In this extract from The Least of All Possible Evils, Eyal Weizman details the dyanamic of the transport of provisions between Israel and Gaza, comparing it to a reverse Milgram experiment - a classic psychological experiment in power and authority and the capacity to inflict pain on ordinary people.
Milgram in Gaza
The legal petition against the further reduction of provisions into Gaza was rejected at the end of January 2008. ‘This is the difference between Israel, a democracy fighting for its life within the framework of the law, and the terrorist organizations fighting against it,’ the High Court stated, as if it were a state spokesperson. The court performed the task of an administrator rather than an adjudicator, a partner in the calibration of how much pain Gazans are to be made to legitimately feel. As such, acts of torture and terror aimed at forcing civilians into political compliance conferred on their makers a dignified image. Those proportionaly admin- istering the level of pain could now see themselves as being responsible for the necessary and tragic task of calculating and responsibly choosing the lesser of all possible evils.
At Full Stop, Michael Schapira and Carla Hung interview Eyal Weizman on the occasion of the release of his latest book, The Least of All Possible Evils, new from Verso. Weizman fields a number of questions related to forensic architecture:
Forensic Architecture is grounded in both field-work and forum-work; fields are the sites of investigation and analysis and forums the political spaces in which analysis is presented and contested. Each of theses sites presents a host of architectural and political problems....
You read details, speckles, pixels and patterns, connect them to larger forces, or at least you understand the impossibility of doing so, often noting paradoxes and misrepresentations. We have done this very close reading of aerial images of colonies in the West Bank, we have read almost all elements from architectural through infrastructural archaeological to horticultural ones visible in these images as a set of tools in a battlefield.