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“… ‘Till Death Do Us Part”

 

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The post today can be somewhat brief, not because there isn’t much to say, but rather because, well, we’ve said it several times already (e.g., here and here), most recently two weeks ago (here).  Today’s photograph simply makes the point in dramatic fashion.

Wildfires are overrunning different parts of the world and in ways that are completely out of synch with normal weather patterns … and in ways that really ought to be of some serious concern. They are catastrophic in their effects, both economically and environmentally. But the bigger catastrophe—or perhaps the proper term is “tragedy”—is that we seem to have begun to take them wholly for granted, treating them as the new normal. Or, as in the photograph above, treating it as an interesting backdrop to an otherwise romantic scene of personal avowal and commitment. What better way, after all, to secure one’s wedding vows—“for better or for worse, through sickness and in health”—than to locate the beginning of one’s life long future with another person against the conflagration that apparently promises to be there forever and anon.

It really is hard to know what to make of this photograph. For one thing it has appeared at a number of different “pictures of the week” slide shows for different national news groups, none of which otherwise pointed to or commented on the wildfires burning in the background. And even if there was something “new” to report on this account, its not like one more photograph of the fire is adding probative evidence to make a claim about basic facticity. I mean, does anyone really question whether these wildfires exist (even as I write that I know that there have to be “fire deniers” somewhere in the world, but for the remaining 99.99% of the population, do we really need one more picture of a wildfire to make the case that such fires are and have been raging out of control?). That said, it should also be noted that the photograph is being taken by a photojournalist, not a wedding photographer, and yet it is also something of a mashup of two photographic genres.  So if the photograph is not contributing to the “news” what is it doing?

One answer to this question might be that it is offering evidence of a pervasive attitude—and attitudes, of course, are incipient actions.The caption identifies a couple near Bend, Oregon posing for a wedding portrait.  It is hard to register the photograph as anything other than a publicity stunt, perhaps an advertisement for the next apocalyptic movie to come down the pike.  But, there you have it, its a “real” photograph of a real couple.  Why settle for a lake or a pond or a nestled grove of trees to mark your nuptials for posterity when you can have a raging wildfire in the background! The fire was apparently close enough that the minister performed a “shortened ceremony” so that the wedding party could be safely transported elsewhere for the reception, but then again it was not so close that the couple seems distracted by it from the passionate fires that burn within their own breasts (or so we might assume). The irony is astonishing. Then again, perhaps the irony here cuts in a different direction if we can assume that this woman and this man are actually dedicated environmentalists and that they are using the occasion of their union to call attention cynically to the inanity of such rituals and ceremonies when in fact the world is ablaze—and the fire is getting ever closer. Perhaps in the next moment (or at least after their reception) they peel off their wedding vestments and don the attire of activists concerned to alert the world to the need to address the problem. Maybe. It’s hard to know.  It would certainly make for an interesting movie.

However you read the photograph—whatever attitude you note or potential action you see— there can be little doubt that it pictures a profound problem that surely predicts a troubling future.  Right now it seems to point to a tragic outcome, particularly if we persist in accepting the background in the photograph as just another backdrop for a dramatic wedding portrait. The fire, after all, will only continue to burn brighter and to get closer.  If we continue to ignore that problem, however, or worse, if recast it as something which is altogether normal,  it is  possible that the story which points to a tragedy will end as a farce.

For better or for worse … indeed.

Credit: Josh Newton/AP

 

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Sight Gag: Ah, The Rule of Law!

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Credit: Mike Luckovich, Atlanta Journal and Constitution

 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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Imag(in)ing the World Now and Then

 

D-Day Now

The scene could be a community beach front almost anywhere in the world. Cabanas set up for those who can afford them. Tents and umbrellas for others. White sand, small dunes, and blue sea for everyone—swimmers, sailors, and those who just want to sit and catch the breeze coming in off of water. Sun bathers intermixed with children, families coming and going. Soon, one can imagine, the sun will be down, the tide will be up, and only a very few will remain on the beach. A quiet, restful place, with only the rhythmic sound of the waves beating on the surf, lights perhaps shining from the windows in the buildings lining the beach as a reminder of a living community.

But for all of that, it is not just anywhere. It is Saint-Aubin-sur-Mer, France. Seventy years ago this past week it was known as Juno Beach, one of the primary landing zones in the D-Day invasion. Taking this beach head was necessary to provide flanking support to the operations at Gold and Omaha beaches and to give the Allied forces a direct route to a German airfield near Caen. The beach was heavily fortified by two German battalions armed with over 500 machine guns plus numerous mortars, a defensive position enhanced by weather patterns that made it necessary for landing crafts to come as close to the fortifications as possible before releasing troops and equipment. The responsibility to take the beach head fell to the 3rd Canadian Infantry division, which suffered over 1,000 casualties by day’s end—the highest ratio of Allied casualties for anyone other than those landing at the more famous and costly Omaha and Utah beaches.

