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 Wim Wenders is a German film director, producer, photographer and
writer. His internationally renowned films include Alice in the Cities, Kings
of the Road, The American Friend, Paris,Texas, Wings of Desire, Until the End of
the World, Buena Vista Social Club and many others. His groundbreaking 3D
film Pina was nominated at the Academy Awards for Best Documentary
in 2012. Wenders is president of the European Film Academy. He teaches
film as a professor at the University of Fine Arts in Hamburg.

Mary Zournazi is an Australian writer and philosopher. She teaches in

the sociology programme at the University of New South Wales, Sydney.
She is the author of several books, including Hope – New Philosophies for
Change and Keywords to War: Reviving Language in an Age of Terror.

Inventing peace.indd 1 7/29/2013 3:12:28 PM

Inventing peace.indd 2 7/29/2013 3:12:28 PM
 WIM WENDERS
AND MARY ZOURNAZI

INVENTING
PEACE a dialogue on per ception

Inventing peace.indd 3 7/29/2013 3:12:28 PM

 The two short films associated with this book can be viewed on our
website: www.inventing-peace.com – the access code for Invisible Crimes is
IBT-CRIMES, the access code for War in Peace is IBT-PEACE. Both films are
Copyright © 2013 Wim Wenders.

All film grabs used in the book are quotations only.

Unless otherwise indicated, the photographs in this book are Copyright © 2013
Wim Wenders

Published in 2013 by I.B.Tauris & Co. Ltd

6 Salem Road, London W2 4BU
175 Fifth Avenue, New York NY 10010
www.ibtauris.com

Distributed in the United States and Canada

Exclusively by Palgrave Macmillan
175 Fifth Avenue, New York NY 10010

Copyright © 2013 Wim Wenders and Mary Zournazi

The right of Wim Wenders and Mary Zournazi to be identified as the authors of
this work has been asserted by them in accordance with the Copyright, Designs and
Patents Act 1988.

All rights reserved. Except for brief quotations in a review, this book, or any part
thereof, may not be reproduced, stored in or introduced into a retrieval system,
or transmitted, in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise, without the prior written permission of the publisher.

ISBN: 978 1 78076 693 5

A full CIP record for this book is available from the British Library
A full CIP record is available from the Library of Congress

Library of Congress Catalog Card Number: available

Typeset by JCS Publishing Services Ltd, www.jcs-publishing.co.uk

Printed and bound in Italy by Trento

Inventing peace.indd 4 7/29/2013 3:12:28 PM

 In memory of Martin Buber

Inventing peace.indd 5 7/29/2013 3:12:28 PM

 For anguish is factious: we are made to breathe easy.
Gaston Bachelard

Inventing peace.indd 6 7/29/2013 3:12:28 PM

 Contents

A Prelude to Looking at Peace 1

1 Meetings – Conversations on War and Peace 17

2 Inventing Peace 45
3 Enduring Images 81
4 Imagining the Real 107
5 Which Future of Seeing? 133

A Postcard from Joshua Tree 179

Postscript – Do Men Fuck it Up?! 183

Notes 196
Bibliography 204
Select Filmography 213
Acknowledgements 216

Inventing peace.indd 7 7/29/2013 3:12:28 PM

 If the doors of perception were cleansed,
Everything would be appear . . . as it is, infinite.
William Blake

Inventing peace.indd 8 7/29/2013 3:12:28 PM

 A Prelude to
Looking at Peace

Mary: Much of our everyday thinking and language is bereft of how to

imagine and talk about peace. When I ask my friends and family how they
would describe peace, the most common responses include the following:
peace as the absence of war or the state of harmony in between times of
conflict – something idealistic and even boring, but more often than not it is
seen as unattainable. A fantasy. In many ways, this book is a response to the
question, What is peace? and how we can imagine it; the book comes out of
a specific historical context as well as a chance encounter.
I begin with a story of how Wim Wenders and I met, how we came to
start this book and how we considered this question of peace.

