Didi Huberman’s “concern specifically is historical imagery made during the genocide itself, but it seems to me that his framework also presents a way of thinking about post-facto pictures that test a place like podgórze. there is, first of all, the laziness of the aesthete, who reifies and champions invisibility as a transcendent commemorative state, and indeed imposes invisibility even upon that which is not invisible. then there is the laziness of the believer, who reifies and champions visibility, making icons of the horrible to whatever extent the horrible is present in images, or convenes around them by implication. finally there is the laziness of the learned, for whom images are information-bearing or not information-bearing, and the act of looking reducible to the act of reading a document, or deemed useless.”
Ranciere 