“The lacuna-image is a trace-image and a disappearance-image at the same time. Something remains that is not the thing, but a scrap of its resemblance. Something—very little, a film—remains of a process of annihilation: that something, therefore, bears witness to a disappearance while simultaneously resisting it, since it becomes the opportunity of its possible remembrance. It is neither full presence, nor absolute absence. It is neither resurrection, nor death without remains. It is death insofar as it makes remains. It is a world proliferating with lacunae, with singular images which, placed together in a montage, will encourage readability, an effect of knowledge, the kind Warburg called Mnemosyne, Benjamin called Arcades, Bataille called Documents, and Godard today calls Histoire(s).” Georges Didi-Huberman, Images in Spite of All: Four Photographs from Auschwitz (Chicago and London: The University of Chicago Press, 2008), 167.