To operate within the matrix of power is not the same as to replicate uncritically relations of domination.

I certainly don't mean to suggest that all investigative journalism prior to 9/11 in the US was praiseworthy. But there were more examples to which one could point, and there were at last some activist photographers who understood that getting information into the public sphere in spite of military censorship was a right and obligation within democracy. That strain in war journalism did nearly vanish during that time.

If you speak [ about violence against Israelis], you are in an unspeakable place, have become a Nazi or its moral equivalent (if there is a moral equivalent). It certainly terrifies, but perhaps also it is a linguistic permutation of state terrorism, an assault that stops one in one's tracks, and secures the continuing operation of the regime and its monopoly on politically intelligible speech.

Gender is a kind of imitation for which there is no original; in fact, it is a kind of imitation that produces the very notion of the original as an effect and consequence of the imitation itself.

Photographs can be forms of recruitment, ways of bringing the viewer into the military, as it were. In this way, they prepare us for war, even enlist us in war, at the level of the senses, establishing a sensate regime of war.

As we interpret ourselves differently, we also live ourselves differently.

I am not sure that I know enough about the pre-history of 9/11 to agree or disagree. But I did think at the time that the [George W.] Bush administration took a number of cues from the Israeli government, not only by drawing on and intensifying anti-Arab racism, but by insisting that the attack on US government and financial buildings was an attack on "democracy" and by invoking "security at all costs" to wage war without a clear focus (why the Taliban?), and by suspending both constitutional rights and the regular protocol for congressional approval for declaring war.