Forensic truth is staged at the “threshold of detectability,” where holes, pixels, and grain become contested epistemic objects and “negative evidence” weaponizes absence to sever matter from memory and testimony. By linking Holocaust denial’s evidentiary tactics to drone-war visibility regimes (degraded satellite resolution, Glomarization, media sieges), the text critiques how state and legal-technical apparatuses manage what can be seen and said, while proposing forensic architecture as an aesthetic-political practice that re-entangles images, built space, and risky witness accounts into networked proof.

A critique of late-capitalist “immediacy” and its moralized demand for legible political efficacy, arguing that contemporary art’s confessional, representational, and discourse-saturated tendencies risk collapsing mediation into self-affirming content and turning responsibility into a disciplinary power. “Responsible irresponsibility” names an alternative ethic-aesthetic: defend imagination’s autonomy while situating it within social histories, reviving subtext, formal complexity, and hybrid genres (e.g., speculative memoir) to short-circuit polarized binaries (political/apolitical, mediation/immediacy, realism/nonrealism) and reopen art’s emancipatory capacity beyond instrumentalization.