encounters
On the eve of the second Gulf War in 2003 much of the world divided itself
along the lines of good versus evil, war versus peace. The repercussions of
9/11 were still felt as the sequence of events unfolded and public dialogue
and any hopeful diplomacy had evaporated. At that time, I had finished a
book on hope; the book posed a series of questions and considered hope
in everyday life and politics, but as events started to unfold, the question
of peace arose with urgency.1 A moral sensibility and vocabulary of what
peace might mean were absent from the public debate just as much as they
have been largely absent from history.
During this time, I had been invited to give a public talk at a Sydney event.
The audience were hostile to my reflections on hope, my questioning of the
looming war. I felt like a sacrificial lamb to slaughter, the violence contained
in the audience was directed toward me, much like the sacrificial violence
that humans can so readily manufacture in times of war.
Many in the Sydney audience felt I was deluded in talking about ideas of
hope and peace in such circumstances of perceived evil and threat; the event

Inventing peace.indd 1 7/29/2013 3:12:28 PM

 2 inventing peace

was sobering. It made me realise how much we structure public debate

and argument like battlefields, since my argument was so readily conquered
and annihilated without any space for genuine dialogue. It seemed to me
that for real events to touch us deeply they must resonate for us in direct
and meaningful ways.2 The language and sensibility of peace had yet to be
invented.
Everything seemed bleak at that time, but my thoughts turned to a new
project: peace. I didn’t know what peace might mean but I knew it was
necessary. I was looking for some way to kick-start the project, and it came:
the German film director Wim Wenders was visiting Sydney to give some
talks and in preparation for his photographic exhibition Pictures from the
Surface of the Earth. He was a guest on a national radio programme, and by
chance I had turned on the radio and I heard the last part of his hour-long
interview; among other things, he reflected on his interest in peace.
Wim’s radio presence was a gift. This spurred our first encounter and
meeting, our first dialogues; the project was born out of this moment in
time and from our mutual interest in peace.

connexions3

Around this time, I accompanied my mother through a long and terminal

illness. I stopped thinking about peace at a global level, but became immersed
in it in a very everyday way – that is, the holy and the sacred became real to
me. I can only describe it as a time of reckoning for me; the sacred sits very
much in the question of peace that I had yet to understand.
It was late spring when my mother died. At the time of her death and
immediately afterwards, when I was alone with her for the first time, I felt
her presence.The light and energy of the room had been transformed. Sitting
next to her, I felt such serenity in the wake of the death and its calamity, I
felt the presence of the holy: it was everyday and real. It provided a kind of
solace and connexion I hadn’t experienced before. The word ‘holy’ shares
its etymological root with ‘wholeness’. There was a sense of the wholeness
at this time, a strange kind of unity of time and space; I felt the power and
mystery of this world that joins us to the infinite, a sacredness that is pre-
eminently real.
The German philosopher Rudolf Otto suggests that this ‘power’ or the
idea of the holy has an awesome quality that exists alongside our usual
understanding of the sacred as tied to morality or the good. The sacred has
awesome qualities that are terrifying and beautiful; my mother’s death was
awesome and shocking to me, but it demanded respect and reverence. I
felt the devastation and beauty that only such moments can bring. And it is

Inventing peace.indd 2 7/29/2013 3:12:28 PM

 a prelude to looking at peace 3

in such moments that understandings of compassion, beauty and grace are

enhanced as well as how we might understand this ethical life.
Just before her death, my mother recounted a story: she had been dozing
on her bed in the early afternoon, resting after a difficult night’s sleep, she
was in a lot of pain. In this semi-conscious state she felt a tap on her shoulder;
at first she thought it was my father, who was outside mowing the grass, but
she could hear the running motor of the lawnmower and after a moment
she realised it was not him. She told me ‘they’ had come for her. My mother
was a deeply religious woman. I knew what she meant. It was her calling. The
angels had come. She was ready. Two weeks later she died.
Over the years, this strange calling of angels, the sacred and peace,
resonated with me through Rainer Maria Rilke’s poetry just as it did for
Wim in the making of his 1987 film Wings of Desire. It is this kind of sacred
power and mysterious quality of peace that provide our connexion and
yearnings for it. The opening sequence of Rilke’s Duino Elegies declares:

Who, if I cried, would hear among the Angels’

Orders? and even if one of them pressed me
suddenly to his heart: I’d be consumed
in his potent being. For beauty is nothing
but the beginning of terror, which we can still barely endure,
and while we stand in wonder it coolly disdains
to destroy us. Every Angel is terrifying.

