Actually, violence starts when the possibility of dialogue ends and an attempt to eliminate the new opponent begins, or at least an attempt to avoid or a failure to acknowledge it.
spectator’ s associations; that look is disqualified, since it’ s considered far from reality.
We can talk about three elements through which violence representation may be interpreted: distance from the example, the author’ s authority, and the perspective from where a work is seen. Distance from the example, meaning, from the violent or auratic 2 event, generates different aesthetical approaches that go from stark reality to a conceptual refinement, and that suppose too, in the spectator, a larger or shorter time to make contact with the aforementioned event; author’ s authority, which means the pretended investiture some people have to treat complex subjects of the conflict, according to the way they experienced the causes and / or consequences of violence; and the interpretation perspective, which means the“ setting” where photographs are observed: through the media or in the exclusive stage of galleries, exhibition rooms and museums 3.
IV. One on top of the other We will assume violence as a negation of the other’ s body. Actually, violence starts when the possibility of dialogue ends and an attempt to eliminate the new opponent begins, or at least an attempt to avoid or a failure to acknowledge it. To reflect upon violence is to bore about the animal origins that constitute us, and of course, to enquire about the complex setting-up of the human mind. Bataille, leaning on Sade, evidences the relationship between murder and sexual arousal: the primitive party constituted by the first death encounters between human groups.
War legitimizes the forbidden act of killing, and perhaps also its registry. Contradictions come once these two taboos are surpassed: the ritual,
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