No one can deny that this century’s wars have been exercises of mechanical power, nor can one doubt—equivocal theories of deterrence notwithstanding—that the mere existence of fifty thousand nuclear warheads raises the possibility of annihilation above zero. But this camp takes an even stronger antitechnological stand: mass reproduction of photographic images represents and initiates those values that would destroy beauty, singularity, and all that is human and humane. To