Wer, wenn ich schriee, hörte mich denn aus der Engel
Ordnungen? und gesetzt selbst, es nähme
einer mich plötzlich ans Herz: ich verginge von seinem
stärkeren Dasein. Denn das Schöne ist nichts
als des Schrecklichen Anfang, den wir noch grade ertragen,
und wir bewundern es so, weil es gelassen verschmäht,
uns zu zerstören. Ein jeder Engel ist schrecklich.4

Much like a prayer, Rilke’s elegies resonate with the memory of the
eternal as well as marking the sacred as pre-eminently real; that is, the poetry
gives us a feel for both mystical encounters and first-hand experience. This
experience might be the difference between ‘to know’ and ‘to understand’.
As Otto suggests, the mysterious quality of the sacred is by no means
tantamount to ‘unknowableness’; however, we might say that knowing peace
in this regard has yet to ‘passeth understanding’.5

Inventing peace.indd 3 7/29/2013 3:12:28 PM

 4 inventing peace

time and the sacred

To talk about the sacred today is to consider the time and space in which
value and meaning take shape; we are aware of the paradoxes that can
emerge from such a statement. For instance, we are not writing about
the holy and ‘holy wars’; rather we are considering how the sacred is the
bridge between the worlds of violence and the worlds of peace. There is a
difference between theological imperialism and the sacred as a reckoning
that challenges our cultural habits. This reckoning evolves through stories,
images and perceptions that can encourage different ways of seeing the
world and different ways of understanding peace.
Quintessentially, peace is the imagining of a different world, but a world
that already surrounds us – it is the making and unmaking of ritual and
tradition in our everyday lives inasmuch as it is holy and sacred. It involves
‘becoming aware’ as the philosopher Martin Buber would put it. This
becoming aware is a special kind of observation or of looking at the world
that involves compassion, grace and care. The everyday and the holy involve
a care toward the future, this care involves an ethics that is founded in the
relations between the infinite and the everyday.
English-born author Aldous Huxley suggests that revolutionary talk or
philosophy identifying the world or the ‘spiritual’ as solely future oriented
cannot provide the conditions for liberty and peace. Huxley writes,

The peace that passes all understanding is the fruit of liberation into
eternity; but in its ordinary everyday form peace is also the root
of liberation. For where there are violent passions and compelling
distractions, this ultimate good can never be realized.That is one of the
reasons why the policy of correlated eternity-philosophies is tolerant
and non-violent.The other reason is that the eternity, whose realization
is the ultimate good, is a kingdom of heaven within. Thou art That; and
though That is immortal and impassible, the killing and torturing of
individual ‘thous’ is a matter of cosmic significance, inasmuch as it
interferes with the normal and natural relationship between individual
souls and the divine eternal Ground of all being. Every violence is, over
and above everything else, a sacrilegious rebellion against the divine
order.6

Inventing peace.indd 4 7/29/2013 3:12:28 PM

 a prelude to looking at peace 5

techniques for peace

From our encounters and investigations into peace it seems that much
of the hindrance to peace revolves around the question of how we look
at the world but do not see it when there is so much violence, injustice and
suffering. Ours is the century of the image as never before. There are so
many images circulating the globe with ever increasing speed that we look
at all the time, but we do not have the means or the skills any more to see.
What are the ethical and moral consequences of looking but not seeing?
We consider this question as one of the fundamental questions of our
times.
French philosopher Maurice Merleau-Ponty once noted that the subject
of perception is the subject of power; in other words, how we see is what
prescribes the ethical and power relations that constitute our everyday and
social worlds. More precisely, he writes,

