Sean Tejaratchi

Nudity and explicit sex are far more easily available now than are clear images of death. The quasi-violence of movies and television dwells on the lively acts of killing _ flying kicks, roaring weapons, crashing cars, flaming explosions. These are the moral equivalents of old-time cinematic sex. The fictional spurting of gun muzzles after flirtation and seduction but stop a titillating instant short of actual copulation. The results of such aggressive vivacity remain a mystery. The corpse itself, riddled and gaping, swelling or dismembered, the action of heat and bacteria, of mummification or decay are the most illicit pornography.The images we seldom see are the aftermath of violent deaths. Your family newspaper will not print photos of the puddled suicide who jumped from the fourteenth floor. No car wrecks with the body parts unevenly distributed, no murder victim sprawled in his own juices. Despite the endless preaching against violent crime, despite the enormous and avid audience for mayhem, these images are taboo.