented: The Architecture of Migrant Detention (Architecture Observer, 2014. Available on amazon USA and UK)
The 'undocumented' are not so much the human beings who are detained merely for being born somewhere else. The undocumented are the sites where they are detained. All information about these facilities is classified and access to them is extremely limited.
In her publication, Tings investigates the migrant detention centres in Canada -- "the fastest growing incarceration sector in an already booming prison construction industry," from the everyday acts of resistance inside the centers to the role that architectureplays in controlling and regulating migrant bodies.
The purpose of this investigation, she writes, is to make visible the sites and stories of detention, to bring them into conversations about our built environment, and to highlight migrant detention as an architectural problem.
Undocumented: The Architecture of Migrant Detention is a brave, shocking and incredibly revealing little book and because its relevance goes way beyond the frontiers of Canada (i'm looking at you Europe and Australia), i asked Tings to tell us more about her work:
Hi Tings! Why did you chose to use drawings and only drawings to investigate the architecture of migrant detention centres in Canada?
In architecture school, we spend a lot of time thinking about visual representation. Often times, architecture is as much about the representation as it is about the built. I am interested in the way using architectural visual language and tools of representation as a political practice - how can drawings reveal and spark a conversation about the invisibilized practices and spaces of detention?
Canada's prisons and detention centres are not privately owned/run, though there have been past attempts to privatize facilities and there are many lobbying efforts, including from U.S. private prison corporations. Many private parties, however, are contracted and paid millions of dollars to manage, operate, and provide services in immigration detention centres. As an example, the Toronto Immigration Holding Centre, the largest of Canada's three designated immigration detention centres, is managed by Corbel Management Corporation and security services are provided by G4S - the world's largest security firm which has been central to maintaining the apartheid state of Israel.
In terms of the life of migrants detained, up to one third of them are locked up in provincial prisons, often times in maximum security prisons. We consistently hear from detainees about the horrendous conditions, even worse than in general population, and the staff shortages that result in lockdowns for days on end. Also, being held in these prisons means that detainees often cannot call family members abroad, are too remote for in-person visits, and don't have access to the legal resources necessary to regularize their immigration status, which all exacerbate the isolation they face in detention.
How much restriction to information did you have to face while investigating spaces for mass detention and deportation? Apart from testimonies from migrants, which kind of evidence is your research based on?
Information about these spaces are highly restricted, access to them is nearly impossible for members of the public. The title of the book is an acknowledgement of how these spaces are purposefully invisibilized and any information about them is classified. Recognizing this, the book is an assemblage of bits and pieces that I gathered from various sources - testimonies from detainees, descriptions from legal counsel who have visited such spaces, research that others have done about specific aspects of detention like solitary confinement, legal recommendations, and design standards for prisons and detention centres.
Here are the links to key resources I based my work on (more can be found here):
These places are surprisingly banal. Unlike the dank, dark dungeons that popular depictions of prisons would have us believe, many of these facilities are familiar in the way that most institutional buildings are. This is something I wanted to highlighted in my drawings.
Another aspect has to do with the highly securitized nature of detention centres, which means that the building is compartmentalized according to discrete functions for processing, monitoring, interrogating, and containing detainees. It is impossible to understand the building as a whole, so as not to be challenged.
What are the architectural mechanisms used to control the experiences of the people detained there?
From the segregation units to the bullet resistant glazing, the sally port to the recessed lighting units, the surveillance systems to the bolted down stainless steel toilet/sink units, every architectural detail of a space is designed to manage and maintain control of incarcerated individuals.
What I was particularly fascinated by were the design guides specific to detention centres (in the U.S. context). These manuals provide a detailed analysis of minimum design standards, including occupancy capacities, material specifications, program adjacencies, etc. Often times, the definitions of the "minimum" or the "habitable" (according to legalistic definitions) are quantified in terms of square footage or cubic volume of air space. The architectural logic of these spaces, along with a lot of other architectures, is governed by the minimum standards, which seek to minimize risk and regulate human bodies.
