NO CAPTION NEEDED
ICONIC PHOTOGRAPHS, PUBLIC CULTURE, AND LIBERAL DEMOCRACY

No Caption Needed is a book and a blog, each dedicated to discussion of the role that photojournalism and other visual practices play in a vital democratic society. No caption needed, but many are provided. . . .

July 7th, 2014

Witness to a Demolition

Posted by Lucaites in catastrophe, visualizing war

Screen shot 2014-07-06 at 2.15.39 PM

When it comes to trauma and atrocity the photograph is frequently cast in a confounding conundrum: Because it is driven by an indexical realism it is presumed to bear witness to the worst of human behavior; and yet, because it is only capable of showing a fragment of reality in a sliver of time it is doomed by its incapacity to tell “the whole story.” Of course, no medium is capable of “telling the whole story”—and certainly not in objective fashion—but for some reason we seem to place the full “burden of representation” (to borrow John Tagg’s phrase) on photography itself without paying attention to what it might be accomplishing despite its limitations. And more, when it fails to persuade we assume that somehow the onus of blame resides solely with the photograph (or the photographer) rather than, say, with the viewer or the spectator.

Perhaps the photograph above is a case in point. According to the caption you are witnessing the “demolition” of a private residence in the village of Idnha, just outside of Hebron. The home belonged to Ziad Awad, a Palestinian and a member of Hamas, “charged” with killing an off-duty Israeli police officer. His home is being demolished by Israeli security forces “as a deterrent” to future terrorist activity. If Awad was found to be guilty of murdering an Israeli police officer—and there does seem to be sufficient evidence to support the facts of the case—then surely he should be detained and justly punished. But the demolition of a private residence in the middle of a village or neighborhood to punish or deter an individual crime is excessive. Indeed, far more than an “eye for and eye” mode of justice, it seems to fit in the category that Ariella Azoulay dubs a “regime made disaster.”  Regime made disasters are catastrophic circumstances initiated by democratic institutions in full public view; they are rarely identified as disasters per se, and they divert attention from the larger population being effected (focusing instead on the most immediate victims) by deflecting attention from deeper, underlying causes.

As one reads about Awad, for example, journalistic focus is directed largely at the fact that he was a known terrorist—indeed, he had been imprisoned for a number of years and only recently released, that an Israeli citizen had been  murdered, and that the State of Israel was exacting justice. What receives only marginal attention is the fact that the home being demolisthed did not belong to Awad, but his brother, and that now the brother, his wife and five children, and Awad’s wife and six children have been rendered homeless. It could be a scene out of the Old Testament—think The Book of Judges. But the larger point is that what receives no attention is how such actions impact the ecology—social, political, economic, and otherwise—of the neighborhood, already something of a refugee state, in which a home is precipitously razed. Equally ignored—and perhaps more to the point—is any attention to the the deeply seeded, underlying causes that animate the tensions between the State of Israel and Hamas in the first place.

And yet, for all that, the regime made disaster is there for all to see if only we are willing to accept the invitation. But “invitation” is not really the right word, for an invitation implies the right and opportunity to turn away, to reject or resist the entreaty with some measure of impunity. The photograph, by contrast, issues something that is more like an ethical demand to take responsibility for what we are seeing and for how we respond in reaction to it. No, the photograph does not put the act of demolishing this single home on display, though it does show us the immediate traces of smoke and dust as they expand outward beyond the original location and work to encompass and choke the entire neighborhood. Nor does the photograph tell the entire story, focusing on this singular event. But what it does is to put the impending and unfolding disaster before the public eye, insisting that we look, and that we see, and in seeing, that we engage, that is to say, that we stand as witnesses who not only testify to what they see, but who will ask the questions necessary to make sense out of what is before their very eyes and to act accordingly. It requires, in short, an ethics of spectatorship.

In Dispatches, one of the most affecting novels to come out of the Vietnam War, Michael Herr notes that the war taught him that, “you [are] as responsible for everything you [see] as you [are] for what you [do].” That obligation does not diminish just because what we see is mediated from half-way-around the globe.

Credit: Mussa Issa Qawasma/Reuters

3 Responses to ' Witness to a Demolition '

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  1. on July 9th, 2014 at 12:46 am

    Quote: “It could be a scene out of the Old Testament—think The Book of Judges. But the larger point is that what receives no attention is how such actions impact the ecology—social, political, economic, and otherwise—of the neighborhood, already something of a refugee state, in which a home is precipitously razed. Equally ignored—and perhaps more to the point—is any attention to the the deeply seeded, underlying causes that animate the tensions between the State of Israel and Hamas in the first place.”

    Speaking of deeply seeded underlying causes, have you given any thought to your term “Old Testament”? After all, that term isn’t in the language of the Israelis who are now demolishing Arab houses in Hebron. It’s strictly a Christian term, and it marks one of the most dangerous borders dividing Christianity from Judaism. Historiographically considered, its word “Old” isn’t just a marker of chronology, because it’s ineradicably colored by the ancient Christian doctrine of supersession. It denotes that Judaism is an older religion than Christianity, but it also connotes that Judaism has been rendered obsolete by Christianity. As the historical record demonstrates over a term of centuries, the connotation is by far the more significant part of the word’s meaning. And that significance has had murderous consequences for Jews.

    My guess is that it’s all but impossible for a Christian term like that to describe in any meaningful way a conflict between Jews and Muslims. It may be that your call for an ethics of spectatorship also entails a call for an ethics of description.


  2. on July 14th, 2014 at 1:02 am

    […] Witness to a Demolition (No Caption Needed) When it comes to trauma and atrocity the photograph is frequently cast in a confounding conundrum: Because it is driven by an indexical realism it is presumed to bear witness to the worst of human behavior; and yet, because it is only capable of showing a fragment of reality in a sliver of time it is doomed by its incapacity to tell “the whole story” […]


  3. on July 14th, 2014 at 6:54 pm

    […] Witness to a Demolition (No Caption Needed) When it comes to trauma and atrocity the photograph is frequently cast in a confounding conundrum: Because it is driven by an indexical realism it is presumed to bear witness to the worst of human behavior; and yet, because it is only capable of showing a fragment of reality in a sliver of time it is doomed by its incapacity to tell “the whole story” […]

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