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Rubble World: The Sequel

Beirut, Sarajevo, Grozny, Baghdad, and now Aleppo. When it comes to the senseless destruction of cities, no one even makes the pretense to say “Never Again.”  After all, they can be rebuilt, can’t they?  Look at how Europe was rebuilt after World War II.  But that was then: not just a different war, but a different conception of war and of peace.  Today, war’s destructiveness is both less widespread and more continuous.  Destruction seems to have found a different role in the historical process, and war produces not new world orders but rather more localized forms of sustainable catastrophe.  If so, an outline of this shift in the nature of things might be evident in a photo such as this one.

A few people walk through what remains of Aleppo’s main Saadallah al-Jabari Square after a bombing.  But don’t think for a minute that this scene is particularly unique or dramatic.  There are hundreds of photos of other streets in Aleppo and elsewhere in Syria and elsewhere around the globe.  The media coverage long gone, most of them are now part of a story no one wants to cover: decaying infrastructure, abandoned tanks and burnt-out trucks used as makeshift playground equipment, people coping as best they can with little outside investment and not much to hope for.  Where once they lived in vibrant communities, now they live among the ruins in Rubble World.

I first wrote about Rubble World in 2008, and not much has changed for the better since then.  Even with the Arab Spring, it can often seem that the swath of destruction is not so much the temporary cost of progress but rather a harbinger of even more gun running and militia violence.  Instead of seeing the expansion of civil society–although that, too, is part of the historical struggle–the promise of a better life is betrayed to some strange combination of international networks and clan politics.  Whatever the mix, the priorities don’t often involve rebuilding the cities.

Of course, people are much more important than property, and the many images of Syrians being killed–among the several hundred killed every day–are rightly a more salient and more effective witness to the tragedy that is unfolding slowly and painfully.  (See, for example, the first image here.)  But I also find these images of concrete desolation to be moving.  No one cries for concrete, but the built environment is both substance and symbol of urban community.  (So it is, for example, that both architecture and graffiti prompt public debate.)  War harms both individuals and communities.  An individual can lose a limb or a loved one, and a city can lose its culture and its future.

So it is that an image of the present may double as a glimpse into where civilization is headed.  It can’t tell the whole story, of course, but it can suggest how one possible pathway is already coming into existence.  I almost said, already being built, but it may not exactly work that way.  The future may involve a particularly perverse form of creative destruction: one in which the new city is being created by the same process that is destroying the old one.

Photograph by George Ourfalian/Reuters.

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China National Day: The Flower Detail

Before concluding that the mass public is mesmerized by political spectacles, it might help to note that photojournalism includes a fair share of backstage shots.  And some can be taken in broad daylight.

This image verges on the visual joke–just think of how you might caption it using the word “butt” or “ass” or otherwise going down that path.  Jokes aren’t serious, by definition, but some very good photographers have not been above them, with Elliott Erwitt being the master of the genre.  Erwitt’s example suggests that the photo above isn’t merely a joke, but something related to that: not quite a parody, but mildly comedic comment on a more conventional form.

But what is it that is being cut down to size?  I think at least two stock images lie behind this photo.  One is the image of goosestepping troops that symbolizes authoritarian regimes.  (I’ve posted here and here on how these images are faring in the 21st century.)  In the photo above, the conventional boots, arced legs, pointed toes, and uniformed entrainment are all present, but firmly planted on the ground and immobile instead of striding forward as disciplined menace-in-motion.  And instead of seeing right arms swinging in unison while the left hold weapons (“arms”) upright, we see only legs and asses.  Worse yet, instead of all heads cocked in the same tense direction, all eyes on the great leader at the reviewing stand, these guys are headless.  Decapitated obedient bodies still symbolize the mass man and mechanized slavery of anti-communist demonology, but the image now is a long way from threatening.  After all, we’re looking at the flower detail.

