Seeing like a scientist: subjunctive forensics and shared ways of seeing in the Spanish forensic archive

Abstract

For two decades, Spaniards have turned to forensic science as a mode of unearthing diverse forms of evidence that shed light on the mechanics of fascist repression that emerged during the Spanish Civil War and the dictatorship that followed it. Due to the lasting effects of Spain’s Amnesty Law, which prohibits defining Franco’s victims as victims of crime, these exhumation projects exist at the unruly boundaries of legal procedure. In the absence of courts equipped to manage the evidence exhumed and produced in these endeavors, photographs documenting the forensic process are not sequestered by the law. Instead, they are made to be seen. Drawing on what the author describes as subjunctive forensics, she analyzes the emergence of new bodies of knowledge —or what could be called the forensic archive— in order to understand how visual evidence that straddles the scientific and the political, particularly photography, is produced, circulated and safe-guarded in contemporary Spain. Drawing on ethnographic research and the experience of photographing mass grave exhumations, the author explores how shared forms of seeing are produced, acquired, and shared among the community of practice surrounding historical memory work. By focusing on how professional and skilled visions are constituted, the article argues that it is in the production, circulation, and display of forensic photography that Spaniards visualize an uncomfortable past while also imagining alternative political futures.

Keywords

• vision
• photography
• forensic science
• historical knowledge production
• evidence