ABSTRACT
Incoming enters what Mosse acknowledges is ‘over-photographed’ terrain. Incoming is the product of Mosse’s repurposing of military-grade equipment. The thermographic camera, manufactured in the UK for a multinational weapons corporation, is meant for long-range battlefield awareness and border surveillance and is classified as a weapon, with its use controlled under International Traffic in Arms Regulations. One way of comprehending how Mosse’s work interlocks with such massive entities as the global military and security complexes is via philosopher Timothy Morton’s concept of ‘hyperobjects’. Part of how Mosse’s camera envisions hyperobjects is by oscillating between vast and intimate scales. The work’s visualisation of heat transfers also provokes awareness of a networked, technologised environment, in which humans and machines interface constantly. Mosse’s images prompt metaphorical and political reckonings at the same time as they ‘see’ the contours of aliveness and death within a thermodynamic system.
