Aug 05, 2009
Jul 17, 2013
Apr 16, 2008
Nov 20, 2007
Aug 10, 2009
Feb 19, 2010

On Not Seeing the Homeless

sleep20

Homelessness in the United States persists. Estimates vary, but by most conservative accounts 3.5 million people experience homeless each year. That said, it is only a mere 1% of the population. And the number has actually declined a small bit in the past few years. No problem, right?

But consider this: 35% are families with children, 25% are under the age of 18, 23% are military veterans, 30% have been the victims of domestic violence, and, no surprise here, 25% suffer from some form of mental illness. The problem is significant, in other words, and many of the most vulnerable are in little position to do anything to help themselves. And so the socially conscious continue to pursue awareness campaigns.

The photograph above is from Cape Cod, MA, where 27 high school students “slept in cardboard boxes and took turns playing in a 10-hour continuous soccer game throughout the night.” The effort is well-intentioned and even honorable, but the question is: what do we see? Or perhaps, more to the point, what are we being shown? Not the homeless—or their condition—that’s for sure.

There is something of an irony here. At its heart, a huge part of the problem with homelessness is that it is a human condition that we are conditioned not to see; indeed, it is a social phenomenon that we actively turn our head away from: as children we are told not to stare and as adults we look through the homeless on our streets as if they were altogether invisible. And so, of course, the need for awareness. But there’s the rub: As much as we seem to try to animate awareness we do it by turning attention away from the thing itself and to those who no doubt feel righteous in their service to a larger cause. And as with this photograph we complicate the problem further by substituting faux homelessness for the real thing.

Look closely at the photograph. Those sleeping “in cardboard boxes” is a bit of a misnomer. They look more like children who have constructed a play fort in their living room or basement more than anything approximating a homeless person consigned to sleeping in a tattered and used cardboard box. They all look well fed. While they are surrounded by a wall of cardboard they are actually sleeping in what look to be clean and warm sleeping bags with more pillows than they know what to do with; comfortable and content, they rest with their faces fully exposed to the world as if without a care in the world. And why not. After all, they are not exposed to the elements. There is no rain or snow or cold to contend with and the bright lights of the gymnasium add an extra level of security that those sleeping in parks or alleys or under highway by-passes and bridges can rarely if ever rely upon. Those not sleeping are playing soccer, another sign that all is safe and secure. And, of course, when morning comes they will return to their homes—no longer homeless!—where breakfast and their own warm beds await.

So again, what are we being shown? The all too easy answer is the efforts of young people working to right a social wrong the best way that they know how. And the photograph certainly does that. But more than that it also shows how easy it is to sentimentalize a profound and complex social condition, to invoke the pathos necessary to action—and for that matter to access our very humanity—and at the same time to contain and direct such emotions away from the actual problem itself. Instead of seeing the homeless and the common problem that it poses for a liberal democratic society, once again we are encouraged to look elsewhere.

Credit: Stan Grossfeld/Boston Globe Staff

 3 Comments

Sight Gag: Strange Bedfellows (in the Indiana University Library)

NCNLibrary

Credit: Saul Kutnicki

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.

 0 Comments

Gesturing Towards Sociality

569f3bc1acc04136b457170dc5e2422b-569f3bc1acc04136b457170dc5e2422b-0

We have written here (here, here, and here) and elsewhere about the photojournalistic penchant—indeed, we are inclined to call it a photojournalistic convention—to produce photographs that feature hands (and feet). Often such images feature the fragmented human body, emphasizing the hand (or the foot), and thus diverting attention away from the face. The face is, of course, the chief marker of the liberal individual and by deemphasizing it notice is directed away from the particular individual to a more universal(izing) “human feature. The inclusion of the face in the image above is something of an exception to the typical convention that makes the point, as the caption to this image calls attention to an Argentine Court’s ruling that “Sandra,” an orangutang who has spent 20 years in a Buenos Aires zoo, is a “non-human person which has some basic human rights.”  Humanity here trumps personhood.

The photograph is part of a Big Picture slide show titled “Hands in the News.” According to the BP, “Hands tell stories. They are functional and they have the power to communicate emotions…. Represent(ing) hope, communication, power, connection, and longing.” All of this is true. But there is more. For such photographs don’t just invite us to see the “hand,” but rather to see “with the hand,” and as such it activates a traditional way of thinking about sociality and politics (e.g., the body politic) that is adapted to conditions of public representation: it is fragmented rather than organic, realistic rather than idealized, and provisional rather than essentialist. Most important, the dismemberment of the body implies a body politic that is no longer whole yet still active and engaged.

In short, the image of the hand (or the foot) as a bodily fragment signifies the distributed body of modern social organization, the pluralistic body of modern civil society, the multicultural body of a transnational—or as with the photograph above, transhuman—public sphere. This is the body that resists the abstraction and political symbolism dominating official discourse, but always indirectly, through figures of embodiment that are already dismembered. This is a rhetoric of bodily experience, but not the personalized experience of identity politics or the faux intimacy of infantilized citizenship. These images have proliferated when official authority is already discredited, and they are used to both contest that authority and finesse the problem of maintaining public legitimacy.