[. . .] the problems of knowing what is the subject of the State, of war,

etc are exactly of the same type of problem of knowing what is the
subject of perception: one will not clear up the philosophy of history
except by working out the problem of perception.7

As Italian filmmaker Michelangelo Antonioni wrote, seeing is the necessity

of a filmmaker, seeing is central to the art of filmmaking.8 We can say cinema
makes us aware of the perception of time; each film is made of different
moments that all together transform the space and time of seeing. In this
way, cinema opens the potential for a modern ethics as it relates to how we
see and how we make sense of the world – cinema conveys uncanny fiction
as well as a kind of truth. It was our mutual interest in ways of seeing and
in cinema as a space for modern ethics that brought Wim and me together
to explore the problems of perception today. To investigate the questions of
time, space and being, the ethical implications and the conditions for peace,
we need to consider that ethical peace is distinct from political peace as such.
Throughout our book, we explore how to change our habitual ways of
seeing that alienate us from each other and our sense of belonging. ‘Seeing’
here involves all of our senses, memory and technologies, since to look
today is a combination of all these factors: the methods or techniques in
which we constitute our self, our ethical realm and our encounters with
each other. We consider the difference between ‘seeing’ and ‘showing’ in
a technological world; how to bring together the world of technology, the
sacred and the future of seeing.
As sociologist Émile Durkheim has written, the sacred emerges out of
the techniques and rituals that are created by us. The sacred is a social

Inventing peace.indd 5 7/29/2013 3:12:28 PM

 6 inventing peace

reality. At a fundamental level, the images, rites and rituals that we create
provide the conditions for peace in a worldly sense, how we might live and
inhabit this world, and how we might imagine it. As Durkheim puts it,

The ideal society is not outside the real society; it is part of it. Far
from being torn between them, as between two mutually repellent
poles, we cannot insist on one without insisting on the other. For
a society is not simply constituted by the mass of individuals who
compose it, by the land they occupy, by the things they use, by the
movements they make, but above all by the idea that it fashions of
itself.9

conversations

That our first conversations were initially born out of new technologies
– through the internet and email exchanges – makes us think of a new
generation of messengers and angels. French philosopher Michel Serres’
book Angels: A Modern Myth looks at the possibilities of technology and
new communication networks today.10 Serres explains the necessity of
considering angels and their images throughout history as just as relevant in
today’s technological worlds and messages. He writes that today message-
bearers are brought about by the science of new technologies and universal
communications – worldwide networks and cities, ceaseless activities that
are mapping a new world of planetary problems. Alongside these universal
message-bearing systems new forms of unspeakable injustices, poverty, wars
and inequality have arisen. Serres asks:

Are these the signs of a new legend of angels, these interchanges and
annunciations, networks and visitations, demons fallen from grace,
powers and dominions – are they all part of the search for mercy and
redemption?11

We consider the question of angels, the new annunciations of images and

the grace and mercy that can inspire peace, in the conversations and letters
and throughout the book.12
Peace contains what is chaotic as well as all that is enduring. Peace is
not conflict resolution per se; it is a method or technique that emerges
out of the world when it is lived more truthfully, more honestly, with
care, compassion and trust just as it involves active curiosity. As Serres
writes,

Inventing peace.indd 6 7/29/2013 3:12:28 PM

 a prelude to looking at peace 7

We must decide on peace among ourselves to protect the world, and

peace with the world to protect ourselves.13

Or, to put it another way, we must invent peace.

Wim: Of course it wasn’t up to Mary and me to

come up with a new concept of peace.
But the necessity for its reinvention was a big realisation for us,
the very starting point for our collaboration.
The challenge for this book was obvious:
how to even reflect about peace, from scratch?
How to offer it to creative imagination again?

I had never given the notion of peace much thought. I

just always took it for granted
that there was a common understanding of what peace was. We
probably all assume that it is such an obvious idea, shared by all
of humankind,
that we didn’t notice how it evaporated in
front of our eyes.

