Source: https://carrier-bag.net/path/productive-sensor-transponder
Date: 31 Aug 2025 13:07

#violence

Moreover, the evacuation of wounded soldiers from the battlefield became impossible due to immediate drone attacks, which left them suffering for days or even weeks at times. Perhaps autonomous lethal weapons disgust us the most from an ethical point of view. The current discussions point out that autonomous weapons are unacceptable for two main reasons: they remove human oversight that separates the decision-maker from the consequences of their choices, and they deny the human dignity of the victim. The ethics of seeing from a drone, aka god’s eye view, which enables the conduct of war from a distance, is controversial in terms of the dehumanising effect of killing as a practice of manhunting. The execution of violence is outsourced to controlled semi-robots as an efficient way to eliminate the enemy while minimising the death toll among the members of the military powers.

The relabeling of images creates an alternative layer of metadata for understanding them, collectively forming a new frame for understanding the significance of extremist violence within an encompassing framework of systemic violence upon the Middle East. In this context, Allahyari has researched how the same techniques of 3D modeling and reconstruction she used to restore the artifacts have been used by Western companies, institutions and governments to lay custodial claim on endangered artifacts in conflict areas, a process Allahyari names “Digital Colonialism.”

At the same time, generating ISIS images on Stable Diffusion does not lead to images explicitly depicting acts of violence or bloodshed, even though those images can be found with the training data according to Have I Been Trained. A prompt containing ‘ISIS execution’ or ‘ISIS beheading’ may lead to a hooded militant lying on the ground, but with no overtly disturbing elements. My first attempts to generate ISIS-related images on Stable Diffusion took place in 2023, and they produced a distinctly different set of images than the slick and sanitized results one year later. The earlier attempts led to images that had certain photorealist elements – grain, texture – that elicited a feeling of genuine disturbance, similar to what I felt when I would look at ISIS videos. In this way, these results felt more ‘authentic’ than what can be produced today. But this feeling of ‘authenticity’ was confusing because the figures in these images were deformed, some lacking limbs or in awkward postures, clearly not real. Rationally, I knew that these images did not represent actual people, but were statistical renderings derived from a large sample of image data. But they disturbed me nonetheless because their appearances bore a trace of indexical reference to real images: images of real people, real lives, real deaths.

AI-assisted targeting systems may have allowed the military to target and kill at an unprecedented scale, as international media outlets have reported. However attention to developments on the ground evidences how all the violence was the result of concerted decisions: a prime minister ordering a campaign of destruction and a military echelon eager to heed his demands.

AI has played a pivotal role in Israel’s war in the Gaza strip since October 7th 2023, when Hamas militants massacred 1,200 Israeli civilians and soldiers and took more than 250 hostage (CNN 2025).  Reporting by Israeli and international news outlets have detailed how large language models and predictive analytics are helping to determine when and where bombs fall from the sky and troops shoot on the ground (Abraham 2024). Developed by Israeli military units, yet bolstered with computing infrastructure and technologies provided by private civilian firms, US military officials and AI experts say it is the first time automated systems have been used in warfare at such a large scale (Biesicker et al 2025).

In her 2009 book Frames of War, Judith Butler proposes a critical intervention of war imagery that shifts attention away from the images and towards the structures, or ‘frames’ that condition our responses to those images. “The photograph neither tortures nor redeems,” she writes, “but can be instrumentalized in radically different directions, depending on how it is discursively framed and through what form of media presentation it is displayed.” (Butler 2009, 92). Butler proposes her own ethical configuration of humanist and mechanical viewing: To encounter the precariousness of another life, the senses have to be operative, which means that a struggle must be waged against those forces that seek to regulate affect in differential ways. The point is not to celebrate a full deregulation of affect, but to query the conditions of responsiveness by offering interpretive matrices for the understanding of war that question and oppose the dominant interpretations – interpretations that not only act upon affect but take form and become effective as affect itself.

Your path through #violence

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