We should attend to them with care, not just as a stylistic affectation or an instance of cultural kitsch, but as an important convention of a powerful public art that invites us to see and be seen as citizens in the broadest way possible.

Credit: Natacha Pisarenko/AP

 1 Comment

’Tis the Season …

Xmas Joy

I used to think that one didn’t have to be Christian to celebrate and appreciate the Christmas season. Yes, for the devout it marks the birth of Christ, and in that context it has an important spiritual significance that should not be scanted. But it also corresponds roughly with the winter solstice and, for the past century, at least in the West, it has been a secular holiday that celebrates the virtues of charity and selfless giving regardless of one’s religious affiliation. If it were only so simple!

Sadly, Christmas has also become a season for the gross accumulation of commodities under the sign of charity and giving. Children—in all of their innocence—are the primary beneficiaries of the holiday as they are indulged with all manner of toys and goodies distributed, somewhat magically, by an elfish deity who somehow distinguishes good from bad. And, of course, the more toys and goodies all the better. Or at least such is the myth of its representation in popular discourse. But truth to tell, there is something of a fetish to such giving that is more important to the adults who underwrite such indulgences than to the children who receive it—think of all the commercials you’ve seen where the parent’s satisfaction in observing their children far exceeds the joy of the children themselves. Put differently, the joy of giving in this scenario is more a justification for one’s own desire for the accumulation of goods than it is a desire to please the other.

The photograph above is only one of many representations of Black Friday, where adults camp out for hours in anticipation of the opportunity to accumulate commodities at a highly discounted rate. The supply always far exceeds the demand accenting the value of the goods and animating the desire for their possession, often leading to violence. Here, adults and children fight over a high definition television. There are many things worth fighting for, to be sure, but a television set? What is most revealing about the scene, however, is not so much the scuffle as it is the reaction of the spectators, some who have already claimed their own televisions. Some seem to be ignoring the scene altogether, not unlike the way they might walk past a homeless person as if they weren’t there, while others look on with a sadness that stands in marked contrast to what is supposed to be the joyousness of the season.

It is hard to know what to make of all of this, but perhaps there is a clue in the presence of the videographer who is capturing the scene for the nightly news. He knew exactly what was going to happen because what he is watching is a ritual event that takes place throughout the capitalist world (this scene is in a superstore in Wembley, England, but it could be in any Best Buy or Walmart in any city in the United States, or elsewhere for that matter), year after year, and as much as we might revile the greed that seeps through in such images we seem to celebrate it as well, casting such images each year as real time performances (advertisements?) of what we secretly  value the most—and that is not the joy of giving but the accumulation of goods.  As the bumper sticker says, “He who dies with the most toys wins!”

No, one does not have to be Christian to celebrate the Christmas holiday, and all I can say is … more’s the pity.

Credit: Luke MacGregor/Reuters

 

 4 Comments

Sight Gag: The Conversation

152813_600

Credit: Breen/UT San Diego

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.

 

 1 Comment

… the more things stay the same.

Screen Shot 2014-11-30 at 8.32.46 PM

Of all of the hundreds of photographs of the protests and violence and destruction to come out of Ferguson, MO in the past week it was this image that stung me the most. A lone black man squatting amidst a raging cauldron of hate and fear and frustration, he bears the simple message “Black Lives Matter.” The flames that surround him cast him in a shadow of backlight but illuminate both his sign and the graffiti behind him that implores whoever encounters it to “Kill Cops.” Each message is equally outrageous and absurd however meaningful it might be under the current circumstances. Of course black lives matter; that the claim even has to be made—and there is no question from this quarter that it does—is a national shame. To incite the killing of police—the avatars of preserving “the peace” and maintaining “order” —is a call to barbarism that beckons to a world governed by the Hobbesian “war of all against all.” In short, the photograph is an allegory for how tenuous the fabric of our contemporary society has become.

What made the photograph most striking for me, however, was not the way in which it cautions us against the current tragedy of Ferguson, MO, but how it stands as a notice that the problem of black-white relations is the true American tragedy, a problem that never seems to go away, but recurs in cyclical fashion for every generation. And so I could not help but remember another photograph, equally absurd—and equally meaningful in its context—from my youth.

Mourner at Martin Luther King's memorial

1968 seems so incredibly long ago—a lifetime for those in my generation—that it is hard to think of this photograph as anything but an aide memoire from the era of the civil rights movement. And yet for all the progress we presume to have made in the intervening decades, for all the talk of being in a “post-civil rights” era or a world of “hope,” there is no getting around the fact that the claim to manhood in the older photograph is a precursor to the precarity of black life marked in the contemporary photograph.

 The more things change …

Credit: Stephen Lam/Reuters; Bob Adelman/Corbis.

Crossposted at BagNewsNotes.

 0 Comments

And The Wall Came Tumbling Down


2024985585

Twenty five years ago it was all concrete and mortar and barbed wire dividing east from west. Guards with their dogs stood their posts and friend and families were separated from one another. And then, as if in a blink of an eye, the wall came down, leading some to maintain that history itself had come to an end. Of course, such pronouncements proved to be little more than precipitous as wars quickly transformed from being cold to hot once again. But, at least in Germany, perhaps the most stable and prosperous economy in the world right now, the Berlin Wall is but a distant memory.

