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This essay onBlack Smoke Rising(Tim Shaw, 2014), returns to some of the core political and ethical questions concerning the inter-relationship between representation and repetition in the aesthetic experience of images of suffering: What's at stake in looking at images of suffering, and how is the spectator - and the cultural politics of spectatorship - implicated in the image as integral to its construction and operation? What's the relationship between the content of the image, its material tracing of historical presence, and its mode of representation? What's at stake in representation as a making present again of historical trauma and social suffering? Why do we keep on looking, long after the passing of the event represented, as if looking keeps open the wound of suffering through its repetition and circulation in the form of the image? These questions, prompted by Shaw's return to the images of torture emanating from Abu Ghraib prison in Iraq as resources for further image-making, 10 years after the event, are investigated through a double-handed reading of bothBlack Smoke Risingas a performative/scenographic event, and a staged return to the author's own writing on the Abu Ghraib image-event, 'The Anxiety of the Image', ten years after its publication inParallax’s special issue ‘Visceral Reason’ (Vol. 10, No. 1). The essay thereby aims to question the aesthetic-politics of repetition - and the culturalanxietyabout repetition - integral to the theatrical temporality of the logic of representation. It examines how the continuous circulation of the iconic image – the image of ‘The Hooded Man’ most especially -- reinforces the ideologically anticipatory mode of anxiety and explores the extent to which Shaw's aesthetic event re-deploys andre-stagesthe spectatorial experience of anxiety in a politically critical visual economy. [ABSTRACT FROM AUTHOR]

Investigates the mood of anxiety accompanying the public manifestation of images of prisoner abuse being conducted at the American occupied Abu Ghraib jail in Iraq. Gap between verisimilitude and veracity opened up by the “Daily Mirror's” claim that the pictures accurately 'portrayed' serving soldiers' actions; Politics of attempting to further instrumentalize the images' performative effects; Nature of the response to the images of human rights abuses emanating from Abu Ghraib prison in Iraq.