ABSTRACT
This chapter frames the U.S. drone operation in the context of Giorgio Agamben’s theory of ‘state of exception’, and employs his paradigm of a camp to study the drone-zone in North and South Waziristan, Pakistan (Agamben 2005: 36, 37). The analysis of Robert Greenwald’s documentary ‘Unmanned: America’s Drone Wars’ (2013) and relevant journalist reports demonstrates that in a drone-zone ‘power confronts nothing other than pure biological life without any mediation’ (Agamben 2000: 41). The chapter argues that art, especially Pakistani artist Mahwish Chishty’s ‘Drone Art’, an appropriation of Pakistani truck art, launches a cultural resistance against the discourse of the War on Terror that both justifies and essentializes the use of drone strikes to kill innocents as collateral damage.