National Day provides plenty of more impressive images of troops marching in formation, heavy military equipment on display, and all the features once found in the Western press after every May Day.  Those concerned about global security would rightly point out that the troops and weapons on display are real and receiving more funding every year, and that the event was held at Tiananmen Square, and perhaps any bemusement should be tempered accordingly.  But militarization is a global problem in another sense as well, as it sucks up ever more resources despite the fact that war has becoming ever more unnecessary and stupid.  Thus, spectators East and West need to be reminded that it’s one thing to enjoy the show and another to buy the whole package, and that those images of goosestepping troops help sell the package on both sides of the street.

So it is that the political spectacle itself may be another object of commentary in the photograph above.  Instead of seeing only the staged performance, we are taken backstage to be reminded that it is just a show.  Instead of seeing a display of power, we are reminded that the performance depends on ordinary people who are vulnerable in spite of their uniforms.  It will still be a good show, but now we can keep it in perspective instead of seeing a National Security Threat in every parade and Escalation in every salute.

And just to gild the lily, I’ll put up one more photograph from the same role.  This one seems the more direct parody, and a more direct put-down, but let’s wait a moment on that.

Now the goose step is revealed.  Are you terrified?  Of course not.  The stride is limited by the soldier’s load, but more than that, they are carrying flowers, gigantic bouquets of flowers.  On a carpet, no less.  OK, Defense Department, can you match that?  Do you have the latest intelligence on garlands?  Are you prepared to fight a two garden war?

This is another version of a backstage shot in a public space: the photo positions the viewer as if in the wings while watching the actors march out onto the stage.  The double vision of seeing them both backstage and on stage creates a slightly comical, skeptical frame for the event.  And once again the joke turns serious.  The better political vision in this image comes precisely from how the soldiers appear ridiculous.  Would that all soldiers were so: that is, that all the troops were doing nothing but competitive displays for peaceful onlookers.  Not great material for the video games, but one of the keys to the 21st century is figuring out how to turn military expenditures, and cultures, toward less lethal forms of service.  So is is that marching in parades, at least if you are in the flower detail, might be an important military exercise after all.

Photographs by Andy Wong/Associated Press.

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The Instruments of World Making

The scene is actually a street in war torn Aleppo, where Syria’s rich cultural and historical legacy is being rendered in rubble and ashes by a revolution that seemingly knows no bounds or ends, but truth to tell it could be any number of war torn countries, now and in the recent past.  At first glance the man walking away from the viewer appears to be carrying a grenade launcher or some other kind of weapon, cautiously at the ready.  But on closer inspection – and with the help of a caption – it turns out he is actually carrying a guitar.  And not just carrying it, but actually playing it as he walks down the street.

The photograph is extraordinary in this regard, for while the individual dominates the scene, so much hinges on whether we see a guitar or a weapon.  If the first, we might be inclined to cast him as something of a troubadour, strolling down the street, feeling safe, or at least safe enough to express himself on a deserted public thoroughfare with music; if the second, we might be inclined to see him advancing cautiously, nervously, through a war zone, vigilant against the dangers that presumably hide behind closed doors and shuttered windows or on rooftops.

But of course even in the first case we cannot assume that he feels too safe, as signaled by the automatic weapon he carries slung over his right shoulder, apparently ready to choose to employ one or the other as conditions dictate.  And so perhaps what see really is not a dialectic between the instruments of artistic expression and war so much as an allegory for the human condition of everyman, tragically faced with the choice for how he might engage and seek to (re)make the world, through art or violence.  Sadly (or is it tragically?), the photograph offers no real resolution to this problem.  But what it does is to remind us of the possibility of the choice. And it is that possibility—perhaps only that possibility—that enables the hope to keep walking down such corridors.