Could architecture be used to welcome or at least ensure a less traumatic experience for migrants?
I believe that detentions and deportations are inherently violent and traumatizing. Incarcerating people on the basis of being born somewhere else is not something we can humanize through design. I've spoken to architecture students, professors, and practitioners over the course of creating this book, and it's clear that the vast majority of them believe that immigration detention is a "problem" that could be fixed with a better "solution." What is important to note is that often times the ambition of making a space more humane and more optimal distracts and deters us from questioning the prison industrial complex, and the complicity of architects within it.
Israeli architect Eyal Weizman speaks about this problem in his book "The Least of All Possible Evils: Humanitarian Violence from Arendt to Gaza" (2012).
The major impetus of this work is to challenge architects to engage in the very difficult ethical question: are there programs for which architects should not design? There are groups such as Architects, Designers, Planners for Social Responsibility in the U.S. that have been working for years to get architects to boycott prison design. I believe that architects should be intervening by pushing the discussion towards imagining and designing real alternatives to detention.
You are also an organizer with No One Is Illegal - Toronto. How much impact do your actions and protests have on the immigration system? Could you give some examples?
The work that No One Is Illegal - Toronto has impacts on various levels, which include shifting the public discourse and imagination around migration and borders, building our social movement through mobilization, and developing and sharing an intersectional political analysis, among other things. At the core of it, though, is the belief that the immigration system here (and in the U.S.) is not a "broken" one that we need to reform, but that it is functioning exactly as it is designed to. The system is built on the exploitation of precarious labour, exclusion of poor migrants from the global South, and ongoing displacement of Indigenous people on Turtle Island and across the globe.
That being said, there have been significant victories over the past 10 years. After decades of community organizing, Toronto declared itself a "Sanctuary City" in February, 2013, which means that residents regardless of immigration status can access city services without the threat of detention or deportation. It is still far from being a reality on the ground. Around the End Immigration Detention Campaign that began just over a year ago, there have been some important developments. Specifically, in June 2014, after our submission to the U.N., they released an opinion condemning Canada's practice of detaining migrants for immigration reasons, and for detaining them indefinitely. The work is ongoing, and people are still organizing courageous actions inside to protest their unjust detentions.
This is Giulio Andreotti, a legend in Italian politics:
For almost half a century, Andreotti occupied all the major offices of state. He held the post of prime minister 7 times and for longer than any other postwar Italian politician except Silvio Berlusconi. Andreotti was not as farcical as Berlusconi though but he was every bit as shrewd as a Borgia. He was involved in most political corruption scandals, was tried for mafia association and has also been accused of being involved in a variety of conspiracies related to high profile assassinations, massacres and banking crimes. In his 2008 film, Il Divo: La Straordinaria vita di Giulio Andreotti, director Paolo Sorrentino, highlighted the responsibility of Giulio Andreotti in the kidnapping of Aldo Moro, former prime minister and then president of Christian Democracy (Italy's relative majority party at the time). Sorrentino is not the only one to hold that suspicion. Many believe that Moro was the agnello sacrificale, the sacrificial lamb who had to be executed because of his efforts to include the Communist Party in a coalition government.
On 16 March 1978, Moro's car was assaulted by a group of Red Brigades terrorists in Rome. His corpse was later found in the trunk of a Renault 4 after 55 days of imprisonment.
Andreotti, Moro but also Andy Warhol, Federico Fellini and many others appear in Amore e Piombo: The Photography of extremes in 1970s Italy, one of the exhibitions of the Brighton Photo Biennial. Amore e Piombo means Love and Lead. Lead as in the anni di piombo, the tumultuous years of social conflict and acts of terrorism carried out by right- and left-wing paramilitary groups in the Italy of the 1970s. Now the Amore comes with the glamour of Cinecitta and the stars photographed by paparazzi in the streets of Rome. Two worlds poles apart that characterized Italy in the 70s and were documented by a group of photographers working for the agency Team Editorial Services.
