HBM117: Grave Oversight

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Fire burning near Abyei town, composited with a shadow of a satellite for HBM by Jeff Emtman. Source image by DigitalGlobe

Fire burning near Abyei town, composited with a shadow of a satellite for HBM by Jeff Emtman. Source image by DigitalGlobe

 

Sudan has been involved in ongoing civil wars since 1983. The wars were about religion, culture and resources. By 2005, approximately two million civilians had died. In 2011, the southern part of the country voted to secede from the north, creating the new country of South Sudan.  But there were still three regions that were claimed by both north and south: Abyei, Blue Nile, and South Kordofan. These regions are rich in oil and have fertile farmlands, so politicians and humanitarians predicted there would be violence following the secession. Civilians in these regions, mostly farmers and shepherds, would be caught in the middle.

Content Note:
Discussion of genocide

Nathaniel Raymond is a human rights investigator. He was looking into an alleged massacre in Afghanistan when he was introduced to the idea of using satellite imagery for humanitarian purposes. At that time, satellite images were sometimes used for documenting force swells and finding the locations of mass graves. But Nathaniel wondered if he could figure out a way to use satellite imagery proactively; what if he could figure out a way to see an attack coming and sound an alarm before anyone got hurt?

 
 

Nathaniel wasn’t the only one who had this idea. Actor George Clooney had also been researching ways to use satellites as “anti-genocide paparazzi” in Sudan through an organization he co-founded called The Enough Project. The Enough Project and the Harvard Humanitarian Initiative and others sponsored the project. The Satellite Sentinel Project partnered with the private satellite imagery company DigitalGlobe, who gave the SSP permission to point some of their satellites where they pleased and take pictures. By December 2010, the Satellite Sentinel Project was in full swing, inventing a new methodology for analyzing satellite imagery of active conflict in real time.

The mission of the Satellite Sentinel Project was threefold:

  1. Warn civilians of impending attacks,

  2. document the destruction in order to corroborate witness testimony in later investigations, and

  3. potentially dissuade the governments in both Sudan and South Sudan from returning to war in the first place.

“We wanted to see if being under surveillance would change the calculus… If they knew we were watching, would they not attack?” The Satellite Sentinel Project would release their reports at midnight so that they would be available in time for morning news in East Africa.

Critics of Satellite Sentinel Project say that South Sudan shouldn’t be a playground for experimental humanitarian efforts bankrolled by a foreign movie star. And Nathaniel says the critiques are valid. “It was always a Hail Mary pass. And, we must be clear, it was always an experiment, which in and of itself is problematic. But… what else are we going to do, sit on our hands?”

Satellite Sentinel Project released a total of 28 reports over 18 months. The methodology Nathaniel and his team developed is still being taught at the Harvard Humanitarian Initiative.

Today Nathaniel Raymond is a lecturer on Global Affairs at Yale’s Jackson Institute. Special thanks to Ziad al Achkar, one of Nathaniel’s colleagues from Satellite Sentinel Project that helped us with this episode.

Producer: Garrett Tiedemann
Editors: Bethany Denton and Jeff Emtman
Music: Garrett Tiedemann

 
Nathaniel Raymond, former Director of Operations at the Sentinel Satellite Project. Photo by Jeff Emtman.

Nathaniel Raymond, former Director of Operations at the Sentinel Satellite Project. Photo by Jeff Emtman.

Nathaniel Raymond’s 2018 talk on Satellite Sentinel Project at the EyeO Festival 2018.

PBS Newshour Reporting on Satellite Sentinel Project’s documentation of burned villages in South Sudan.

HBM082: MI5 MI6 KGB CIA

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HBM082.jpg
 

John Barner spent his entire childhood fiddling with his dad’s shortwave radio, picking up transmissions from all over the world. He like the way the sounds crackled, and the voices speaking foreign languages, and the eerie whine of transmissions coming in and out of static.

Content Note: Language

One night John got a phone call from one of his friends who also had a shortwave radio. “I think I just found spy stuff,” John’s friend said, “come over.”

John and his friends had found a number station, coded transmissions broadcast on unlicensed frequencies. Number stations are believed to be a form of espionage where intelligence agencies broadcast encrypted messages to field operatives. But no government has claimed responsibility for their existence.

Number stations come in many forms. Some are beeps or sustained tones. Some are repeated bars of familiar folk songs. The rest are strings of numbers and words from the phonetic alphabet.

 
 

Spectrograms of suspected number stations. ⤴

John, like countless other shortwave enthusiasts, has been captivated by the mystery ever since discovering them as a teenager. He used to try to crack the coded messages, thinking he’d stumbled on the X-Files.

Henry Cooke, a technologist and number stations enthusiast, believes that its the indecipherable code that makes number stations so alluring. He’s found internet forums dedicated to tracking number stations broadcasts and even videos of radio sleuths claiming to have found broadcast locations. Henry believes this to be a type of modern folklore; that shortwave enthusiasts trading theories about the origins and meaning behind the number stations are almost like telling ghost stories around the campfire.

Garrett Tiedemann produced this episode. Garrett also produces the podcast The White Whale. Bethany Denton edited this episode with help from Jeff Emtman and Nick White.

Number Station recordings courtesy of The Conet Project. Full archive can be found here.

Music from John Barner’s new album, Shadow Time.  

 
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HBM046: Crooked Skirts

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Photo of Karen Smith as a child.

Photo of Karen Smith as a child.

 

Growing up in Queens, NY, Karen Smith had no reason to suspect anything was wrong with her. Even when it hurt to sit for too long, or when her clothes didn't fit right, everything seemed fine. That's because Karen's mother did everything she could to hide the fact that Karen had Spina Bifida.  The condition gave Karen severe scoliosis, a curve in her spine that made walking painful and made her skirts hang crooked.  Her mother removed any full-length mirrors from the house in attempts to keep Karen from becoming self-conscious. But as she grew older, her scoliosis became more severe.  And by the time she was in fifth grade, Karen had to be hospitalized in a children's ward, in and out of a corrective halo.  This was just the beginning of three long years of treatment.

Bedridden and limited in her mobility by body casts and back braces, Karen judged the passing of time by the sounds around her as her vision progressively worsened. She found solace in her AM radio, pulling in stations in from far away in the middle of the night.  She heard sounds of the courtyard below, filtering up through an open window.  She wondered if the other kids would be too old to play with her by the time she's healthy enough to join them. 

 
 

Music: Garrett Tiedemann of American Residue Records

This story was produced and scored by Garrett Tiedemann, creator of The White Whale podcast.  Garrett also works for Sister Story, a series that shares the daily lives of Catholic nuns.   Bethany Denton and Jeff Emtman edited this piece. Nick White is our editor at KCRW.

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