Photo Credit:  Stringer/Reuters

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The Real War

If you grew up south of the Mason Dixon line you probably know it as the Battle of Sharpsburg, but of course the Union won the war and so its official name bears the northern nominative: the Battle of Antietam.  In either case, today is the sesquicentennial of the bloodiest single day of fighting in American history—then or since—with more than 23,000 casualties in a twelve hour period, including at least 3,500 deaths.  To gain some sense of the magnitude keep in mind that this is almost a third again as many people who died in the 9/11 attacks, but the U.S. population in 1862 was approximately 31 million people, while according to the 2000 census the U.S. population was 281 million strong.   Nearly 4,000 reenactors showed up this weekend to restage the battle—the second of two such events in a two week period—as well as 2,000 spectators per day over a three day period.

Reenactors are typically known for their commitment to authenticity, right down to the socks they wear, the number of buttons on their uniforms, the instruments and music they play, the food they eat and the ways they prepare it, the tobacco they smoke and chew, and so on.  Indeed, their encampments are a living museum and there is plenty to be learned by attending such festive events.  But what we can’t learn, of course, is what it is like to be at war.  It is an old bromide that war is unrepresentable, an experience that defies our ability to communicate it to those who have not experienced it in anything but the most trivial of ways.  There are those who do the fighting and those who view wars at a distance, a dialectic that has become all the more pronounced in late modern times, and as the photograph above underscores, the boundary between soldier and spectator is discrete and discernible, perhaps one more way in which such reenactments (inadvertently?) reinforce their commitment to authenticity.

But the larger point is that however accurate such events might be in some regard, they ultimately reduce to an instance of play acting.  The sheer boredom and tedium of waiting for battle is erased by a carefully prescribed schedule of events.  Supply shortages are not an issue. There is no disease and dysentery. No bones are crushed, no limbs are blown apart, no bodies are invaded by musket balls.  No one stays around the week after such events to recover and bury the rotting corpses left behind. In short, the real war experience is nowhere to be found.  And it is little wonder how such events—cast as a family outing—contribute to a romantic understanding of war and the warrior.

Such was a prevailing attitude prior to 1862 as well, before the viewing public was introduced to an exhibit at Mathew Brady’s New York City gallery titled “The Dead of Antietam.”  The photographs (actually shot by Alexander Gardner who did not receive credit at the time), many of them employing the new stereographic technique that produced something of a three dimensional quality, led the NYT to report that Brady’s exhibit “bring[s] home to us the terrible reality and earnestness of war.  If he has not brought bodies and laid them in our door-yards and along streets, he has done something very like it.”  For the first time the American public qua public was confronted with a reality of war that could not be captured by the report of daily body counts or the public readings of lists of the names of the war dead.

The realist aesthetic of Gardner’s photographs, seventy in all, gave the lie to—or at least seriously challenged—the romance of war and were eventually important resources for Stephan Crane’s The Red Badge of Courage.

It would be a tragic mistake simply to turn tables and assume that somehow these photographs tell the “real” story of the Battle of Antietam/Sharpsburg all by themselves.  But it would be equally tragic to assume that we could understand the battle without the “terrible reality and earnestness of war” they put on display.

Photo Credit:  Ric Dugan/Herald-Mail; Alexander Gardner

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Watching Men About to Die in Aleppo

We typically forget that photography–and life itself–happens faster than the blink of an eye.  And death, too.

The camera caught these Syrian rebels at the instant that they were bathed in fire from a tank blast.  The moment is uncanny: they stand exactly as they were a a split second before, and yet the fire and shock wave is already unleashed upon them.  Before, they had been picking up their weapons in anticipation of the tank that had been reported coming into the vicinity.  Now, they are caught in the fraction of a fraction of a second before being killed.  It’s as if the camera has isolated the invisible crack in time between cause and effect.  And between life and death.

The men caught in the light died from the blast, while the one darkened to a silhouette escaped with minor injuries (if we don’t count the psychological damage).  The camera uses both light and darkness, but there as elsewhere we depend most upon the light.  Yet here the flames both reveal and kill, while the dark clouds of dust and debris in the next image obscure the rest of the dying while sparing the lone survivor.  (The sequence of still images and a video are  here.)  As with war more generally, things are inside out or backwards, defying our ordinary sense of moral order.  Being in the right and dedicated and prepared didn’t help one bit, and men who seem to be living in the fire without harm are about to die.

I won’t pretend to account for all of this incredible photograph, much less the remarkable sequence of images that comprise the visual story.  Discussion is already underway–for example, at Michael Shaw’s prompting at BAGnewsNotes–and there are a number of issues in play.  For the record, I don’t think there need be any moral failing in showing or marveling at or being moved by the image.  The men and the moment are treated with respect, nothing disturbing beyond the inescapable fact of their being killed is shown, and that fact is so salient that there is little room to aestheticize the violence.  In any case, one set of moral qualms can displace other resources for understanding and judgment.

To that end, let me make two quick points.  The first is simply that the image is a perfect example of what Barbie Zelizer has identified as the genre of the About-to-Die photograph.  I won’t summarize her extensive analysis of the genre, which you can read for yourself in her excellent book, About to Die: How News Images Move the Public. Suffice it to say, however, that there have been many images that confront the public with this unique moment, and that they can offer the spectator an opportunity to reflect on the event itself, and on how it is or is not tied to the narratives and other interpretive contexts that surround it, and how our knowledge and reactions depend on the camera and the larger apparatus of the news, whether for good or ill.

One can ask these questions any time, of course, but some moments seem more fraught with significance than others.  One reason the about-to-die photo matters is that it reveals how any moment can be incredibly significant regardless of how it fits into a larger narrative, geopolitical conflict, or moral order.  There is no other moment left for those in the photograph above, and by ignoring it one would demean life itself.

My second point is that the image above has both literal and metaphorical value, not least because of how it exposes a moment of unexpected rupture.  I’m writing in the immediate aftermath of the attack on American consulate in Libya, and so it is easy to think of a flash point, and of the world changing in an instant, and of specific individuals going from life to death senselessly.  With each of the four Americans who were killed at the consulate, there will have been a moment and then another and another where things went from bad to worse, until each got to the last, thin crack in time.  With each attack, wherever it occurs, nations around the globe pass through a moment when hidden causes explode violently, and the idea that we can live within the flames is exposed as sheer illusion.

Photograph by Tracey Shelton/Global Post.

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Hiding the Cost of War

The photograph above is of Tammy Duckworth, a candidate for U.S. Congress in Illinois’ Eighth District, speaking at the Democratic National Convention this past week. She is also a war hero, having been among the first women to fly combat missions in Iraq, losing both of her legs when a grenade landed in her lap while piloting a Blackhawk helicopter north of Baghdad.  Her opponent for Congress, the incumbent Republican Joe Walsh has accused her of not being a “true hero” because she makes a point of discussing her military service in her campaign.  To quote former President Clinton in a different context, “that takes some brass,” especially coming from someone who has never served a day in the military in his life.  But the photograph above is not about Congressman Walsh’s Neanderthal attitudes nor even about Tammy Duckworth’s heroic service and sacrifice to her nation—or at least not explicitly so.

Shot from behind the podium and at a high angle that crops her body at the waist and accents her prosthetic legs, the photograph emphasizes what the viewing audience could not see—at least not while she was speaking. Viewed from the front we see a face, the marker of the liberal individual, a person.  And any person who can make their way onto the national stage to address a live audience of thousands and a mass mediated audience of millions can’t be doing all that bad.

Viewed from the back, however, the photograph invites a different story.  It reminds us of the terrible price that this individual paid—and now note that she is anonymous, faceless, another casualty of war but not one that we have to address directly.  In short, the photograph is an aide memoire to what we desperately don’t want to see, to what we want actively to forget: that we sent her into battle and the price she paid is really our debt, but it is a debt we have no way of paying.

In a sense, the photograph is a comment on the hundreds of images we see of the more than 1,200 veterans who have lost limbs in the Iraq and Afghanistan wars and yet, through the wonders of modern medical technology (ironically made possible because of advances in “war medicine”), survived to live what appear to be so-called “normal” lives.  And indeed, it is the emphasis on appearance that is very much to the point, for in the end we rarely learn very much about the ordinary lives that such people live and pain, trauma, and hardships that they face.

Consider, for example, this photograph that appeared recently in a slide show dedicated to the recovery of war veterans at Brooke Army Medical Center.

What you are looking at here are not real arms and legs, but rather “life-like covers” designed to slip over prosthetic limbs so as to masquerade a disability and to hide it from public view.  Note in particular the customized tattoos on the arm that make it appear to be individual and personal. There is every reason to believe that an amputee would want to be “seen” as normal, to hide his or her stigma, and thus to mask their prosthesis with a “life-like cover.”  Or rather there is every reason to believe that this is how someone who does not share such a disability—a so called “normal” person—might imagine how an amputee would want to cover-up his or her “shame.”  But really, the shame is ours and such “life-like covers” function, at least on par, as a veil that makes it easier for us to forget or to ignore our complicity with the sacrifice such men and women have made and the real debts that have to be paid.

Photo Credit: Charlie Neibergall/AP; John Moore/Getty Images

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The Everydayness of War

I was having a conversation with a former student recently who was exasperated by the fact that the war in Afghanistan, approaching its twelfth anniversary, is the longest American history and yet it is rarely on the front pages of our newspapers and but for the occasional report of U.S. troops being killed—usually in small numbers—there is hardly any public debate or discussion about it.  And the question, of course, is why?  Why is it that a war that is costing us roughly $100 billion a year, and has taken nearly 2,000 American lives, while wounding another 15,000 seems to have no traction in the public consciousness?

I thought of this question when I came across this photograph circulating in a number of different slideshows this past week. The scene is from Syria, not Afghanistan, but what makes the image distinctive is the way in which it frames the act of war in an ordinary and everyday environment.  The soldier here is a sniper, but he doesn’t wear a uniform, dressed instead in a camouflage vest that covers what appears to be athletic running gear. He is not on a conventional battlefield, but rather in what appears to be someone’s living room.  And he has converted the equipment of everyday life into weapons of death as he perches himself on a couch and uses seat cushions and pillows to balance and aim his high powered rifle.  Curtains seem to provide him with a modicum of cover.  And more, he exudes an uncanny nonchalance, simultaneously focused on the task before him and yet altogether relaxed.  Notice for example how he holds his cigarette while adjusting his scope, implicitly dividing his attention between the two.  War for him has become routine, neither here nor there, a condition of everyday life that can’t be ignored and so becomes commonplace, part and parcel of living in a constant zone of conflict.

There is no parallel to this image or the experience it represents in the United States.  The wars we have been fighting in the Middle East over the past eleven years are wars fought at a distance.  We are typically reminded about them only when someone we know is directly affected by them—killed or maimed—but even then for most of us the effect tends to be temporary as we mourn our loss and then quickly return to going about our lives without any serious concerns for our immediate personal safety. In short, these wars have not become part of our everyday being.  And as such, they become too easy to forget, or worse, to ignore.

Photo Credit:  Goran Tomasevich/Reuters

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War’s Longue Durée

At a time when the quarterly report is becoming the long view, there is need to remember that some events will continue to be felt long after they have ceased to be the news of the day.  This recent photograph from a Bosnian reburial program seems suffused with sadness despite the bureaucratic uniformity of the victims’ coffins.

These green capsules contain additional victims of the 1995 Srebrenica massacre that were discovered this year.  Unfortunately, Bosnia has had to learn how to handle large-scale funerary responsibilities.  The coffins seem to stretch out behind the frame endlessly, as though part of some industrial process.  Or perhaps a similar operation in agribusiness: the green coloring and slight variations give the scene a ghastly similarity to some sort of hydroponic production facility.  The remains contained within will already have given much back to the earth, so the analogy may be more apt then we’d like.  No matter how you look at it, dignity is not easily restored to those who were butchered by the thousands.

