Combining traditional film technologies and computerized military programs for tracking, identifying, and targeting, Jordan Crandall’s seven-part video installation Drive depicts movement through means that go miles beyond the conventions of cinema. In Drive, as elsewhere today, bodies and physical movements are no longer objects of representation, but collated and processed computer data from thermal imaging machines and night vision optical devices. Movements are no longer depicted; they are tracked. Drive observes the new human relationships that develop through a structure otherwise associated with a hunter observing his prey. Also included in this volume are Crandall’s collected projects and writings.