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The following conversation with artist Heba Y. Amin draws upon a series of projects that we have been working over an 18 month period, including our volume Heba Y Amin: The General's Stork (Sternberg Press, 2020) and her solo UK show, "When I see the future, I close my eyes", at the Mosaic Rooms (London), 1/10/20-28/03/21. Throughout the conversation, we focus on the research background to The General's Stork, alongside other works, and the threat presented by drone-based forms of aerial surveillance and targeting across the Middle East. In particular, we enquire into how the post-digital future of surveillance technologies will impact on the region and how, in turn, those regional politics of drone technology increasingly define the geopolitics of global aerial surveillance.

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Can we deploy creative practices to critically address the fatal interlocking of global surveillance technologies, neo-colonial expansionism, environmental degradation and the lethal threat of drone warfare? Throughout the following conversation, Shona Illingworth and Anthony Downey examine these and other questions in relation to the recent publication of Topologies of Air (Sternberg Press and The Power Plant, 2022). Edited by Downey, the book includes discussion and documentation of two major bodies of work by Illingworth, including Topologies of Air (2021) and Lesions in the Landscape (2015), alongside an extended series of essays that analyse the psychological and environmental impact of military, industrial and corporate transformations of airspace and outer space. Employing interdisciplinary research and collaborative processes, Illingworth’s practice, as detailed in the discussion below, uses creative methodologies to visualize and interrogate this proliferating exploitation of airspace. The conversation between Illingworth and Downey also outlines the work of the Airspace Tribunal, an ongoing series of public hearings that brings together diverse disciplines, methodologies, knowledge and lived experiences to propose a new human right that will counter the colonization of the sky and, in time, protect individuals, communities and ecologies from ever-increasing threats from above.

Bringing together artistic and scientific modes of inquiry, Witness statements and the technologies of memory examines the impact that digital technologies have on the substance of truth and historical facts. Hosted as part of Heba Y. Amin and Anthony Downey's online symposium, which was held in conjunction with Amin's exhibition When I see the future, I close my eyes, Chapter I (curated by Downey for the Mosaic Rooms in 2020), the panel discussed the legacies of colonial power and command, regimes of memory, and the ex post facto constitution of evidence from online archives. Drawing upon the diverse backgrounds and experiences of the panellists, which included Helene Kazan (Oxford Brookes University), Naeem Mohaiemen (Columbia University), and Susan Schuppli (Goldsmiths, University of London), Heba Y. Amin (Staatliche Akademie der Bildenden Künste Stuttgart), and Anthony Downey (Birmingham City University), Witness statements and the technologies of memory sought to more fully understand the impact of digital archives on historical records and evidence-gathering. Against the backdrop of indiscriminate expurgations of online material, we observe how the evidentiary potential of digital archives is compromised by the commercial imperatives of social media networks, censorship, and state surveillance. Among the many questions that arise here, the extent to which personal recollections are often presented as virtual artefacts of memory – a technology of recall or a mnemo-technics in its own right – remains central to the debate about the future of memory in our post-digital age.