{"id":99401,"date":"2016-06-17T11:01:23","date_gmt":"2016-06-17T15:01:23","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=99401"},"modified":"2016-06-20T12:13:30","modified_gmt":"2016-06-20T16:13:30","slug":"extraordinary-rendition","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/17\/extraordinary-rendition\/","title":{"rendered":"Extraordinary Rendition"},"content":{"rendered":"
\"\"<\/a>

Edmund Clark, The building at Antaviliai, erected on the site of the paddock of the former riding school<\/i>. \u00a9 Edmund Clark, Courtesy of Flowers Gallery<\/p><\/div>\n

In 1968, the CIA set out to recover a sunken Soviet nuclear submarine from the bottom of the Pacific. For the sake of discretion, the work was subcontracted to Global Marine (Glomar), a private company that specialized in ocean-floor drilling. When the journalist Harriet Ann Phillippi tried to find out more under the Freedom of Information Act, the CIA would \u201cneither confirm nor deny\u201d that there were documents about the ship used, the Glomar Explorer<\/em>, or documents about their censorship. No information passed into the public sphere, but a new term did: \u201cThe Glomar Response.\u201d It lives on, underpinning everything in Crofton Black and Edmund Clark\u2019s book on more recent CIA activities, Negative Publicity: Artefacts of Extraordinary Rendition<\/a><\/em>.\u00a0<\/p>\n

The UK record label DEEK recently released an album of covers called Extraordinary Renditions<\/em>, with a chained pair of hands playing the piano on the cover. It\u2019s a strange kind of pun\u2014rather than a double meaning, it returns to what would have been the phrase\u2019s only<\/em> meaning when many of the covered songs were written: a remarkable version of a song. Instead, extraordinary rendition<\/em>\u00a0now means \u201cthe extra-judicial transfer of an individual from one jurisdiction or state to another [with] a real risk of torture or improper treatment\u201d: to render unto Caesar.\u00a0<\/p>\n

Black, a researcher, spent years gathering post-9\/11 documents about the rendition process, which Clark, an artist, has supplemented with photographs. The title comes from a document in which a contractor is worrying about the potential attentions of people like Black and Clark. In the course of the book, the authors mimic what happened to the phrase extraordinary rendition<\/em>\u00a0by slowly making the phrase negative publicity<\/em>\u00a0describe the gaps left in language and geography as data is withdrawn. In language, these blanknesses are created by technocratic euphemisms, Glomar responses, and whole pages\u2019 worth of black-block redacted words.<\/p>\n

\"\"<\/a>

CIA Inspector General, Special Review: Counterterrorism Detention and Interrogation Activities (September 2001\u2013October 2003), dated 7 May 2004.<\/i> Courtesy Aperture\/Magnum Foundation.<\/p><\/div>\n

In geography, there\u2019s the network of \u201cblack sites\u201d to which the redactions refer. One of Black\u2019s essays reads like a malign fairy tale, describing the transformation of an old stable near Vilnius into a building that neither the locals nor, importantly, the detainees, could understand. The locals knew where it was but not what it was. Those extraordinarily rendered into it knew all too well what it was, just not where; they had also spent time in spaces that had deliberately been made identical.<\/p>\n

Occasionally, flashes of detail emerge through the gaps. Among the documents is interrogation equipment drawn from memory by a detainee, or the odd sentence, \u201cThe pregnant woman rendered on this flight describes how she was attached to a stretcher and how one of her eyes was taped open and the other taped shut.\u201d Or, from a document of legal advice, \u201cYou have orally informed us that you would not deprive Zubadyah of sleep for more than eleven days at a time.\u201d One of the key tensions comes through in a footnote:<\/p>\n

\n

The origin of the English word martyr<\/em> comes from martys<\/em>, the Greek word for witness. A Muslim martyr is known as a Shahid (or Shaheed), derived from the Arabic word \u0161h\u012bd<\/em>, meaning witness. The notion of martyrdom as an act of faith has been co-opted to justify suicide bombings.<\/p>\n<\/blockquote>\n