Photographic slide shows at numerous news outlets (e.g., here, here, and here) have featured the anniversary of this momentous event, comingling black & white images of the wall as a blockade separating a nation along military and ideological lines with black & white and color images of the frenzied destruction of the wall in 1989 and colored images of the current Germany where the least vestiges of what was once remain, mostly random slabs of concrete that once were covered with graffiti and now convey all manner of artistic murals. The transition from black & white to color, from then to now, is telling. But more so is the need to recover what once was if only to remember what had to be overcome. And, of course, public art plays an important part in such recovery.

Public art takes many forms, of course, such a statuary and murals, as well as more transitory forms such as Lichtgrenze 2014, a temporary “light border” of 8,000 illuminated balloons that follows the path of the original Berlin Wall. But most of us, of course, will never be able to experience Lichtgrenze 2014, except of course through the photographic frame. The photograph above is not just a medium for conveying the art project however, but it is its own version of public art. After all, even those who can walk among the lights traversing the path of the wall cannot see it from the god’s eye view that the camera provides, reminding us of the capricious and haphazard trail that the wall followed. Note for example how difficult it is to identify the path of the light border among all the other lights. If you didn’t know what you were looking for you probably would assume that the bluish lights snaking through the city were little more than an ordinary thoroughfare with nothing distinguishing the lighted city on either side of the divide. And so the photograph invites a somewhat unique perspective on the ways in which walls often follow a somewhat arbitrary logic, and how, once they (inevitably) come down, it is easy to forget they were ever there in the first place.

The fall of the Berlin Wall was a world historical event, to be sure, so much so that slabs of the wall have been cast to the four winds. One can find them as scattered relics  throughout the world in London, Brussels, Haifa, Kingston, Sofia, Moscow, Guatemala City, Porte de Versailles, Taipei, Tokyo, Seoul, Canberra, Cape Town, Buenos Aires, and any number of locations in the United States, including a city block that includes ten segments of the Wall in Los Angeles. And the message, it would seem, is clear enough: However much energy we put into building it and maintaining it, however much we think it can keep things in or keep things out, however much we think it will last forever … in the end it will fall, shards of it preserved as a reminder of the folly that produced it in the first place.

And so, finally there is this photograph of a segment of the wall that sits in Simi Valley, California. Simi Valley is northwest of Los Angeles and the home of the Ronald Reagan Pres-

Screenshot 2014-11-09 21.51.25

idential Library where everyone is reminded that it was President Reagan who implored Mr. Gorbachev to “tear down that wall.”  Simi Valley is also not all that far from where the wall designed to “secure” the border between the United States and Mexico begins its journey from the Pacific Ocean eastward. And so the photograph takes on something of an allegorical quality: mysteriously (ominously?) out of place in what appears to be a scene from the American western frontier, it is hard to know if the sun is setting on a past in which the wall came down, or if it rising on a new epoch of the inevitably failed project of building walls for political purposes.

Photo Credit: Rainer Jensen/EPA; Lucy Nicholson/Reuters

 

 0 Comments

Sight Gag: Prepare for the Return of Voodoo

Screenshot 2014-10-11 12.03.45

Credit: Left

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.

 

 1 Comment

The Hills are Alive …

Lava Flow

No, it’s not the sounds of music. But nevertheless the photographs of the creeping lava flow from Hawaii’s Kilauea Volcano are stunning as they illustrate both the inexorable life force of the planet as it pulses and oozes according to its own rhythms and the incredible power that nature exerts over culture and civilization as it creeps ever closer to the small town of Pahoa. It will subsume Pahoa or it won’t, but there is really little that can be done to control the slowly slithering mass of burning, liquid rock which will follow its own path regardless of any manmade roadblocks we put in its way.

The red glow bubbling beneath the grey crust is a reminder that the earth is indeed a life force. Not merely inert material to be used at our will or pleasure, it is driven by an energy  we little understand and there is a dynamism there that seems to communicate something we ignore at our peril. Much is said these days about the catastrophe of global warming that is soon upon us (truth to tell, if science has anything to tell us, the catastrophe is already upon us though we have yet to experience its most tragic after effects) and how it will lead to the death of the planet. And yet photographs like this suggest a different scenario: not the death of the planet, which has the capacity to draw upon a natural energy that follows a pattern of eruption and recovery—leading, as it has for millennia, to survival, albeit in a different form—but perhaps the death of civilization, or worse the extinction of the humanity that relies on the current configuration of the earth.

Hawaii’s Big Island is a very small part of the planet, to be sure, but perhaps the current erruption in its ecology is a reminder that we should not take our relationship with it for granted—particularly in arenas where we might actually have some choice.

Credit: Bruce Omori/EPA

 

 0 Comments

Sight Gag: VOTE!

Screen Shot 2014-10-31 at 4.37.30 PM

Credit: Bob Englehardt/Hartford Courier

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.

 

 0 Comments