Groundbreaking exploration of the philosophy underpinning Western humanitarian intervention The principle of the “lesser evil”—the acceptability of pursuing one exceptional course of action in order to prevent a greater injustice—has long been a cornerstone of Western ethical philosophy. From its roots in classical ethics and Christian theology, to Hannah Arendt’s exploration of the work of the Jewish Councils during the Nazi regime, Weizman explores its development in three key transformations of the problem: the defining intervention of Médecins Sans Frontières in mid-1980s Ethiopia; the separation wall in Israel-Palestine; and international and human rights law in Bosnia, Gaza and Iraq. Drawing on a wealth of new research, Weizman charts the latest manifestation of this age-old idea. In doing so he shows how military and political intervention acquired a new “humanitarian” acceptability and legality in the late twentieth and early twenty-first centuries.

Today, artists are engaged in investigation. They probe corruption, state violence, environmental destruction and repressive technologies. At the same time, fields not usually associated with aesthetics make powerful use of it. Journalists and legal professionals pore over open source videos and satellite imagery to undertake visual investigations. This combination of diverse fields is what the authors call "investigative aesthetics": mobilising sensibilities often associated with art, architecture and other such practices to find new ways of speaking truth to power. This book draws on theories of knowledge, ecology and technology, evaluates the methods of citizen counter-forensics, micro-history and art, and examines radical practices such as those of Wikileaks, Bellingcat, and Forensic Architecture. Investigative Aesthetics takes place in the studio and the laboratory, the courtroom and the gallery, online and in the streets, as it strives towards the construction of a new 'common sensing'. The book is an inspiring introduction to a new field that brings together investigation and aesthetics to change how we understand and confront power today. To Nour Abuzaid for your brilliance, perseverance, and unshaken belief in the liberation of Palestine.

Groundbreaking exploration of the philosophy underpinning Western humanitarian intervention The notion of a humanitarian “lesser evil” has become instrumental in justifying the West’s military adventures. It informs obscene calculations determining how much collateral damage is permissible in conflict. It determines the minimum requirements of survival imposed upon an occupied territory. As Eyal Weizman shows in this brilliant exploration of forensic architecture, this can be seen in particular in the regime imposed upon Gaza by the state of Israel. Examining the damage following the 2010 bombardment, he pieces together the systematic process of destruction, revealing the political atrocity within the debris. The way he gathers together the evidence forces us to rethink our understanding of justice and human rights in the modern world.

From the tunnels of Gaza to the militarized airspace of the Occupied Territories, Eyal Weizman unravels Israel's mechanisms of control and its transformation of Palestinian towns, villages and roads into an artifice where all natural and built features serve military ends. Weizman traces the development of this strategy, from the influence of archaeology on urban planning, Ariel Sharon's reconceptualization of military defence during the 1973 war, through the planning and architecture of the settlements, to the contemporary Israeli discourse and practice of urban warfare and airborne targeted assassinations. Hollow Land lays bare the political system at the heart of this complex and terrifying project of late-modern colonial occupation.

The mystifying murder of a child brings us into a dark world of intrigue When returning WWII veteran Bill Warren becomes the replacement police chief of a quiet Cape Cod town, his duties seem simple: days spent breaking up petty rackets and domestic disturbances and nights spent caring for his disabled son. But these commitments can't shut out the echoes of the life he might have led. Then a child goes missing and Warren begins an investigation more frightening than any he could have imagined. As the case grows increasingly mystifying and attracts statewide attention, the press converges on the placid Cape. Desperate to get answers before another child dies, Warren will have to confront a criminal conspiracy, a secretive pharmaceutical firm, and an odd local clergyman who may be either a miracle worker or a madman. The America that Warren left is not the one he has returned to. As the investigation expands into the squalid corners of a world where the police may be as culpable as the men they hunt, Warren is confronted by his own past and the threat it poses to his future. A thrilling debut in the finest noir tradition, a painterly evocation of a seminal time and place, Lesser Evils is a vivid portrait of a father trying to remain honorable in a changing world. The novel will keep you riveted until its startling and unexpected denouement.

When confronted by horrendous evil, even the most pious believer may question not only life's worth but also God's power and goodness. A distinguished philosopher and a practicing minister, Marilyn McCord Adams has written a highly original work on a fundamental dilemma of Christian thought—how to reconcile faith in God with the evils that afflict human beings. Adams argues that much of the discussion in analytic philosophy of religion over the last forty years has offered too narrow an understanding of the problem. The ground rules accepted for the discussion have usually led philosophers to avert their gaze from the worst—horrendous—evils and their devastating impact on human lives. They have agreed to debate the issue on the basis of religion-neutral values, and have focused on morals, an approach that—Adams claims—is inadequate for formulating and solving the problem of horrendous evils. She emphasizes instead the fruitfulness of other evaluative categories such as purity and defilement, honor and shame, and aesthetics. If redirected, philosophical reflection on evil can, Adams's book demonstrates, provide a valuable approach not only to theories of God and evil but also to pastoral care.

In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN. Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing. In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed. Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere. Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy.