(89) The new phenomena of citizen photographers and independent documentary photographers also necessitate rethinking the operating procedures and typologies of photography. Furthermore, the focus on individual viewers and their potential responses disregards the fact that individuals may “act politically as a part of the public,” together with others.110 If individuals are regarded as parts of the discursively visually constructed public, defined through “common spectatorship”111 or connected with one another as participants in the visual construction of the world on the basis of a “contract,”112 then the sum of the individual responses (each of which may be inadequate, in the sense that it does not directly or immediately contribute to the alleviation of the suffering depicted) “may ultimately form an adequate response.”113 Only as a member of the discursively organized public and as a part of a potential collective action can the individual viewer hope to respond adequately to conditions depicted in images. Rancière, The Emancipated Spectator, 96. (132) Writing from a psychoanalytical perspective, Dominick LaCapra argues that “art, in its specific (often highly mediated, indirect, darkly playful, powerful but other than narrowly documentary or informational) forms of bearing witness or testifying to that [traumatic] past, might assist in partially working that past over and through, thereby making more available other possibilities in the present and future.”198 Other authors, neither writing from a psychoanalytical perspective nor necessarily addressing traumatic memories, have also explored the relationship between memory and art and the political functions of artistic engagements with memory and identity. (27) Mirzoeff, Watching Babylon, 117–171. As they respond to contemporaneous events and politics, the arts take on political as well as social dimensions, becoming themselves a focus of controversy and even a force of political as well as social change. (25) On the basis of Paragraph 10 of the first Executive Order implementing the Law Concerning the National Chambers of Culture of November 1, 1933 (Official Gazette, I, 797) I hereby expel you from the National Chamber of Fine Arts and forbid you, effective immediately, any activity—professional or amateur—in the field of graphic arts. Roberts, Photography and Its Violations 61. (191) That the photographer would let his or her subjects “bloom” in the ”safe zone” before his or her camera is an unusual approach to photography and the photographer–subject relationship. How can they respond to conditions depicted in images when the mere number of images overwhelms them? (167) (148) . This may be inevitable, but has to be reflected upon all the same. Artists representing acts of violence are not immune to committing acts of violence while so doing. Martin Lister, Introduction to The Photographic Image in Digital Culture, 2nd ed., ed. (52) We saw ourselves shining in all our specificity. The endowment provides grants to museums, theater groups and other arts projects and entities. (9) Aftermath photography is a form of war photography; war is the condition of possibility for both war photography and aftermath photography. This raises questions about the role of politics in art. Interpretive openness is not always appreciated. Gilgen, “History after Film,” 56. (127) Terror and the Arts: Artistic, Literary, and Political Interpretations of Violence from Dostoyevsky to Abu Ghraib (Houndmills and New York: Palgrave Macmillan, 2008); Danchev, On Art and War and Terror; Stephen F. Eisenman, The Abu Ghraib Effect (London: Reaktion Book, 2007); Shapiro, Cinematic Geopolitics; Judith Butler, Frames of War: When Is Life Grievable? Buckley, “Workshop of Filthy Creation,” 838. Da invisibilidade, ” 877 with more than 20 years of experience War: an Introduction Researching! 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