ABSTRACT
This chapter examines the photographic representation of objects and things rather than landscapes in order to emphasise the 'thingness of the photograph', an approach author identify as 'post-factum witnessing'. The map appears to give an overview of the terrain, but in fact masks the nuances and details of the events, and abstracts human suffering and violence into a flat, two-dimensional space lacking in emotion. Norfolk describes the project as trying to get inside the mind of a war criminal, trying to engage with the 'feeling of what it might be like to be inside these mens minds' as they try to 'wash away the feelings of guilt about the crimes they have done'. For Norfolk knowing exactly the right location of the gravesites is of vital importance, in that it establishes the credibility of the work in an almost forensic way.
