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Eyal
Weizman on the Architectural-Image Complex, Forensic Archeology and Policing
across the Desertification Line







Incidents
in global politics are usually apprehended as the patterned interaction of macro-actors
such as states. Eyal Weizman takes a different tack—an architect by training,
Weizman tackles incidents through detailed readings of heterogeneous materials—digital
images, debris, reforestation, blast patterns in ruins—to piece together concrete
positions of engagement in specific legal, political, or activist controversies
in global politics. In this Talk,
Weizman—among others—elaborates on methods across scales and material
territories, discusses the interactions of environment and politics, and traces
his trajectory in forensic architecture.




Print version of this Talk (pdf)




What
is—or should be—according to you, the biggest challenge, central focus or
principal debate in critical social sciences?



We
live in an age in which there is both a great storm of information and a
progressive form of activism seeking to generate transparency in relation to government
institutions, corporations or secret services. These forms of exposure
exponentially increase the number of primary sources on corporations and state
and provide also rare media from war zones, but this by itself does not add
more clarity. It could increase confusion and increasingly be used disseminate
false information and propaganda. The challenge is to start another process to
carefully piece together and compose this information.



I'm
concerned with research about armed conflict. Contemporary conflict tends to take
place in urban environments saturated with media of varicose sorts, whenever
violence is brought into a city, it provokes an enormous production of images,
clips, sounds, text, etc.



As
conflict in Iraq, Syria, Missouri and the Ukraine demonstrate, one of the most
important potential sources for conflict investigations is produced by the very
people living in the war zones and made available in social networks almost
instantly. The citizens recording events in conflict zones are conscious of
producing testimonies and evidence, and importantly so, they do so on their own
terms. The emergence of citizen journalists/witness has already restructured
the fields of journalism with most footage composing Al Jazeera broadcasts, for
example, being produced by non-professional media. The addition of a huge
multiplicity of primary sources, live testimonies and filmed records of events,
challenge research methods and evidentiary practices. There is much locational
and spatial information that can be harvested from within these blurry, shaky
and unedited images/clips and architectural methodologies are essential in
reconstructing incidents in space. Architecture is a good framework to
understand the world, alongside others.



Whereas
debates around the 'politics of the image' in the field of photography and
visual cultures tended to concentrate on the decoding of single images and
photojournalistic trophy shots we now need to study the creation of extensive
'image-complexes' and inhabit this field reconstruct events from images taken
at different perspective and at different times. The relation between images is
architectural, best composed and represented within 3D models. Architectural
analysis is useful in locating other bits of evidence—recorded testimonies,
films and photos—from multiple perspectives in relation to one other bits of
evidence and cross referring these in space.



But
'image complexes' are about interrogating the field of visibility it is also
about absence, failures of representation, blockages or destruction of images.





How
did you arrive at where you currently are in your thinking about global
politics?



I'm
an architect, and my intellectual upbringing is in architectural theory and
spatial theory. I tend to hold on to this particular approach when I'm entering
a geopolitical context or areas that would otherwise be the domain of
journalists and human rights people, traditional jurists, etc. Architecture taught
me to pay attention to details, to materiality, to media, and to make very
close observations about the way built structures might embody political
relations.



When I study political situations, I
study them as an architect: I look at the way politics turns into a material—spatial
practice—the materialization, and at the spatialization, of political forces. Architectural
form—as I explained many times—is slowed-down force. My thinking is structured
around a relation between force and form. And form, for an architect, is an
entry point from which to read politics. So when I look at matter and material
reality—like a building, a destroyed building, a piece of infrastructure, a
road or bridge, a settlement or suburb or city—I look at it as a product of a political
force field. But it is never static. A city always grows, expands or contracts
recording the multiple political relations that shaped it.



Buildings
continuously record their environment. So one can read political force on buildings.
In taking this approach, I am influenced by building surveyors, and insurance
people going into a building to look at a scratch in a wall to piece together
what might have happened, and what might still happen. So I feel like a kind of
property surveyor on the scale of a city at times of war. But in practicing
this forensic architecture
I also work like an archaeologist: archaeology is about looking at material remains
and trying to piece together the cultural, political, military, or social spheres.
But I'm an archaeologist of very recent past or of the present. While
some of my investigations will always retain a haptic dimension based on
material examination, much of it is an analysis of material captured and
registered by various medias. Verify, locate, compose and cross-reference a
spatial reality from images of architecture.





