By keeping track of something that is no longer there, or that never was, maps constitute a contemplative experience of death. In visualizing migrant fatalities as a numerical hemorrhage, they also develop a distinct aesthetic of necropolitics. Such maps, in fact, make viewers understand that immobility and death produce their own movement and geography, since time takes its material toll by corroding and eroding the texture from which maps of death are made, transforming them into mutable and perishable organisms. Visually, immobility affects the architecture of the map as well, in the sense that the viral lines of the maps appearing in the news, usually depicting the alleged invasion of foreign people, now transform into points—death points as opposed to fluxes of life. This corroded, numerical, and dotted choreography uncovers an inhuman, unjust, but nonetheless real geography of necropower that would otherwise remain buried under the seabed.

Wars have evolved to many more frames per second in the years since the war on Iraq began (and have indeed accelerated because of that war), and we continue to participate in them no matter how undecided, baffled, or distant we are towards them—and no matter who “we” are (just yet). We participate in war because we consume its cruel images, and often at a mediated distance. The Lebanese writer and translator Lina Mounzer profoundly wrote in 2015: “I have buried seven husbands, three fiancés, fifteen sons, and a two-week-old daughter ... I have watched my city, Maarrat al-Numan, burn, I have watched my city, Raqqa, burn, I have fled Aleppo ... All this I have watched from my living room in Beirut.”

Photographic images could be considered particular forms of violence spurred by a given power/knowledge that is responsible for “general violence.” Conceived in this way, images could be performative as they enact ideology, as they exemplify, codify, and translate written and unwritten laws and social hierarchies, as they bestow or remove citizenship, and as they exert epistemic violence. Images do all these things in a particular mode and manner depending on the specificities of their respective medium and form. Visual activism, or the realm where images are put to militant use, like in the cases of Akhter and Ferdous, is one of the customarily invoked strands of practice that supposedly enables the production of visualities that oppose and contradict the “general violence” in which photography arguably takes part. So what exactly is the place of violence in activist image journalism and in modes of visual protest? And what may be the limit of such violence with regard to the violences of the (neo)colonial order?