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Connecting the Dots on a Global Scale

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One of the difficulties with global warming is that it is kind of hard to see. We can see the effects of a tornado or a hurricane or a wildfire, but “global warming” seems to be a somewhat abstract concept. Yes, winters have gotten colder and summers hotter; sure tornadoes and hurricanes have become more frequent, and are both more extreme and less predictable; and yeah, we seem to be having more draughts, floods, and weather disasters worldwide, but who is to say that all such occurrences aren’t “normal” aberrations or “random” climactic events. Well, climate scientists, for one, who are almost of a single mind that global warming exists and is getting worse—and they even seem to be wholly in agreement as to its primary cause—but as a grand phenomenon it still remains something that is difficult to see. We can see the parts, but the whole seems to be ever so elusive to sight. And because we can’t see the whole there is a too easy tendency to treat it with a certain nonchalance—indeed, to act as if it isn’t there at all.

The recent wildfires in San Diego are a case in point. Wildfires in the southwest are not particularly new, a more or less regular effect of the dry Santa Ana winds that turn trees into combustible tinder. But the most recent wildfires, which consumed 25,000 acres, were wholly out of season. As one fire chief put it, “This is unbelievable. This is something we should see in October … I haven’t seen it this hot, this dry, this long in May.” Nor were such fires restricted to San Diego, as similarly unseasonal fires have occurred in both Arizona and Alaska! And yet there remains a popular tendency to think of these disasters as singular events, unconnected to one another, and so as damaging as they might be we fail to make the connections to common causes—or to the fact that perhaps we are looking at what might be the new normal.

Photographs of such fires have been abundant, but each year they tend to be pretty much the same. Pictures of forests ablaze, oftentimes shot in the evening, which give them an eerily romantic veneer, firefighters working to contain them, and aerial attempts to put them out by dropping water and other fire retardants on them. And, of course, there are pictures of the aftermath as well. The photograph above is somewhat distinct in this regard. It too seems to register a sense of the regular and the ordinary, but it does so with an ironic twist.

It shows a scene from Carlsbad in the San Diego area. The fires have made their way ever so close to this development of houses, but as you can see, the owner (if that is who he is) doesn’t seem to be overly concerned. Casually dressed, he seems inured to the grey and white billows of smoke that seem to be emerging out of his back yard. Talking on his telephone one might imagine that he is calling the local fire department (or is it his insurance agent), but then again it could just be a conversation with a friend for all the nonchalance he seems to display. Indeed, he doesn’t appear to be showing any real concern for the inferno behind his house whatsoever; dispassionate, if not altogether indifferent, he leaves the viewer wondering if he even acknowledges that it is taking place at all.  And truthfully, by the time you read this post the new cycle will have shifted one more time and we will be on to other local tragedies.

And therein lies the rub. For one would think that something truly is at stake here. But perhaps when confronted with impending catastrophe that has been normalized and is so close that we don’t know what to do about it we are inclined simply to look the other way, to make believe that it is not there—even when some of the evidence is in our own backyard—or worse, to assume that somehow we can simply learn to live with the parts and not imagine (let alone worry about)  what it all might add up to. As it is with such fires, so it is it would seem with larger problem of global warming. The parts are everywhere to be  seen, to be sure, but to see the whole we have to work harder to connect the dots.  Unlike the man in the picture, we have to look to our own backyard, even as we cast our gaze farther afield.

Credit: Mike Blake/Reuters

 

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Creative Destruction in Homs: The New Order of Ruins

Walter Benjamin once remarked that “Allegories are, in the realm of thoughts, what ruins are in the realm of things.”  The reverse also holds: ruins are, in the realm of things, what allegories are in the realm of thoughts.  Either way, the expectation is that a message can be found where there remains only a trace of the original medium, structure, or civilization.  Even though both ruins and allegories signify the loss, fallibility, and futility of communication, there is at the same time a suggestion that meaning remains just beyond the other side of representation, and the hope that some connection might be made across the divide between past and present, image and idea, cosmology and history. . . .   But then we come to this.

Destroyed buildings are pictured, after the cessation of fighting between rebels and forces loyal to Syria's President Assad, in Homs city

I am staggered by this photograph from Homs.  Nor is it the first witness to the terrible destruction of lives and infrastructure in the Syrian civil war.  All wars are terrible, but this one seems to have made the cities themselves the primary targets.  Many cities have been bombed over the past 100 years, but usually for what they housed.  In Homs and Aleppo, the city itself–as an organic, living thing with autonomy and purpose–is being tortured to death.

I’ve written before about Rubble World, that swath of destruction that war is spreading the globe, and Syria already had become one of the most disturbing examples of this slow-moving catastrophe.  Since then the death toll and range of destructiveness has continued to increase in Syria and elsewhere.  Of course, buildings can be rebuilt, streets repaved, and no one can say how Syria will be doing in fifty years.  But even if the equivalent of a Marshall Plan were in the works–and it is not–something about the present has already been revealed.

