by employing the whole body. It does so by referencing not only that which is present, visible, and audible but also that which is absent, invisible, and inaudible. It does so by engaging with politics and political discourse in unique ways: art’s language games direct our attention to the ways in which language conditions our perception of ‘reality’ just as art’s visual games alert us to the intimate connection between what we see and what we believe this ‘reality’ to be. Art creates imaginary – and also utopian – alternatives reflecting that what is always includes (as yet unrealized) alternatives, marginalized in political discourse for a variety of reasons. Art, thus, is a political discourse, and bearing witness to politics through art is a political activity.
[52]References
Adams, Robert (1994): Why People Photograph: Selected Essays ad Reviews. New York: Aperture.
Agamben, Giorgio (2002): Remnants of Auschwitz: The Witness and the Archive. New York: Zone Books.
Allan, Stuart (2014): ‘Photo-Reportage of the Libyan Conflict’. In: Kennedy, Liam/Patrick, Caitlin (eds.): The Violence of the Image: Photography and International Conflict. London and New York: I.B. Tauris, pp. 167–192.
Apel, Dora (2002): Memory Effects: The Holocaust and the Art of Secondary Witnessing. New Brunswick, NJ, and London: Rutgers University Press.
Azoulay, Ariella (2014): ‘Infra-Destructure’. In: Kennedy, Liam/Patrick, Caitlin (eds.): The Violence of the Image: Photography and International Conflict. London and New York: I.B. Tauris, pp. 125–138.
Bacci, Francesca/Melcher, David (eds.) (2013): Art & the Senses. Oxford: Oxford University Press.
Barthes, Roland (2000): Camera Lucida: Reflections on Photography. London: Vintage.
Benjamin, Walter (1991; original 1922): ‘Goethes Wahlverwandtschaften’. In: Gesammelte Schriften, I.1, edited by Schweppenhäuser, Hermann/Tiedemann, Rolf. Frankfurt: Suhrkamp, pp. 123–201.
Benjamin, Walter (1991; original 1936): Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Zweite Fassung’. In: Gesammelte Schriften, VII.2, edited by Schweppenhäuser, Hermann/Tiedemann, Rolf. Frankfurt: Suhrkamp, pp. 350–384 and 661–690.
Bennett, Jill (2005): Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford: Stanford University Press.
Bleiker, Roland (2009): Aesthetics and World Politics. Houndmills: Palgrave Macmillan.
Blocker, Jane (2009): Seeing Witness: Visuality and the Ethics of Testimony. Minneapolis and London: University of Minnesota Press.
Couldry, Nick (2000): Inside Culture: Re-imagining the Method of Cultural Studies. London, Thousand Oaks, New Delhi: Sage.
Crace, Jim (2000): Being Dead. London: Penguin.
Danchev, Alex (2009): On Art and War and Terror. Edinburgh: Edinburgh University Press.
Delgado, Melvin (2015): Urban Youth and Photovoice: Visual Ethnography in Action. Oxford: Oxford University Press.
Dell, Simon (2010): ‘Mediation and Immediacy: The Press, the Popular Front in France, and the Spanish Civil War’. In: Young, Cynthia (ed.): The Mexican Suitcase: The Rediscovered Spanish Civil War Negatives of Capa, Chim, and Taro.[53] Volume 1: The History. New York: International Center of Photography/Göttingen: Steidl, pp. 37-49.
Dufour, Diane (ed.) (2015): Images of Conviction: The Construction of Visual Evidence. Paris: Le Bal– Éditions Xavier Barral.
Dyer, Geoff (2005): The Ongoing Moment. London: Abacus.
Elderfield, John (2006): Manet and the Execution of Maximilian. New York: The Museum of Modern Art.
Gregory, Derek (2004): The Colonial Present: Afghanistan • Palestine • Iraq. Malden, MA, Oxford, Victoria: Blackwell.
Hariman, Robert/Lucaites, John Louis (2007): No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy. The Chicago and London: University of Chicago Press.
