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Farocki and his film production have given us one of the most reliable and articulate reflections on the nature of the documentary and its linguistic codes.
Images of the World and the Inscription of War, 1988, analyzes, from a historical vantage point, the use of photography in its dual nature as tool for both war and knowledge. From photography, and particularly from the various possibilities offered by the development of eighteenth-century photogrammetry, the artist draws a paradigm of the human view of the world, of the desires for possession inherent to this view and the two tensions that derive from it: preservation and destruction. [...]
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