“ With regard to the surpassing disaster, art acts like the mirror in vampire films: it reveals the withdrawal of what we think is still there. ‘You have seen nothing in Hiroshima’ [Hiroshima mon amour]. Does this entail that one should not record? No. One should record this ‘nothing,’ which only after the resurrection can be available….The documentation is for the future not only in the sense that it preserves the present referent for future generations; but also in that it can function as a preservation of the referent only in the future, only when the work of resurrection has countered the withdrawal.
— Jalal Toufic, Forthcoming
