ABSTRACT
This chapter discusses issues relating to forms of photography that represent war, trauma and atrocity. Using the author’s experience of viewing, it examines the affective implications of projects that aim to encompass complex political situations and/or that confront ethical limitations. Applying Rancière’s questioning of representation and what might be considered ‘unrepresentable’, and arguments provoked by Didi-Huberman’s Images in Spite of All, it emphasises the significant difference between the representation of experience and the manufacture of meaningful response. It concludes that the ‘production’ of presentation is key in distinguishing between responses of consensual understanding and those of affective experience.
