My wife the photo archivist likes to point out that all stills are a double crop—a crop in time (we do not know what happened before or after) and a crop in place (we do not know what was outside the photographer’s frame). So, too, are pulses of violence, like Iran’s recent salvo of 300 drones, cruise, and ballistic missiles aimed at Israel. To understand what we are observing, we have to push out beyond the frame of what we at first see.
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