What
would a student need to become a specialist in your field or understand the
world in a global way?



The institutes I run do not recruit
only architects. We need to open up the disciplinary bounds of education. We work
with filmmakers and architects and with artists.



It embodies a desire to understand
architecture as a field of inquiry, with which you can interrogate reality as
it is effectively registering material transformation. I see architecture as a
way of augmenting our way of seeing things in the world, but it's not for me a
kind of sacred field that should not be touched or changed.



But I'm also using architecture
across the entire spectrum of its relation to politics, from the very dystopian—with
forensic architecture, a kind of architectural pathology—to the utopian. I have
a studio in Palestine with Palestinian partners of mine, and internationals.
Alessandro Petty and Sandi Hilal
are in this group, which is called Decolonizing Architure. It's this group that is engaged in
very utopian projects for the West Bank and Palestine and the return of
refugees and so on. So I use architecture across the entire spectrum, from the
very dystopian to the very utopian. Architecture is simply a way of engaging
the world and its politics. Space is the way of establishing relations between
things. And actually space is not static, it is both a means of establishing
relations between people and objects and things. Just as material itself is
always an event, always under transformation. So that is something I have taken
from architecture and try to bring into politics, but not only in analyzing
crimes, but in producing the reality yet to come.



So what we
need from people is the desire to understand aesthetics as a field of inquiry,
not simply as a pleasurable play of beauty and pleasing kind of effect, but as
a kind of very sensorial field, sensorium, in which you can interrogate reality
as it is effectively registering material transformation. So I would look
simply for that kind of sensorial intensity and high critical approach and
understanding and speculating of how it is we know what we think we know. Of
course, you cannot see, or you do not know what you see, you do not have the
language to interpret or question what it is you 'see' without abstract
constructs. This means I don't necessarily look for theoretical capacities in
people: I see theory as a way of augmenting our way of seeing things in the
world, of registering them, of decoding them, but it's not for me a kind of
sacred field to which I submit in any way.







So
what is it you work on now?



I'm mostly trying to establish forensic architecture as a
critical field of practice and as an agency that produce and disseminate
evidence about war crimes in urban context. Recent forensic investigations in Guatemala
and in the Israeli Negev involved
the intersection of violence and environmental transformations, even climate
change. For trials and truth commissions, we analyze the extent to which
environmental transformation intersect with conflict.



The imaging of this
previously invisible types of violence—'environmental violence' such as land degradation, the destruction of fields and forests (in the tropics), pollution
and water diversion, and also long term processes of desertification—we use as new type of evidence of processes dispersed across time
and space. There are other conflicts that unfold in relation to climatic and
environmental transformations and in particular in relation to environmental
scarcity.



Conflict has reciprocal
interaction with environment transformation: environmental change could
aggravate conflict, while conflict tends to generate further environmental
damage. This has been apparent in Darfur, Sudan where the conflict was
aggravated by increased competition over arable due to local land erosion and desertification.
War and insurgency have occurred along Sahel—Arabic for 'shoreline'—on the
southern threshold of the Sahara Desert, which is only ebbing as million of
hectares of former arable land turn to desert. In past decades, conflicts have
broken out in most countries from East to West Africa, along this shoreline:
Eritrea, Ethiopia, Somalia, Sudan, Chad, Niger, Mali, Mauritania, and Senegal.
In 2011 in the city of Daraa, farmers' protests, borne out of an extended cycle
of droughts, marked
the beginning of the Syrian civil war. Similar processes took place in the
eastern outskirts of Damascus, Homs, al-Raqqah and along the threshold of the
great Syrian and Northern Iraqi Deserts. These transformations impact upon
cities, themselves a set of entangled natural/man-made environments. The conflict
and hardships along desertification bands compel dispossessed farmers to embark
upon increasingly perilous paths of migrations, leading to fast urbanization at
the growing outskirts of the cities and slams.



I'm
trying to understand these processes across desert thresholds. There has been a
very long colonial debate about what is the line beyond which the desert begins.
Most commonly it was defined as 200 mm rain per annum. Cartographers were
trying to draw it, as it represented, to a certain extent, the limit of
imperial control. From this line on, most policing was done through bombing of
tribal areas from the air. Since the beginning, the emergence of the use of air
power in policing in the post World War I period—aerial control, aerial
government—took form in places that were perceived, at the time, as lying
beyond the thresholds or edges of the law. The British policing of Iraq, the
French in Syria, and Algeria, the Italians in Libya are examples where control
would hover in air.



