While border surveillance produces geopolitical realities and distinctions between types of human life, Richard Mosse’s video installation INCOMING (2017) uses a military high-grade thermal camera to challenge this onto-political project. Recording refugee camps and crossings via the Mediterranean into Europe, his techno-images’ specific mosaic structure, tactility, and luminous flatness evoke the visual mode of Byzantine icons, thus switching from a paranoid, invasive world/view to an economy of mediation and contact with the Other.

Based on the ›patchwork‹ as a concept of (political) heterarchy, the paper explores the formal and medial space of M. Brady’s collaged group portrait of the 36th US-Senate and House of Representatives (1859). Poised between unity and decomposition, the image constitutes a congenial map of American politics, its specific relationism and ›proximal distances.‹ However, Brady’s subsequent work sees this lose patchwork disintegrate during the Civil War and then solidify under Lincoln’s paternal rule.

While border surveillance produces geopolitical realities and distinctions between types of human life, Richard Mosse’s video installation INCOMING (2017) uses a military high-grade thermal camera to challenge this onto-political project. Recording refugee camps and crossings via the Mediterranean into Europe, his techno-images’ specific mosaic structure, tactility, and luminous flatness evoke the visual mode of Byzantine icons, thus switching from a paranoid, invasive world/view to an economy of mediation and contact with the Other.