Abstract The paper investigates two possible critical arguments following the pictorial turn. The first is formulated within ocularcentrism, the dominance of sight, and starts with the right to visibility as a general principle that governs today’s digital culture but gets twisted in special cases like the Auschwitz photos of the Shoa, the Abu Ghraib prison videos, or recently the website called Yolocaust. The second is conceived outside the visual culture and is meant to vindicate the other senses vis-à-vis the eyes. However, the argument is truncated here only to highlight the boomerang effect of the other senses: haptic vision. It is the case of visual perception when (a) there is a lack of things to see and (b) indeterminate synaesthesia: when vision intensifies the other senses in the embodied viewer. The two arguments converge upon a dialectic of the visible and the imaginable, which is formulated here as two paradoxes that the discussed examples transcend. By enforcing visibility at all costs where there is hardly anything recognizable to see, they lead to two diverging results. On the one hand, the meaning of “image” is extended toward the unimaginable, the traumatic experience, on the other hand, it is extended toward the invisible, the encounter with the radical Other.

中文翻译：

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可见性悖论

摘要本文研究了图片转向之后的两种可能的批判性论点。首先是在以视觉为中心的视觉中心主义中制定的，首先是可见性权利，它是支配当今数字文化的一般原则，但在奥斯威辛集中营的肖阿照片，阿布格莱布监狱录像或最近的特殊情况下却被扭曲名为Yolocaust的网站。第二种是在视觉文化之外构想的，旨在证明与眼睛相对的其他感觉。但是，这里仅将论点截断以突出其他感官的回旋镖效果：触觉。当（a）缺少看得见的事物和（b）不确定的联觉时就是视觉感知的情况：当视觉增强了所体现的观看者的其他感官时。这两个论点集中在可见和可想象的辩证法上，在这里将其表述为所讨论的例子所超越的两个悖论。通过在几乎看不到任何东西的情况下不惜一切代价强制执行可见性，它们导致两个不同的结果。一方面，“形象”的含义扩展到了难以想象的创伤经历，另一方面，又扩展到了无形的，与激进的他者的相遇。