Herostratus on Steroids

The more I think about it, the more I have to realize that many of my works are somewhat problematic in respect to the topics they are dealing with. The same, I think, is true for other works by different artists, dealing with similar topics, so I would like to try to phrase my concerns.


When Herostratus laid fire to the Temple of Artemis in the 4th century BCE, it is said, that he was aiming for eternal remembrance. So, the reaction by public figures to punish him with damnatio memoriae, or the condemnation of memory, seemed quite sensible, even though this attempt has failed miserably. The names of the people that did condemn him have long since been forgotten, yet the name of the criminal lives on.

If we take the story for granted, Herostratus was no terrorist. The people he was aiming for were not his enemies and he was not trying to instill fear in them that other such acts might inevitably follow, he was rather extremely selfish. He wanted his actions to be remembered and his name to live on. If he would have been a member of a bigger group, that threatened similar acts, the story would be different, but he was giving his life merely for his own cause. He wanted to be glorified – sure, he did something most people would have hated him for, but glorification works in the negative as well as in the positive. The arch villain is a hero in of itself.

I guess, there is little real information on the reaction of his contemporaries, but I would doubt that there had been widespread fear that his action could have merely been the start of an upcoming series of similar events. If bureaucracy worked in a similar fashion 2500 years ago, some guards at the temple were reprimanded for their lapse in security, but that would have been it. The guy who actually did it had been apprehended and executed and no one was ever to mention his name again. That was it.

When looking for the right way to deal with contemporary acts of terrorism. Many media outlets struggle and quite a few resort to a damnatio memoriae for our current media environment. The acts themselves are still reported, but certain news sites for instance stopped to show images of terrorists and refuse to mention their names.

https://www.theguardian.com/media/2016/jul/27/french-media-to-stop-publishing-photos-and-names-of-terrorists

If terrorists would be motivated by similar urges than Herostratus, this seems an adequate way to cope with terrorism. But there is more to that, than just the individuals need to leave traces.

For once, the fundamental claim of terrorism is that there are more things to come. Things that are going to strike us out of the blue. The individual terrorist might indeed partially be motivated by the selfish urge of becoming a glorified hero, but the fact that the claim is made, that his actions are part of a wider movement, is essential. Interestingly, this claim is very often not made by the attacker him- or herself, but rather by the group that defines his whole existence through an ongoing series of attacks. ISIS for instance, keeps claiming attacks for themselves that have little connection to the real planning of this group. To the person who feels under threat, it makes little to no difference who makes this claim.

Whether the above-mentioned response, by some media outlets, to retract the names and images of violent attackers, is a valid response, is up for debate. But maybe this response does not even go far enough and the story of Herostratus might teach us some valuable lesions for the conflicts of the 21st century.

Compared to the role remembrance plays in contemporary conflicts, the actions by Herostratus seem almost like child’s play. He wanted his name to be remembered to become immortal, but today it is all about a continuous place in the 24-hour news cycle. He was up for what we would call today 15 minutes of fame, while terror groups aim for a never-ending state of fear.

Today’s conflicts aim at our perception as the crucial battlefield. Terrorism, for instance, only works once it is been perceived as terrorism. If the single acts of murder are understood merely as acts of a criminal nature, the feeling of terror most likely disappears. If a drunken guy stabs some people in front of a club and is then killed by police, the whole thing is merely reported as news. Something that has happened and that is now over. Just something the public might want to know about. If there is a growing number of such incidences, politicians might face some tough questions by their constituents and might fear for reelection. But little else comes of it.

Terrorism, on the other hand, lives from being reported in a different way than that. To fully function, it needs to be understood as merely part of something bigger. As something that might happen again in a different setting, but that has to be understood as part of the same storyline. Terrorists work hard to make their actions seem as if they were connected. But this connectedness is artificial. What we experience as a constant threat from Islamist terror groups in Europe at the moment, is in fact a series of incidences that are quite few and far apart. Even if it were true that most or all of the attacks were orchestrated by the same group, following the same narrative, this struggle has bears little resemblance of an all-out war. But to many people, it feels like it. Why? Maybe because every incidence is talked about over and over again. And this way, the groups claiming responsibility for these attacks are given constant media airtime.

So, when some news outlets decide not to show the faces and names of the perpetrators, this solves only a small part of the issue. The attacks are still given ample airtime – much more in fact, than many other events, that have a comparable number of casualties.

What reminds me here of Herostratus is the fact that terrorism seems to depend on us thinking about it, for it to stay alive. The more we talk about it, the more the whole issue grows and thrives. Oddly enough other issues are quite similar in this respect. Take for instance mass surveillance. Sure, Big Brother could watch you without your knowledge, but it has always been the more cost-efficient approach to pair surveillance with a heavy dose of paranoia in your targets. Have them be afraid and therefore enforce some control on themselves.

In that respect, “knowledge” can be a curse, since what you believe to know, is in huge parts a construct that only exists in our group consciousness. There might be a terror attack any moment or there might be Big Brother watching over my shoulder right now, but the chance that this just isn’t the case is so much bigger. Us, being afraid, easily fills the gaps between accidents or acts of surveillance.


The more attention these topics get, the more important they seem. This is a problem. Not only the classical media outlets do a far too focused job, reporting on terror or surveillance, but it has also become a staple topic in other cultural fields. Movies, documentaries, books, theater plays – I just guess that there are even operas – are dealing with terror. And many visual artists, like me for instance, spend a lot of time drawing even more attention to this issue. The way this is done is very often quite fanciful and therefore gives the whole thing some street cred. Surveillance, war and terror have become cool topics for the coolest kids around.

We might come with the best intentions, but I am not so sure anymore, if we are actually doing a good job. We might have to deal with the idea of us being complicit, when dealing with topics, where the actual danger is not so much out there in the real world, but rather in our internal response. By shedding even more light on these topics, we serve the agenda. When ISIS, for instance releases new videos, people like me instantly flock to them and make them part of the debate.

If it comes to these topics, there should be debate, but the question is, which debate. I have no conclusive answer, but I want to show that I am struggling.

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