And yet dignity is possible–as long as there is the sorrow of individual loss.  The lone woman provides that sense of proportion and more.  She could be a worker, but even so one who has become pensive by virtue of those around her.  More likely, she is a relative, for nothing needs arranging and she is empty handed, with one finger touching the box to her right.  That single gesture speaks volumes, saying at once how much we want to touch the loved one, and how impossible that is.  She can only gesture, and so her sorrow remains contained, as if her heart were in one of those green caskets.  And yet she is there, and they are restored to the human community, however belatedly, by her presence.

And by ours. The photograph is part of the memorial.  And memory needs to include not only the names of individuals but also the history that they suffered.  More yet: there is need to realize how that history is still unfolding.  The term “the longue durée” comes from an historiographic method that emphasized structural factors over events, and I’m not about to settle that argument here.  One might note, however, that for moral judgment “long” is defined in part by the span of a human life, and that war is one of those events that creates a harvest of sorrow for generations.  By looking at the photo above, one can begin to realize how nothing in modern society changes any of that.

Photo0graph by Dado Ruvic/Reuters.

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The Night Watch

There is something altogether haunting about this photograph.  Shot in the evening, it is illuminated by the starlight (and perhaps a bright moon) but animated by the green glow of night vision.  Rembrandt’s “The Night Watch” was famous for its use of light and dark to suggest movement where we might otherwise imagine a static frame, but here we get natural and artificial light as it combines to suggest a lone and anonymous presence stuck in an altogether static frame in a scene where we might otherwise anticipate agency and movement.

To get the point contrast the image with the photograph of the Raising of Old Glory on Mt. Suribachi during World War II. There too the soldiers are anonymous, but their anonymity is masked by their collectivity; we may not know who they are individually, but they are working as a team to a common and coordinated purpose. And, of course, it is a clearly national purpose, as symbolized by their connection to and effort on behalf of the flag.  Here the soldier is an army of one and there are no markers of nationhood. Indeed, the only identifiable symbol in the photograph appears to be the top of a soda bottle (possibly a Coca Cola bottle, marked by the characteristic red cap, but there is no way of knowing for sure) which emerges from the bottom of the frame.  But surely this soldier does not serve and sacrifice in the name of sugared water.  Or at least one would hope that we are not fighting and dying in the name of commercial interests.  The bigger point, however, is that there does not seem to be any movement at all as the soldier is hunched over, motionless, immobilized as he appears to be gazing  trance-like into the past.  Once again, contrast this with the photograph from Iwo Jima, where the image not only captures the raising of the flag at the height of its extension  upwards, but also where the direction of such movement faces to the right of the frame, the more conventionally forward looking, future oriented direction.

According to the caption, this is a U.S. soldier sitting at an observation post in Afghanistan’s northeastern, Kunar Province.  We are not told what he is looking at, but Kunar is a largely mountainous area besot with muddy rivers and rock filled, craggy pathways that combine to make passage treacherous if not impossible and so it is not hard to imagine the landscape he is observing.  But what exactly he is looking for … that is hard to say.  The war in Afghanistan is, of course, the longest war in America’s history, and Kunar has been the site of some of the fiercest battles between U.S. troops and Al Qaeda, the Taliban, and various mujahideen, but even for all that it is not clear what has been gained or lost (except for human lives, American and Afghani alike; the displacement of millions of individuals; and a price tag conservatively estimated at 600 Billion dollars) by such engagements.  And yet, the photograph suggests, for all that we sit and watch.  Static.  Unmoving.  Transfixed, it seems, by an advanced technology that allows us to see into the dark even if it is unclear what we are looking for—or what exactly we should do if we find “it.”

