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Author Topic: About images of war, he did predict the  (Read 100 times)

Jabin Khatun

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About images of war, he did predict the
« on: August 30, 2023, 01:42:45 am »
The writer Paul Valéry had a premonition of this visual flood almost a century ago in his essay "The Conquest of Ubiquity" (1928): "Like water, like gas, like electric current, they come from afar to our dwellings to satisfy our needs» he wrote, «through an almost zero effort, so we will be fed by visual or auditory images, which will be born and vanish at the slightest gesture, almost with a sign». Although Valéry was not specifically talkingstate of the contemporary viewer. Not only is it no longer necessary to search for the images, but it has become virtually impossible to avoid them.

How can writers and artists compete with this flood of documentary images? In On the Natural History of Destruction (1999), author WG Sebald showed how inadequate language is to the task of portraying the destruction of German cities by the Allies during World War II and its aftermath. "Where would a natural history of destruction have to begin?" Sebald wonders. "For an overview of the technical, organizational, and political requirements for carrying out large-scale attacks from the air, for a scientific description of the then unknown phenomenon of firestorms, for a pathographic record of Telegram Number Data characteristic forms of death, or by behavioral psychological studies on the instinct to flee and return home?» Almost no German author wrote adequately on this subject for decades after the war.



There was no proper artistic representation of the complexities of wartime and postwar reality in Germany. Sebald describes an attack on the city of Hamburg in July 1943 as part of Operation Gomorrah, a campaign by the RAF and the US Air Force: "Behind the collapsing facades, flames rose up to the height of the houses, They rushed through the streets like a flood, at a speed of more than 150 kilometers per hour, and they circled like steamrollers on fire, with strange rhythms, in the open places.

 

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