52
"Civilization" and "Barbarism"
and a large naval task force had put to sea. One by one, under American
pressure, all six neighboring states closed their borders with Afghanistan.
Refugees fleeing the coming conflict were trapped, and the lifelines of inter
national aid on which so many of them depended were snapped one by
one. Invoking the terms of earlier United Nations resolutions, Bush de
manded that the Taliban close all al-Qaeda training camps and hand over
its leaders. "These demands are not open to negotiation or discussion,"
he warned: "Hand over the terrorists, or suffer their fate." The Taliban
temporized; their leadership condemned the attacks on America but
insisted on evidence that bin Laden had been involved in them. On
October 7 US air strikes were launched against Kabul and Kandahar in
what Bush called "carefully targeted actions designed to disrupt the use
of Afghanistan as a base of terrorist operations, and to attack the military
capability of the Taliban regime." Two days later the Pentagon announced
that US forces had achieved "aerial supremacy" over Afghanistan (it
could have said exactly the same on September 10, of course, but brag
gadocio knows no bounds).20
These twin cartographic performances had other consequences. Much
of the work of territorialization was conducted in a technical register that
was always more than technical: it was technocultural. Advanced systems
of intelligence, interception, and surveillance were mobilized to produce
an imaginative geography of al-Qaeda and the Taliban in Afghanistan.
On October 5 a Keyhole photo-electronic satellite had been launched to
join six other imaging satellites already in orbit for the US military. The
circulation of this imagery was resicted, but not only for reasons of national
security. After reports of heavy civilian casualties in Jalalabad appeared
in the press, the US National Imagery and Mapping Agency (NIMA), which
provides combat support to the Department of Defense, bought exclusive
rights on a month-by-month basis to all commercial images of Mghanistan
taken by Ikonos-2, an advanced civilian satellite owned by Space Imaging
of Denver, whose client base included many news organizations. The re
solution level of Ikonos-2 was as much as ten times inferior to that of the
military satellites, but it could resolve objects less than 1 meter across in
black and white and 4 meters in color, which would have been sufcient
to identify bodies on the ground. While the Defense Department has the
authority to exercise shutter control over civilian satellites, any such order
is subject to legal challenge; the decision to use commercial powers to restrict
public access to the images circumvented that possibility. The spaces of
visibility constructed in this technical register were thus also spaces of
"Civilization" and "Barbarism"
53
carefully constructed invisibility, and Reporters Sans Frontieres protested
that this was censorship for political rather than military reasons.21
Throughout the rst phase of high-level aerial bombardment the con
ict remained a "war without witnesses" and its narrative progress was
punctuated less by rst-hand reporting than by long-range photography.
As joualist Maggie O'Kane put it, she and her colleagues could only "stand
on mountain tops and watch for puffs of smoke." They were denied access
to American troops in the eld "to a greater degree than in any previous
war involving US military forces," Robert Hickey reported, in large mea
sure because the Pentagon feared "that images and descriptions of civilian
bomb casualties - people already the victims of famine, poverty, drought,
oppression and brutality - would erode public support in the US and else
where in the world. ,,22 This was in striking contrast to the live, close-up
coverage of the attacks on the World Trade Center and the Pentagon itself,
and of the minute-by-minute attempts at rescue and recovery at "Ground
Zero." Involvement and engagement saturated one theater of operations;
detachment and disengagement ruled the other. The objective of news
management was to produce a space within which those held responsible
for these attacks would appear as nothing more than points on a map or
nodes in a network:: in short, as targetsY This was not conned to the
political and military'apparatus, of course. Many of these restrictions were
self-imposed by the media (or their owners), and it would be foolish
to minimize the complicity and the jingoism of many American media
organizations.24
Those most directly involved in ghting the air war were also disposed
to see Afghanistan as an abstract, de-corporealized space. Weeks before
they took to the . skies, American pilots had own virtual sorties over
"Afghanistan," a high-resolution three-dimensional computer space pro
duced through a mission rehearsal system called Topscene (Tactical
Operational Scene). It combined aerial photographs, satellite images, and
intelligence information to produce a landscape so detailed that, accord
ing to Michael Macedonia, the technical director of the US army's Simu
lation Training and Instrumentation Command, "pilots could visualize flying
from ground level up to 12,000 meters at speeds up to 2,250 km/hour,"
and plot the best approach to "designated targets." In late modern war
fare the interface between computerized simulation and computerized
mission had become so wafer-thin, he said, that from the pilot's point of
view "a real combat mission feels much like a simulated one." Zygmunt
Bauman described the likely consequences: "Remote as they are from their