All memory is individual, unreproducible - it dies with each person. What is called collective memory is not a remembering but a stipulating: that this is important, and this is the story about how it happened, with the pictures that lock the story in our minds.
Is there an antidote to the perennial seductiveness of war? And is this a question a woman is more likely to pose than a man? (Probably yes.)
Photographs objectify: they turn an event or a person into something that can be possessed.
Compassion is an unstable emotion. It needs to be translated into action, or it withers.
Perhaps too much value is assigned to memory, not enough to thinking. Remembering is an ethical act, has ethical value in and of itself. Memory is, achingly, the only relation we can have with the dead.
To set their sufferings alongside the sufferings of another people was to compare them (which hell was worse?), demoting Sarajevo's martyrdom to a mere instance.
It is a view of suffering, of the pain of others, that is rooted in religious thinking, which links pain to sacrifice, sacrifice to exaltation - a view that could not be more alien to a modern sensibility, which regards suffering as something that is a mistake or an accident or a crime. Something to be fixed. Something to be refused. Something that makes one feel powerless.
Photographs that depict suffering shouldn't be beautiful, as captions shouldn't moralize.
One can feel obliged to look at phototgraphs that record great cruelties and crimes. One should feel obliged to think about what it means to look at them, about the capacity actually to assimilate what they show. Not all reactions to these pictures are under the supervision of reason and conscience.
It is felt that there is something morally wrong with the abstract of reality offered by photography; that one has no right to experience the suffering of others at a distance, denuded of its raw power; that we pay too high a human (or moral) price for those hitherto admired qualities of vision - the standing back from the aggressiveness of the world which frees us for observation and for elective attention.
Up to a point, the weight and seriousness of such photographs survive better in a book, where one can look privately, linger over the pictures, without talking. Still, at some moment the book will be closed. The strong emotion will become a transient one.
What is odd is not that so many of the iconic news photos of the past, including some of the best-remembered pictures from the Second World War, appear to have been staged. It is that we are surprised to learn they were staged and always disappointed.
With time, many staged photographs turn back into historical evidence, albeit of an impure kind - like most historical evidence.
In fact, there are many uses of the innumerable opportunities a modern life supplies for regarding - at a distance, through the medium of photography - other people's pain.
The memory of war, however, like all memory, is mostly local.
Perhaps the only people with the right to look at images of suffering of this extreme order are those who could do something to alleviate it - say, the surgeons at the military hospital where the photograph was taken - or those who could learn from it. The rest of us are voyeurs, whether or not we mean to be.
The past itself, as historical change continues to accelerate, has become the most surreal of subjects - making it possible... to see a new beauty in what is vanishing.
I don't want to express alienation. It isn't what I feel. I'm interested in various kinds of passionate engagement. All my work says be serious, be passionate, wake up.
The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.
Depression is melancholy minus its charms - the animation, the fits.