Harper, Douglas (2012): Visual Sociology. London and New York: Routledge.
Heidegger, Martin (1960): Der Ursprung des Kunstwerkes. Stuttgart: Reclam.
Hirsch, Marianne (1997): Family Frames: Photography, Narrative and Postmemory. Cambridge, MA, and London: Harvard University Press.
Hyvärinen, Matti/Muszynski, Lisa (2008): ‘The Arts Investigating Terror’. In: Hyvärinen, Matti/Muszynski, Lisa (eds.): Terror and the Arts: Artistic, Literary, and Political Interpretations of Violence from Dostoyevsky to Abu Ghraib. New York and Houndmills: Palgrave Macmillan, pp. 1–22.
James, P.D. (1977): Death of an Expert Witness. London: Faber & Faber.
Kaplan, E. Ann (2005): Trauma Culture: The Politics of Terror and Loss in Media and Literature. New Brunswick, NJ, and London: Rutgers University Press.
Kennedy, Liam (2009): ‘Soldier Photography: Visualizing the War in Iraq’. In: Review of International Studies 35, 4, pp. 817–833
Kennedy, Liam (2014): ‘“Follow the Americans”: Philip Jones Griffiths’s Vietnam War Trilogy’. In: Kennedy, Liam/Patrick, Caitlin (eds.): The Violence of the Image: Photography and International Conflict. London and New York: I.B. Tauris, pp. 34–59.
Korhonen, Kuisma (2008):‘Narrating the Trauma: Georges Perec’s W ou le souvenir d’enfance’. In: Hyvärinen, Matti/Muszynski, Lisa (eds.): Terror and the Arts: Artistic, Literary, and Political Interpretations of Violence from Dostoyevsky to Abu Ghraib. New York and Houndmills: Palgrave Macmillan, pp. 113-128.
Krippendorff, Ekkehard (2000): Kritik der Außenpolitik. Frankfurt: Suhrkamp.
Ledbetter, Mark (2012): ‘Do Not Look at Y/Our Peril: Voyeurism as Ethical Necessity, or To See as a Child Again’. In: Grønstad, Asbjørn/Gustafsson, Henrik (eds.): Ethics and Images of Pain. New York and London: Routledge, pp. 3-14.
Levi, Primo (1989): The Drowned and the Saved. New York: Vintage.
Lisle, Debbie (2011): ‘The Surprising Detritus of Leisure: Encountering the Late Photography of War’. In: Environment and Planning D: Society and Space 29, 5, pp. 873-890.
[54]Lowe, Paul (2014): ‘The Forensic Turn: Bearing Witness and the “Thingness” of the Photograph’. In: Kennedy, Liam/Patrick, Caitlin (eds.): The Violence of the Image: Photography and International Conflict. London and New York: I.B. Tauris, pp. 211-234.
MacDougall, David (1998): Transcultural Cinema. Edited and with an introduction by Lucien Taylor. Princeton: Princeton University Press.
Margalit, Avishai (2004): The Ethics of Memory. Cambridge, MA: Harvard University Press.
Möller, Frank (2013): Visual Peace: Images, Spectatorship, and the Politics of Violence. Houndmills: Palgrave Macmillan.
Möller, Frank (2016): ‘Politics and Art’. In: Oxford Handbooks Online Political Science. New York: Oxford University Press, at http//oxfordhandbooks.com.
O’Hagan, Sean (2015): ‘Jeff Wall: “I’m haunted by the idea that my photography was all a big mistake”,’ The Guardian, November 3, at http://www.guardian.com/artanddesign/2015/nov/03/jeff-wall-photography-marian-goodman-gallery-show.
Popescu, Diana/Schult, Tanja (eds.) (2015): Revisiting Holocaust Representation in the Post-Witness Era. Houndmills: Palgrave Macmillan.
Prosser, Jay (2005): Light in the Dark Room: Photography and Loss. Minneapolis and London: University of Minnesota Press.
Rancière,