What makes the photograph haunting is perhaps how it functions as an eerie cipher for American involvement in Afghanistan writ large: individual, not collective; transfixed by a backward looking tunnel vision; and altogether immobile.  In its own way, it perhaps encapsulates the current war in a manner similar to how Raising the Flag on Mt. Suribachi symbolized an earlier war–only in reverse.

Photo Credit: Tim Wimbome/Reuters

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Man Down in the Global War on . . . . What?

Whatever your politics, you’ve got to be affected by this photograph of the aftermath of a suicide bombing in Maimanah, Afghanistan.

Even if viewed by an Afghan citizen opposed to the US occupation, I think the image would be mesmerizing.  It has a magnetic pull something like what happens when traffic slows to a crawl as it passes by a really bad roadside accident.

The two soldiers are survivors, it seems, but even they are stunned and slowly dropping into an immobility and isolation approaching death.  Behind them, someone worse off is being dragged unceremoniously away, whether to a hospital or the morgue remains unclear.  The empty space in the middle of the frame seems to radiate out from the pole, as if reverberating from the blast that already has occurred.  Weapons and body armor are scattered on the ground, or slung over the back of one of the police officers, so this is not a story of projecting power, building stability, or any other imperial objective.  This miniature battle was over as soon as it began, and all that remains is the frenetic running around of some Keystone Cops doing damage control.

The fact that three people in the scene are taking pictures only adds to the sense of chaotic futility.  Shoot all you want–and a lot of good that will do the guys on the ground.  Pan further into the background and you’ll see that for other spectators it’s a lot like driving by a really bad accident.

The photograph was taken in April.  Not this month, and so it’s now being taken somewhat out of context.  Or is it?  April, May, last year, this year, does it really matter to most people?  Ten years and counting, “context” starts to sound hollow–what kind of context is appropriate when images become interchangeable and few are paying attention anyway?  And even if I supplied the rest of the captioning information–April 4, 2012, at least ten dead, etc.–would that create anything like the terrible body blow that knocked those soldiers to the ground?

Contextualization is one of the most important ways of articulating and anchoring meaning, but there also are important ways of thinking that become available through decontextualization.  By letting the image resonate while withdrawing those props that can be used to place, categorize, rationalize, and file away the event, one may, however briefly, be awakened to empathy and thus to serious thought.

Thinking includes comparisons, and another benefit of taking things out of context–which we do all the time when using language, by the way–is that one can make unexpected comparisons.  Like this one, for example.

One picture or two?  Well, two.  In the second image the man down is a civilian and his assailants are right there rather that vaporized.  He isn’t so much knocked into semi-consciousness as struggling painfully to avoid being choked and smashed into the pavement.  And the cops are attacking, not scurrying about, and hurting rather than helping.  In fact, they are all citizens of the same country, though not on the same side.  The photo is of violence occurring at a Labor Day march in Santiago, Chile, which is a long way from Afghanistan.

But not as far as you might think.  This photo, too, could have been taken in many another month or year.  Indeed, the neo-medieval body armor of the riot police suggests that the scene may be more timeless than we know.  And one of the more punishing side-effects of globalization is that the world is coming to have one continuous street.  And that street is the scene for insistent outbreaks of dissent, protest, and other forms of resistance, and for recurrent crackdowns by security forces having varied uniforms and insignia but an increasingly unified apparatus of equipment, techniques, training, and deployment.  And one way or another, it seems that the guys getting knocked down are being betrayed by leaders too complicit with the redistribution of resources up the economic hierarchy.  It’s all one street and sometimes it seems to be all one war.

So perhaps they are similar images after all.  In a world becoming re-habituated to violence, the usual distinctions come to mean less and less. In order to comprehend a world out of joint, sometimes the photos have to be seen out of context.

Photographs by Gul Buddin Elham/Associated Press and Luis Vargas/ZUMAPRESS.com.

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