Photographs, of course, only mark a sliver of time—typically only a fraction of a second that frames the here and the now in stark and radical terms. One cannot know what happened moments (or months or years) before this photograph was snapped, let alone what might happen even seconds after the shutter has opened and closed. Temporal continuities with the past, let alone alternate future possibilities can only be surmised. Such limitations don’t mitigate the value of images, but instead only emphasize the need for us to be imaginative in how we understand the reality that they put on display. And too, it requires us to recognize the ways in which the historicity of an image operates in tension with what it was then (or it what it might be later). It is, in short, part of an archive that has to be curated and engaged.

And so here we have Juno Beach shortly after the D-Day invasion. A crashed fighter plane where families today luxuriate. The detritus of battle washed up against fortifications that protected Axis forces from the landing Allies. The appearance of a solitary ghost town cast in somber grey tones where today colorful commerce flourishes, marked by the flags of multiple nations.

-Day Then

This too, of course, was only a stark sliver in time. A scene of courage and fortitude, of death and destruction that can only remind us that what was before the lens when it clicked was there and then, even as it only framed a reality that could survive only in imagined memories.

Credit: Chris Helgren/Reuters; National Archieves of Canada (for other “before” and “after” pictures of the D-Day invasion click here.)

 

 

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Sight Gag: Before Drones … and Google Maps

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Credit: Deutsches Bundesarchiv

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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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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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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Witness to An Execution

Silva Execution Photo

The photograph above was taken in 1992 in South Africa. It appeared this past week in a NYT slide show featuring the photography of Joao Silva and commemorating the first democratic elections in post-Apartheid South Africa. It is a brutal image of a public execution, more vigilante justice than state sanctioned, but that seems to be a minor distinction under the circumstances. What caught my attention, however, was less the savage cruelty and inhumanity of the scene itself, but the caption that read “Residents killed a man wrongly accused of being an Inkatha Freedom Party supporter.”

In the late 1980s and early 1990s the Inkatha Freedom Party (IFP) was a rival to the African National Congress (ANC) and had allegedly collaborated with the South African police force in perpetrating the Boipatong Massacre which resulted in the death and maiming of 40+ citizens. The police were exonerated in a public trial in 1993, but a number of IFP supporters were found guilty. I don’t know what evidence there is to suggest that the man in the photograph was “wrongly accused,” but it hardly seems to matter, as the recognition of the very possibility that it might be a “wrongful” execution underscores the sheer brutality of the act itself.

What made that caption stand out for me was the report issued this past week by the National Academy of Science (NAS) which reports that based on a statistical model of the people actually exonerated of capital crimes subsequent to sentencing and prior to execution, 4.1% of the death sentences issued in the United States are wrongly determined. The report also concludes that this number is a conservative estimate of wrongful convictions. That means that of the 1,348 men and women executed since 1977, approximately 54 were in some significant probability innocent of the crimes for which they were accused. Of course we don’t photograph executions in the United States, or if we do we don’t distribute them for public consumption. And so the brutality of such killings—even when they are allegedly “justified” or when they “go wrong” as with the recent botched execution in Oklahoma—never receive a public screening. At the best, what we get to see are empty death chambers, bureaucratic portraits of emotionally barren, institutional mechanisms (e.g., here and here) presented almost as if to signal something of the alleged blindness of justice. There are problems with that last assumption as well, as the evidence is compelling that race and gender play a significant role in who is sentenced to death in the United States, but the bigger point here is that when we never see the horror of any execution we are spared the tragedy of viewing a wrongful one. And maybe that is one reason why the NAS report has received so little public attention.

But there is another and perhaps more important point to be made here, and it returns us to the photograph of execution in South Africa. Look closely at the photograph and take notice of the people surrounding the execution. They are not just watching the event, but standing in as witnesses, endorsing it by their participation as spectators. As the caption reads, “residents” killed a man wrongfully accused. Only one resident wields a machete, but the force of the blow being administered is legitimized by the active spectatorship of the residents who both see and are seen as part of the scene. Thirty two states retain execution as a legitimate means of punishing convicted murders and according to a recent PEW Trust poll, 55% of all Americans endorse capital punishment. Those are numbers and not photographs, of course, but as with the residents who participated in the execution by witnessing it, so too do we as an American people bear responsibility for the brutality of every single wrongful execution, however much it may only remain a probability.

Photo Credit: Joao Silva/New York Times

 

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Sight Gag: To Be or To Be Nothing

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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.

 0 Comments