The press photographers constantly shifted between battling film stars at play and the reality of near civil war unfolding on the streets. Politics and celebrity are brought together through the paparazzi style of alto contrasto, collusion and intrusion. Alluded to, although less visible, are the murkier dealings of clandestine groups linked to the Italian Secret Services, The P2 Masonic Lodge the CIA and NATO, operating against the backdrop of the extremes of the Red and Black Brigades. Archive prints are presented alongside television news footage, film sequences and sound recordings. A choice of Italian photo-books of the period, loaned from the Martin Parr collection, add a further layer of reference.
Amore e Piombo is an exhibition as fascinating and enigmatic as the years it portrays. Don't miss it if you're in or around Brighton:
Views of the exhibition space:
The Guardian has more images.
Amore e Piombo: The Photography of extremes in 1970s Italy was co-commissioned by the Archive of Modern Conflict and Photoworks, curated by Roger Hargreaves and Federica Chiocchetti. It is open until 2 November at the Brighton Museum & Art Gallery.
The Deadly Life of Logistics. Mapping Violence in Global Trade, by Deborah Cowen, an Associate Professor in the Department of Geography at the University of Toronto. Her work focuses on the politics of space and questions of citizenship.
Publisher University of Minnesota Press writes: A genealogy of logistics, tracing the link between markets and militaries, territory and government
Deborah Cowen traces the art and science of logistics over the past sixty years, from the battlefield to the boardroom and back again. Though the object of corporate and governmental logistical efforts is commodity supply, she demonstrates that they are deeply political--and, considered in the context of the long history of logistics, deeply indebted to the practice of war.
The image above encapsulates rather efficiently the intimate connections that link the military and the private businesses which transport 'seamlessly' all kinds of goods around the world. Basra Logistics City used to be called Camp Bucca and it used to be the largest U.S. military detention facility in occupied Iraq. In December 2010, the US handed the base to the government of Iraq, which, on the same day, gave Kufan Group of Iraq a license to turn the place into a 21st-century logistics hub for Iraq's port.
The Deadly Life of Logistics demonstrates how logistics is at the very heart of war and trade. Since WWII, businesses have been learning lessons from the infrastructures, strategies and technologies that armies have put in place to ensure that soldiers are fed and ammunition is available at the front. Logistics plays a key role in war. The greatest volume of material shipped from the UK to France during WW1, i read in the book, was oats and hay for the horses. Over time, private companies have not only learnt from the military, using logistics to reshape the geographies of capitalist production and distribution on global scale, they have also quickly started to support war efforts and are now providing housing and feeding to the soldiers stationed in Afghanistan. The author speaks of a militarization of the economy and a privatization of warfare.
The book offers a fascinating tour of the instruments and tactics of logistics: the palet, the container, the deregulation of the transport industry in the U.S. in the 1980s, the use of 'flags of convenience', etc. All of which provide huge benefits in time, space and capital. DHL delivers your parcel on time, new toys arrive in store before Christmas and everybody is happy. Except the workers who saw their wages, rights and the strength of their unions reduced. Their very safety is at risk as well. Port, transport and logistics are consistently ranked among the most dangerous industries by governments that monitor health and safety on the workplace.
The picture that the book offers is rather bleak. In the world of logistics, China imports its cheap labor model, the port of Dubai where the vast majority of the private workforce have no formal citizenship is heralded as a model for the U.S. port security, Somali pirates are presented as enemies of humanity while foreign companies illegally dump toxic substances in Somali waters and others deplete them of marine resources in total impunity, the flow of capital and commodities is a matter of species survival and human rights are a rather tiresome hindrance.
The Deadly Life of Logistics is a fascinating, informative and politically engaged book. I sometimes found that the constant abbreviations, quotes, references and repetitions got in the way of a fluid reading but otherwise it's a book i'd like to place in the hand of artists and activists. Of artists mostly because no one better than them can translate the impact and dangers of contemporary logistics into an arresting language understood by the broad public.