بازنمایی امید در عکس‌های جنگ دوازده روزه ایران- اسرائیل؛ تحلیلی بر اساس نظریه اتوپیای ارنست بلوخ

The twelve-day war between Iran and Israel, though brief, left profound and lasting effects on the social, psychological, and cultural fabric of Iranian society. The suddenness and intensity of the attacks, especially on Tehran, resulted in widespread destruction of residential areas, leaving behind not only material ruins but also spiritual and emotional burdens. Photographs captured by professional and amateur photographers documented these ruins, revealing layers of human experience marked by loss, despair, and dislocation. At first glance, these images might appear to convey only hopelessness. However, drawing on Ernst Bloch’s theory of utopia and the principle of hope, it becomes possible to perceive within these photographs sparks of potential for a better future, embedded in human consciousness and imagination. Bloch’s concept of the “Not-Yet” is central to understanding this potential. Human beings, according to Bloch, are incomplete, possessing unrealized capacities that exist within constraints imposed by social and historical conditions. These unrealized potentials, or the “Not-Yet,” point toward what could become, offering a latent vision of transformation. The realization of this latent potential depends on the interplay between the “Not-Yet” and what Bloch terms “possibility,” which refers to the conditions and capacities that allow potentialities to manifest. Possibility can be formal, cognitive, objective, or dialectical, but only dialectical possibility, which engages with social reality and is not bound by predetermined conditions, allows for actualization in the real world. Hope emerges from this relationship, serving as both a motivational force and a directional guide toward a desirable future. Hope is anchored in the concepts of the front, the novum, and matter, which, together, provide the framework for anticipating and shaping what is not yet realized.
Within this theoretical framework, the photographs of ruins can be interpreted as utopian expressions. They are not complete representations but fragmented and disrupted forms that echo Bloch’s notion of “ruin.” These ruins, when combined with human perception and emotional engagement, form a metaphorical “carpet,” in which disparate elements, contradictions, and losses are woven together into an imagined whole. This imagined construction allows viewers to perceive the potential for reconstruction, renewal, and hope within spaces otherwise defined by destruction. The “carpet” represents the process by which the observer integrates formal and emotional cues to construct a utopian vision, transforming the immediate experience of devastation into a site of imaginative possibility. Selected photographs of the twelve-day war illustrate this dynamic. One image depicts a demolished residential building viewed through a hole in a wall, symbolizing the passage from loss to potential reconstruction. The ruined home, stripped of its material presence, evokes absence and grief, yet openings, light, and residual elements like curtains suggest latent possibilities, or the novum, for new life. Another photograph shows rescue workers amidst collapsed buildings. Here, hope emerges not directly from the ruins themselves but from human action—the intervention of rescuers embodies dialectical possibility, signaling the potential for survival, recovery, and the reconstruction of life. In a third example, a woman stands on the debris of a destroyed building, waving the Iranian flag. Her presence, situated between the ruined landscape and the city horizon, symbolizes the role of human agency in actualizing utopian potential. She represents the conscious enactment of hope, bridging the past’s destruction and the anticipated future of societal renewal. These images, when analyzed through Bloch’s framework, demonstrate that hope is not merely an abstract sentiment but a product of human perception, imagination, and engagement with possibility. The photographs of ruins do more than record devastation; they serve as catalysts for social imagination, illustrating how communities might transform absence into presence, loss into creation, and despair into the pursuit of a more desirable future. By integrating elements of the “Not-Yet,” possibility, and human agency, these images enact what Bloch describes as a utopian consciousness, allowing viewers to mentally reconstruct spaces and experiences, generating hope that is both active and directed toward a future not yet realized. in conclusion, the analysis of photographs from the twelve-day war reveals that, despite their depiction of destruction and human suffering, they possess the capacity to embody hope and utopian vision. Through the interaction of ruins, human action, and imaginative perception, these images create a metaphorical “carpet” that weaves together fragments of loss, unfulfilled potential, and the possibility of renewal. The study demonstrates that post-war visual culture can provide more than documentation of trauma; it can act as a vehicle for social imagination, collective consciousness, and the envisioning of a better future. Hope, in this context, is both an interpretive and practical tool, allowing individuals and communities to conceive of reconstruction and to engage actively with possibilities for change. Photography thus becomes a medium through which the human experience, transformed into a stimulus for reflection, aspiration, and imaginative reconstruction, aligning with Bloch’s principle of hope and the transformative potential of utopian thinking.