What we may have before us in this remarkable photograph is a new order of ruins.  These are ruins without nobility, as they have not been made by the passing of time, nor will they be able to withstand it.  They are without any secondary value: too dangerous to provide sanctuary from a summer shower, too hideous to be the backdrop for romance or any other idle pleasure.  Where the buildings might have provided an empathic connection with those living there before, instead there is only a twisted warren of barren concrete and industrial filth.  This wreckage demeans memory itself.

These ruins may be different in another sense as well.  Instead of marking the presence of an extinct civilization, they may foretell the demise of our own.  A new order of ruins suggests a new order of war and peace, investment and abandonment, indifference and self-interest, prosperity and brutality.  If this image is representative, we also can assume that the new order is not one in which mercy is a consideration.  Where total war used to be thought of as the ultimate expression of great power conflict, now it appears more like a niche predator, and God help you if you live in that niche.

The new ruin is a photographic artifact, and good thing too, as we would not see it otherwise.  Like photography generally, this ruin can suggest how alternate futures already exist in the present, albeit as merely possible paths for social advancement, sustainability, or decline.  Consider what else is evident in that regard: for example, I see a world with more weapons than water, more displacement than stability, more terror than peace.  For most of us, these possibilities still are on the other side of the divide between present and future.  But to follow the allegory, the traces of the future are already here, waiting for us to see them.  To see, that is, how modernity is already in ruins.

Photograph by Ghassan Najjar/Reuters.

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Reflections … Of You and Me

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The National September 11 Memorial and Museum opens to the public this week. Sadly, we have gotten all too practiced at memorializing human tragedy – the 6th Floor Museum at Dealy Plaza in Dallas, TX; the Lorraine Motel in Memphis, TN; the Oklahoma City National Memorial at the site of the Alfred P. Murrah Federal Building; and the list goes on. In each instance senseless violence and awful, terrible, heart rendering loss is remembered in solemn displays that mix our collective grief with, strangely, tourist-like attractions that often require admissions fees and include “gift shops” where one can purchase everything from books and t-shirts to what can only be referred to as memorial kitsch. I don’t want to be cynical here. I have visited most of these places and I have happily paid the entrance fees—though I have avoided making purchases at the gift shops—and I would do so again, but there is something oddly unsettling about the process and I don’t quite have the words to express what it is.

Sometimes photographs can gesture to what words are hard pressed to express—or at least to express in any way that we might consider to be focused and efficient in a clearly narrative or propositional form. The image above shows several members of the public looking through the windows into the 9/11 Memorial Museum prior to its official opening this coming week, though others appear to be simply passing by. None of the recognizable artifacts of the tragedy of 9/11 are present. One cannot see the salvaged tridents recovered from the World Trade Center, or the accouterments from fire fighters and other first responders, or the cards, patches, and other mementos left as part of various vernacular memorials that surrounded the site of Ground Zero. And truth to tell, but for the caption that marks this as a glass façade that looks into the museum it would be hard to know exactly what we are looking at. But what we can see are the mirrored reflections, both of those who have stopped to look intently through the glass façade and of the life of the city that seems to be going on around the memorial and museum; and here, not just people who appear to be walking by, but also a city that is undergoing construction as marked by the crane in the center of the image, but also those reflected in the mirror (in the upper right corner) that would otherwise be outside of the frame of the image.

The key to the photograph is not that we simply see people stopping to look or passing by or that we see a city under construction, but that all of these things are accented by their mirrored doubling in the reflections cast off from the glass façade of the museum itself. It is the way in which the photograph captures (and performs?) the reflection that invites something of a critical sensitivity to what is that stands before us. Whether passers-by choose to stop and look or not, it would seem, is of little matter; what matters is that the memorial is a visual echo of the world that surrounds it. We cannot escape it even if we wanted to—whether we choose to pay the “entrance fee” or not.  That is something worth thinking about.

Credit:  Anthony Behar/AP

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Sight Gag: No Man is an Island; Houses, On the Other Hand …

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Credit:  Murad Sezer/Reuters

Sight Gag is our weekly nod to the ironic, satiric, parodic, and carnivalesque performances that are an important part of a vibrant democratic public culture.  These “gags” may not always be funny or represent a familiar point of view, but they attempt to cut through the lies, hypocrisy, shamelessness, stupidity, complacency, and other vices of democratic life.  Of course, we invite you to comment … and to send us images that you think might deserve a laugh or at least a wry and rueful look by those who are thinking about the character of public life today.