I remember I always got angry every time

when President Bush used the word ‘peace’ in his speeches.
The word ‘freedom’ as well,
backed by those politics, meant its sheer opposite.
Politicians have that way of making not only words meaningless, but
language as such.
They have a way to make words so devoid of their original significance
that they become empty shells that actively hide
how and why they can possibly concern us.You’d
really need a child to pronounce ‘peace’ or a poet to
use it,
but poets have given up using such big words,
– and they really don’t have any other choice –
and for children it is too obvious a need to name it.
Sometimes to hear ‘peace’ pop up in a song,
or to see it spray-painted on a wall,
makes it echo somewhere deep in our bodies.

Inventing peace.indd 7 7/29/2013 3:12:28 PM

 8 inventing peace

Mary and I tried to look for the traces of those echoes. In

conversations at first,
face to face as well as in e-mails,
and then we started sending each other bits of texts.
A sort of ‘dia-flow’ emerged from our different practices,
which then started to shape and structure this book.
Mary and I certainly have our very own ways to write and imagine things,
but we felt this very diversity was useful for our purpose.
We hope that the reader can cope
with both of our idiosyncrasies and styles.

I’m not a philosopher,

not even an intellectual,
and I’m certainly not trying to sound like either.
My writing style (which you see here for the first time in our book)
does not pretend to look like poetry,
or even try to evoke, let alone imitate it.
It is simply my reflexive style of writing.
It helps me structure my thoughts,
and as I am rather a filmmaker and photographer,
therefore some sort of ‘thinker in imagery’,
writing like this helps me ‘see my thoughts’.
I can think much better while I am typing
than while I am talking.
And as my handwriting is such
that I have to make an effort of deciphering it the next day,
the computer has doubled my creative possibilities or efforts.
I can immediately look at my chain of thoughts.
(Mary calls it a ‘train of thought’,
and she is probably right there,
but somehow I do see it more as a chain than a train,
so, for once, I leave that expression uncorrected here.)

Mary, with her background, is much more of a writer and philosopher,

definitely more trained as a scholar than me.
When we tossed ideas back and forth,
she knew where they had appeared before,
or who had actually thought them
– and most of the time expressed them so much clearer than us.
And so, in this book, it became mostly her part
to quote from all the wealth of thinking
in that territory of peace that we ventured into

Inventing peace.indd 8 7/29/2013 3:12:28 PM

 a prelude to looking at peace 9

(and we do refer to many philosophers, painters, poets,

photographers and filmmakers along the way
to do justice to the subject we are raising).
I’m more of an intuitive mind than an academic one.
I follow a thought as if nobody had ever thought it before.
That’s my only path into the realm of ideas.
I noticed that, when I tried to study philosophy
(which I did before I became a filmmaker).
I easily got lost entering the realm of great thinkers.
With great effort I could follow, yes,
but the very fact that it was a predetermined process
bothered me enormously.
I understood, but the understanding was fragile and unsubstantial.

Nothing stayed with me in the long run, especially if I only read it.
Briefly, I did not gain knowledge this way,
nothing affected me existentially,
whereas anything I could see and shape on my own
became a lasting form of ‘mental possession’
and would actually ‘concern’ me.
So I always figured that ‘learning’ was much more successful,
if I did it on my own.
Make my own mistakes, shape my own insight and recognition.

I thereby soon recognised, and gladly so,

that my ambition could never be to create anything ‘new’.
Doing things my way from scratch
did not necessarily produce unseen, unthought-of
or unheard-of ideas and images.
‘Originality’ is an illusion, most of the time,
whatever field we’re working in,
and usually overrated.
Not many of us are born geniuses.
Finding our own approach, however,
discovering in ourselves ideas or recognition born from curiosity,
honesty or conviction,
that is something every man and woman can claim,
all on their own,
no matter how many people have the same convictions,
have come to the same conclusion
or believe in the same things as true.

Inventing peace.indd 9 7/29/2013 3:12:28 PM

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