“The media’s evacuation of the human through the image has to be understood, though, in terms of the broader problem that normative schemes of intelligibility, establish what will and will not be human, what will be a livable life, what will be a grievable death. These normative schemes operate not only by producing ideals of the human that differentiate among those who are more and less human. Sometimes they produce images of the less than human, in the guise of the human, to show how the less than human disguises itself, and threatens to deceive those of us who might think we recognize another human there, in that face. But sometimes these normative schemes work precisely through providing no image, no name, no narrative, so that there never was a life, and there never was a death.
These are two distinct forms of normative power: one operates through producing a symbolic identification of the. face with the inhuman, foreclosing our apprehension of the human in the scene; the other works through radical effacement, so that there never was a human, there never was a life, and no murder has, therefore, ever taken place. In the first instance, something that has already emerged into the realm of appearance needs to be disputed as recognizably human; in the second instance, the public realm of appearance is itself constituted on the basis of the exclusion of that image. The task at hand is to establish modes of public seeing and hearing that might well respond to the cry of the human within the sphere of appearance, a sphere in which the trace of the cry has become hyperbolically inflated to rationalize a gluttonous nationalism, or fully obliterated, where both alternatives turn out to be the same. We might consider this as one of the philosophical and representational implications of war, because politics-and power-work in part through regulating what can appear, what can be heard.”