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IAPT Conference on Photography and Theory 2014

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The International Association of Photography and Theory announces the call for papers for its 2014 Conference,  which aims to critically investigate the relationship between photography and politics as well as the politics of the medium itself. The Conference will be held in Nicosia, Cyprus from December 5-7 and will feature keynote speakers Walid Raad and John Tagg.

Proposals for 30-minute presentations (20 minutes presentation and 10 minutes for discussion) are invited from various disciplines, including: photography, art history and theory, visual sociology, anthropology, museology, philosophy, ethnography, cultural studies, visual and media studies, communications, and fine and graphic arts. These should present an in-depth investigation of the relationship between photography and politics and the politics of the photographic practice historically, philosophically or through specific case studies.

To propose a paper please send a 400-word (excluding references) abstract no later than June 7, 2014 to icpt@photographyandtheory.com. For the purposes of blind refereeing, full name of each author with current affiliation and full contact details (address, email, phone), title of presentation, and a short biographical note (200 words) should be supplied on a separate document. Both documents (abstract and contact details) should be in English.

Credit: David’s Camera Craft

 

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Photography’s Victorian Future

 

A woman walks through Brookfield Place off Bay Street, on the day of their annual general meeting for shareholders in Toronto

This is one for the big screen.  Beautiful, eerie, menacing, it could be a sci fi movie.  (Stylish woman, mechanical system; all you need is the narrative.)  But I also meant the big screen in a more literal sense: the full effect of the image comes through when it is blown up to dominate your desktop.  Only then does the magnificent steel trellis suggest a cathedral vault, and the woman’s silhouette evoke a sense of foreboding, and the viewer sense that they are not far behind her on the ascending staircase.  The light overhead is in a space of surveillance, and an uneasy fate seems to await her at the end of the hall; nor are we far behind.

One thing it certainly is not is The News.  If you must know the literal details, the caption tells us that “a woman walks through Brookfield Place off Bay Street, on the day of their annual general meeting for shareholders in Toronto, May 7, 2014.”  A shareholders meeting is not often a general news story, and this was no exception.  Nor was it provided for expert analysis.  For example, if you were doing an anthropological study of Brookfield Asset Management, perhaps there would be important insights or representative details to be gleaned from this image–I certainly would not rule it out–but that was not the reason that the photograph was provided at several slide shows for public viewing.  Thus, this is an image without a story (a displacement that horrifies some critics of photography).  So why should it be featured?

One answer is that the image allows the artistic side of photography to come to the fore.  Any photograph is both record and artifact, and much of the time the artistry remains relatively hidden.  That’s the aesthetic norm for photojournalism and a principle for public art since at least Aristotle.  But both sides need to be expressed, and just as people will occasionally accept very grainy images for their sheer documentary value, they also at times will enjoy artistically intensive images without paying much regard to their news value.  Extremes here range from the Zapruder film to examples of so called “eye candy,” but short of those extremes there have been many remarkable images across the spectrum.  This would be one of them.

I don’t think that is a complete answer, however.  Consider how this photograph is about at least two general conditions: modernity and photography.  That is, it is not only a study of and in visual form, but through that lens the camera is focusing our attention on characteristic features of what it means to live within a modern technological society.

She could be Max Weber’s “man” in the iron cage, or the last organic trace once the machine has overtaken the garden (an anxiety identified by Leo Marx’s Machine in the Garden), or a victim facing hideous mechanization in Metropolis.  These and other literary and cultural statements are each attempts to capture something fundamental about modernity, and they don’t so much explain the photograph as suggest what it is doing; it belongs in their company, albeit with the limitations and distinctive qualities it has by virtue of being a photograph.

The social theory and the artworks might provide important clues for further discussion, however: drawing on Metropolis, and noting how the spectator is almost looking up the woman’s dress, one can see both the tension between mechanization and eros, and consider also how well they can fit together for good or ill, and also why some modernists have celebrated an erotics of metal.  An initial invitation to the male gaze can lead to a form of aesthetic excess, which then pushes back and asks when the gaze was ever pure.

But I’m going farther afield than I had intended.  (Eroticism will do that.)  Let me suggest that the image does more than reprise familiar anxieties about modernity.  Very briefly, I think it offers two insights.  One comes from yet another comparison: she almost could be walking through the Crystal Palace that opened in London in 1851.   Let me suggest that the photograph hints at a different sense of time than the liner time of modernity: instead, it suggests that modern culture is always mashing up its inheritances and its dreams: cathedral or crystal palace, hall of mirrors or space ship, classical atrium or prison cell block, the choice doesn’t matter because they all are there.  And what is truly distinctive then remains to be seen, not least because it will be not familiar, but rather strange even to us.

