A new form of investigative practice that uses architecture as an optical device to investigate armed conflicts and environmental destruction. In recent years, the group 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. Forensic Architecture has not only shed new light on human rights violations and state crimes across the globe, but 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-depthintroduction 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. Traversing multiple scales and durations, the case studies in this volume include 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. The 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.

British photographer Edmund Clark and counterterrorism investigator Crofton Black have assembled photographs and documents that confront the nature of contemporary warfare and the invisible mechanisms of state control. From George W. Bush's 2001 declaration of the "war on terror" until 2008, an unknown number of people disappeared into a network of secret prisons organized by the U.S. Central Intelligence Agency-transfers without legal process known as extraordinary renditions. No public records were kept as detainees were shuttled all over the globe. Some were eventually sent to Guantanamo Bay or released without charge, while others remain unaccounted for. The paper trail assembled in this volume shows these activities via the weak points of business accountability: invoices, documents of incorporation, and billing reconciliations produced by the small-town American businesses enlisted in detainee transportation. Clark has traveled worldwide to photograph former detention sites, detainees' homes, and government locations. He and Black recreate the network that links CIA "black sites," and evoke ideas of opacity, surface, and testimony in relation to this process-a system hidden in plain sight. Negative Publicity: Artefacts of Extraordinary Rendition, copublished with the Magnum Foundation, its creation supported by Magnum Foundation's Emergency Fund, raises fundamental questions about the accountability and complicity of our governments, and the erosion of our most basic civil rights.

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.