Up
to now I was writing about borders that were physical and manmade: walls in the
West Bank or Gaza and the siege around it—most notably in Hollow Land (2007, read the introduction here).
Now I started to write about borders that are made by the interaction of people
and the environment—like the desert line—which is not less violent and brutal. The
colonial history of Palestine has been an attempt to push the line of the
desert south, trying to make it green or bloom—this is in Ben Gurion's terms—but
the origins of this statement are earlier and making the desert green and
pushing the line of the desert was also Mussolini's stated aim. On the other
hand, climate change is now pushing that line north.



Following
not geopolitical but meteorological borders, helps me cut across a big
epistemological problem that confines the writing in international relations or
geopolitics within the borders organize your writing. Braudel is an
inspiration but, for him, the environment of the Mediterranean is basically
cyclically fixed. The problem with geographical determinism is that it takes
nature as a given, cyclical, milieu which then affects politics—but I think we
are now in a period where politics affects nature in the same way in which
nature affects politics. The climate is changing in the same speed as human
history.





What does your background in
architecture add to understanding the global political controversies you engage
in?



We are a forensic agency that
provides services to prosecution teams around the world. With our amazing
members we ran 20-odd cases around the world from the Amazon to Atacama, for
the UN, for Amnesty, for Palestinian NGOs, in Gaza of course, West Bank, issues
of killings, individual killings in the West Bank that we do now, and much more
drastic destructions.



Forensic Architecture is unique in using
architectural research methodologies to analyze violations of human rights and
international humanitarian law as they bear upon the built environment—on
buildings, cities and territories, and this is why we get many commissions. We
produced architectural evidence for numerous investigations and presented them
in a number of cases in national and international courts and tribunals. We
were commissioned by the UN Special Rapporteur for Human Rights to study single
destroyed buildings, as well as patterns of destruction, resulting from
drone warfare in Pakistan, Yemen, Somalia and Gaza. This study was presented at
the UN General Assembly in New York. We developed techniques to locate the
remains of buildings and villages overgrown by thick rain forests and presented
this material as evidence in the genocide trial of former president Efraín Ríos
Montt in the National Court of Guatemala and the Inter-American
Court. We quantified and analyzed levels of architectural destruction in Gaza
after the 2014 conflict for Amnesty International. We provided architectural
models and animations to support a petition against the wall in Battir
submitted to the Israeli High Court, helping to win the case.



Recently, we use and deal with the
reconstruction of human testimony. Witnesses to war give account of the worst
moment of their lives; times when their dear ones have died or hurt. Their
memory is disturbed, and tends to be blurred. We have developed a way of very
carefully interviewing and discussing with witnesses. Together with them, we
build digital models of their own homes. So we can see a very slow process of reconstruction
of the relation between memory space and architecture. And events start coming
back, through the process of building.



In order to develop this, we needed
to explore the historical use of memory and architecture, such as Frances Yates'
The Art of Memory (read it here), as well as different accounts on
the use of trauma, and bring them into the digital age, bring an understanding
of the relation of testimony and evidence into contemporary thinking. Single
incidents tend to be argued away as aberrations of 'standard operating
procedures'. To bring charges against government and military leaderships, it
is necessary to demonstrate 'gross and systematic' violations.
This means finding consistent and repeated patterns of
violations. Architectural analysis, undertaken on the level of
the city is able to demonstrate repetition and transformations in patterns of
violation/destruction in space and time—within the battle zone along the
duration of the conflict. Architectural analysis is useful not only in dealing
with architectural evidence—i.e with destroyed buildings—but also helpful in
locating other bits of evidence—testimony films or photos—in relation to one
other bits of evidence, and cross referring these in space.



Urban violence unfolds at different
intensities, speeds and spatial scales: it is made of patterns of multiple
instantaneous events as well as slower incremental processes of 'environmental
violence' that affects the transformation of larger territories. We aims to analyze
and present the relation between forms of violence that occur at different
space and time scales. From eruptive kinetic violence of the instantaneous/human
incident through patterns of destruction mapped across and along the duration
of urban conflict, to what Rob Nixon calls the 'slow violence' of environmental
transformation (read the introduction of the eponymous book here,
pdf).





