As it already becomes visible through the thealit call “The Art of Emergency”, we always have to navigate between these conflicted fields of meaning when we speak of the unthinkable, the absolutely terrible, the “end of the world”. Authors like Adorno or Blanchot have also concerned themselves with this question of “writing” and speaking of disaster, that became crucial within European-“western” philosophy especially after the end World War II: How to write, how to speak, what kind of art, after the unthinkable has happened? Does the catastrophe demand silence – or, on the contrary, does it precisely call for narration and witnessing, as Semprun claims in “Literature or Life” (1994)?