Which is why it also is an image about photography.  I’ve suggested before that the single most important characteristic of photography is that its distinctive content is modernity itself.  This photograph is a particularly good example of that.  But it says more as well, and here the clues come from the human subject being a silhouette that is encased by a metal and class structure suffused with both darkness and light.  Consider, that is, how she seems to be an image inside of a camera, or how she could stand for the human subject passing through the machine of photography.  The silhouette is a distinctive type of abstraction, and its use here has a specific orientation.  We use the camera to see modernity, and thus to understand how we see modernity only from within: from within modern social structures, and from within the technology of photography.

Which makes this photograph’s question particularly interesting: Where is she going?

Photograph by Mark Blinch/Reuters.  A larger version of the image is in a recent slide show at In Focus.

 

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Sight Gag: Get Ready for a Big Smile!

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Sight Gag is our weekly nod to the ironic, satiric, parodic, and carnivalesque performances that are an important part of a vibrant democratic public culture.  These “gags” may not always be funny or represent a familiar point of view, but they attempt to cut through the lies, hypocrisy, shamelessness, stupidity, complacency, and other vices of democratic life.  Of course, we invite you to comment … and to send us images that you think might deserve a laugh or at least a wry and rueful look by those who are thinking about the character of public life today.  (For more on the camera, go here.)

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IVSA Conference: Visual Dialogues in Postindustrial Societies

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Visual Dialogues in Postindustrial Societies: Transforming the Gaze

The 2014 Annual Conference of the International Visual Sociology Association

June 26-28, 2014 at Duquesne University (Pittsburgh, Pennsylvania).

Conference Theme: Post-industrial societies require new forms of visual imagination and research. In this context visual researchers create new ways of capturing and interpreting our constantly transforming social life, and construct alternative epistemologies that dialogue with increasingly broader audiences and disciplines.

The preliminary conference program and registration details are here.  The IVSA home page is here.

 

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Ukraine’s Experiment in Dystopian Futurity

Welcome to Donetsk, Ukraine, May 1, 1984.

Ukraine: Clashes in Donetsk

Technically, it’s 2014.  She is one of the pro-Russia activists who had just taken over this government building.  She is wearing a riot police helmet.  I’m not sure what she is holding, but if it isn’t a club, it certainly could double as one.  Her face is a hard as that helmet, which may be why her brutalist clothing and the institutional decor appear so Orwellian.

Of course, we haven’t see the mise en scene of 1984, save in our imaginations, but now we know what it looks like.  And like the historical discontinuity of the book’s title–which is behind and yet still ahead of the present–the photo also seems to be the product of a strange temporal warp.  Consider how the scene is not perfectly consistent: for example, her contemporary knock-off of a high fashion purse sits uncomfortably with that Soviet-era orange sack of a dress.  The guy behind her looks like an ordinary dude looking for an office where he can take care of some mundane task such as getting a license, which would be fine except that the lower half of door to his left has been demolished.  The flooring looks nice in the middle of the corridor–which should get the most wear–but looks degraded along the wall, and it’s unclear whether that’s due to the ordinary condition of the building or its seizure and occupation.  We can almost imagine that two figures in the photo are in the same place but from completely different moments in time.  Or consider that they could stand for a characteristically modern life in 1984, the year in ordinary time, and in 1984, the dystopian novel.

What is interesting about the troubles in the Ukraine is that these and many other historical alternatives all seem to be present.  Any number of past dispensations, resentments, and fantasies are tangled up with any number of possible futures, and no one seems to know what is likely to prevail.  Take your pick: revanchism, anti-Semitism, European union, Russian empire, democracy, oligarchy, kleptocracy, failed state, 21st century federalism, World War III. . . .  And take another look at the photo: her face suggests that now it’s time to settle old scores, but she may be taking a longer view instead.  Whatever the decision, the one thing that seems sure is that it will be harsh.

In the current New York Review of Books, Tim Judah remarks that Ukraine is in “that strange pre-war moment whn the possible future overlaps with the present.”  Not to take anything away from his emphasis and insight regarding the specific situation, but the present always overlaps with possible futures.  The genius of photography is that it can capture how possible future paths are already present, already available to some degree, and real enough that their  traces already appear on the surface of things.

Some photographs do that better than others, and that is why I found the image above to be stunning.  I think it captures Judah’s specific insight: that is, that in the Ukraine today may be a particularly tangled and unstable example of historical contingency, a moment when many futures are present–those of the past that still are striving for realization and many others as well.  It is a moment of extreme futurity, when the present is an inchoate palimpsest of alternatives, some having more power than others but all of them up for grabs.

Which is why the photograph is so disturbing.  Surreal juxtapositions (helmet and dress, history and fiction) are one thing, but the will to power is another.  If the photo is prophetic, it suggests that in a time where anything can happen, the advantage might lie with those who are single-minded, ruthless, and willing to degrade themselves in order to dominate others.

Welcome to Donetsk, Ukraine, May 1, 1984.

Photo by Sandro Maddalena/NurPhoto/Sipa USA.

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