With a plethora of technology that unceasingly relays, quotes, references, embeds and re-tweets, the distinction between the making of images and the way we look at them has profoundly changed. It seems that immediacy and authenticity — in the past rather unusual but by now familiar bedfellows — are promised through the mere act of recycling imagery.

In Double Mirror Broersen and Lukács culminated these questions into a mesmerizing semiotic meltdown in which nothing holds but a wish to, in some way or other, account for the social and political life of images.