\"\"<\/a>

A room formerly used for interrogations in the Libyan intelligence service facility at Tajoura, Tripoli<\/i>. \u00a9 Edmund Clark, Courtesy of Flowers Gallery. Foreign intelligence services, including the British, received information derived from the interrogation of prisoners rendered back to Tajoura. Referring to one of the men held here\u2014Abdul Hakim Belhadj\u2014Mark Allen wrote to Gaddafi\u2019s intelligence chief Moussa Koussa: \u201cI am so glad. I was grateful to you for helping the officer we sent out last week. Abu \u2018Abd Allah\u2019s [i.e., Belhadj\u2019s] information on the situation in this country is of urgent importance to us.\u201d<\/p><\/div>\n

Clark doesn\u2019t claim to have witnessed anything in the four years he was making the photographs, and insists that \u201cthose who have survived, and are no longer incarcerated, can supply the words of their own testimony\u2014personal or legal.\u201d Instead, he shows the nondescript building near Vilnius, the nondescript offices where planes were chartered, and the homes from which their cargoes were abducted. Sometimes the unpopulated domestic space recalls the sculptor Rachel Whiteread\u2019s casts of negative space; the dead air between the walls of a demolished house or behind a bookcase. Sometimes it recalls Auden\u2019s assertion that suffering \u201ctakes place \/ While someone else is eating or opening a window or just walking dully along.\u201d But the title and conceit of the book relies on it being photography telling the story. Like negatives, these images were all essential for the visual bombast of the \u201cshock and awe\u201d invasion of Iraq. At one point, we learn of the Libyan national, Ibn al-Shaykh who,<\/p>\n

\n

reportedly after being crammed into a tiny box [\u2026] gave an\u2028 account of links between al-Qaeda, Saddam Hussein and chemical and biological weapons which proved decisive \u2028in formulating the Bush administration\u2019s case for invading Iraq. When he arrived back in the CIA\u2019s hands\u2014four days after secretary of state Colin Powell had told the UN of Iraq\u2019s \u2018sophisticated facilities\u2019 which \u2018can produce enough dry biological agent in a single month to kill thousands upon thousands of people\u2019\u2014Ibn al-Shaykh recanted his account. But by that time the die was cast.<\/p>\n<\/blockquote>\n

\"\"<\/a>

Abu Salim prison, Libya<\/i>. \u00a9 Edmund Clark, Courtesy of Flowers Gallery. One of the CIA\u2019s captives, a training camp facilitator known as Ibn al-Shaykh al-Libi, was rendered to Egypt and then held in the CIA\u2019s own prison network for several years before being transferred back to Libya in 2006. Information extracted from him was to prove crucial in the Bush administration\u2019s argument for the invasion of Iraq. This information was suspected at the time, and later established, to have been fabricated under duress. Ibn al-Shaykh was eventually located in Gaddafi\u2019s Abu Salim prison by Human Rights Watch in May 2009. He died a few days later in mysterious circumstances. Abu Salim was emptied of prisoners during the Libyan revolution. The photograph shows damage caused to the building by a NATO<\/small> bomb.<\/p><\/div>\n

In the afterword to Negative Publicity<\/em>, the Israeli architect Eyal Weizman highlights five different meanings of secrecy<\/em> in relation to the rendition process. The first applies to the rendered person who does not know where he or she is. The second is among the people doing the rendering: on a need-to-know basis, the pilot of a rendition flight might not know whom they are carrying. The third is from us, the public. The fourth is its inverse, the deterrent effect: \u201ca well-known secret about violence is a form of terror.\u201d The fifth\u2014indebted to the thought of Michel Foucault\u2014is how we internalize this terror, and adjust our behavior accordingly. Does this mean that through exposing their activities, Black, Clark and Weizman end up in a similar position to the CIA subcontractors? If they are, then we, in our own nondescript ways, are, too.<\/p>\n

\"Negative_Publicity_Cover\"<\/a><\/p>\n

\n
Tom Overton<\/a> catalogued John Berger\u2019s archive at the British Library, and edited\u00a0<\/em>Portraits: John Berger on Artists\u00a0and\u00a0<\/em>Landscapes: John Berger on Art.<\/div>\n<\/div>\n
\u00a0<\/div>\n","protected":false},"excerpt":{"rendered":"

In 1968, the CIA set out to recover a sunken Soviet nuclear submarine from the bottom of the Pacific. For the sake of discretion, the work was subcontracted to Global Marine (Glomar), a private company that specialized in ocean-floor drilling. 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