Last question. How does your approach to research relate to, or differ
from, approaches to international politics?



To study conflict as a reality that unfolds across
multiple scales, we use the microphysical approach—dealing with details,
fragments and ruins—as an entry-point from which we will unpack the larger
dynamics of a conflict. We reconstruct singular incidents, locate them in space
and time to look for and identify patterns, then study these patterns in
relation to long terms and wide-scale environmental transformations. This
approach seeks to make connections between, what Marc Bloch of the Annales
School called 'micro- and macro-history, between close-ups and extreme long
shots' in his thesis on historical method. This topological approach is
distinct from a traditional scalar one: the macro
(political/strategic/territorial) situation will not be seen a root cause for a
myriad set of local human right violations (incidents/tactics). In the complex
reality of conflict, singularities are equally the result of 'framing
conditions' and also contributing factors to phase transitions that might
affect, or 'de-frame' as Latour has put it, changes occurring in wider areas.
Instead of nesting smaller scales within larger ones, our analysis will seek to
fluidly shift from macro to micro, from political conditions to individual
cases, from buildings to environments and this along multiple threads,
connection and feedback loops.



While in relation to the single
incident it might still be possible to establish a direct, liner connection
between the two limit figures of the perpetrator and the victim along the model
of (international) criminal law, evidence for environmental violence is more
scattered and diffused. Instead, it requires the examination of what we call
'field causalities'—causal ecologies that are non-linear, diffused,
simultaneous, and that involve multiple agencies and feedback loops,
challenging the immediacy of 'evidence'. 




Establishing field causalities requires the
examination of force fields and causal ecologies, that are non-linear,
diffused, simultaneous and involve multiple agencies and feedback loops.
Whereas linear causality entails a focus on sequences of causal events on the
model of criminal law that seeks to trace a direct line between the two limit
figures of victim and perpetrator field causality involves the spatial
arrangement of simultaneous sites, actions and causes. It is inherently relational
and thus a spatial concept. By treating space as the medium of relation between
separate elements of evidence brought together, we aim to expand the analytical
scope of forensic architecture. It is inherently relational and thus a spatial
concept. By treating space as the medium of relation between separate elements
of evidence brought together, field causalities expands the analytical scope of
forensic architecture.



Let me illustrate this a bit. Forms
of violence are crucially convertible one to another. Drying fields along the
Sahel or the Great Syrian Desert, for example, reach a point in which they can
no longer support their farmers, contributing to impoverishment, migration to
cities, slumnization and waves of protest that might contribute to the eruption
of armed conflict. These layers call for a form of architectural analysis able
to shift and synthesize information at different scales—from single incidents
as they are registered in the immediate spatial setting, through patterns of
violations across the entire urban terrain to 'environmental violence'
articulated in the transformation of large territories.





Eyal Weizman is an architect, Professor of Visual Cultures and director
of the Centre for Research Architecture at Goldsmiths, University of London.
Since 2011 he also directs the European Research Council funded project, Forensic
Architecture - on the place of architecture in international
humanitarian law. Since 2007 he is a founding member of the architectural
collective DAAR in Beit
Sahour/Palestine. Weizman has been a professor of architecture at the Academy
of Fine Arts in Vienna and has also taught at the Bartlett (UCL) in London at
the Stadel School in Frankfurt and is a Professeur invité at the École des
hautes études en sciences sociales (EHESS) in Paris. He lectured, curated and
organised conferences in many institutions worldwide. His books include Mengele's
Skull (with Thomas Keenan at Sterenberg Press 2012), ForensicArchitecture (dOCUMENTA13
notebook, 2012), The Least of all Possible Evils (Nottetempo
2009, Verso 2011), Hollow Land (Verso, 2007), A
Civilian Occupation (Verso, 2003), the series Territories 1,2
and 3, Yellow Rhythms and many articles in journals, magazines
and edited books. 



Related links





Facultyprofile at Goldsmith
Forensic Architecture homepage
Read
Weizman's introduction to Forensis
(2014) here
(pdf)
Read
Weizman's Forensic Architecture: Notes
from Fields and Forums (dOCUMENTA 2012) here
(pdf)
Read
Weizman's Lethal Theory (2009) here (pdf)
Read
the introduction to Weizman's Hollow Land
(2007) here
(pdf)


Print version of this Talk (pdf)




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