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Sight Gag: Oh! The Horror!

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Credit: Daylife

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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Visions of Austerity at Fashion Week

Fashion Week lasts far longer than a week, which is perfectly in keeping with its comprehensive commitment to excess, and also with its uncanny ability to capture the spirit of the age.  And this year, the buzz is all about austerity.

austerity model Bottega Veneta

The New York shows have started, and the Times has two articles and a slide show to point out “a Conservative Touch” that will provide “Thrills Without the Frills.”  Really.  And, of course, no frills doesn’t actually mean doing without frills, as you can see on the hips of the model posed above, but by the standards of the high end shows, the look is definitely, unmistakeably austere.

I can’t say why the industry has converged on this minimalism, and the answer would have to include the natural oscillation between styles that fashion needs to exist at all.  What I find more interesting is how the shows can double as political allegory.

Only a year ago, the Milan show captured the Aristocratic Dreams that lie behind the acceleration of income inequality around the globe.  Now, after a year in which the draconian austerity policies of Europe and the UK have withstood both continuous public debate and comprehensive failure to meet their own objectives, the US  is approaching yet another self-inflicted recession brought on by the same ideology.

The model above may suggest how this s0-called discipline feels inside the elite compound.  She doesn’t look too happy, but she isn’t starving either.  (Well, ok, she’s a model, so she is starving, but she’s getting paid for it.)  She also looks wary, and as if accustomed to wariness–that is, to keeping a close watch on what’s her’s and making sure that no one else gets any of it.  Perhaps there is a touch of fear mixed in as well–after all, if resources are thought to be scarce, then wealth makes security a preoccupation.  She stands almost as if at attention, as financial and military elites will naturally converge around shared conceptions of order and control.  At this level, austerity isn’t so much an economic necessity as a style for ruling in a Hobbesian world.

Which is how we get to this image.

austerity model Narciso Rodriguez

After the shows are over, this should be put on the cover of Margaret Atwood’s The Handmaid’s Tale.  (Just as Fashion Week mimes social theory, it also can channel science fiction.)  Young, wrapped in a functionary’s costume much like she is trapped in a corner, and yet like her shoes elevated and fetishized, this could be the image of an imperial concubine.  But the Lords of Finance pride themselves on being liberal in more ways than one–two, actually–so she also could be a ruler in training.

Like the fictions it evokes, Fashion Week pretends to be about the future while being finely turned with the present.  Which is why it might have something to teach us: For those in power today, austerity is just another way to clothe the politics of greed.

The New York Times slide show features photos from the pre-fall collections previewed last month.  The two dresses shown here are from Bottega Veneta and Narcisco Rodriguez.  If you have any doubt regarding my claims about the failure of financial austerity policies, read Paul Krugman.

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Photographing God

OK, so God can’t be photographed.  And the suggestion of any visual image–any semblance or likeness–is anathema in some faiths, and in at least one not even the name should be seen in full.  (Note also that the Greek verb for both drawing and writing is graphein, from which we get photo-graphy, “light drawing” or “light writing.”)  Nor would more secular thinkers be likely to be contrarian on this point: the cosmos is enormous, with much of it beyond the sliver of the electromagnetic spectrum visible to the human eye.  The universe is big, humans are small; get over it and get on with the practical business of living in this world.  You know: one day at a time, in the here and how, where it is hard enough to see your way to the end of the week, much less across the endless, expanding vastness for ever and ever.  Really, who has time for that?

And yet, sometimes I think that too many of us have given up too quickly on the idea that we could be in the presence of eternal holiness.  Others, however, have not forgotten.

Sony photo awards

These monks are looking into the night sky of the Yi Peng lantern festival in northern Thailand.  I can’t pretend to know the full meaning of the festival, the specific religious practice of the monks, where the lanterns came from, or just about anything else specific to this scene.  Nor can you, I suspect.  Nor does it matter, for we are being shown something else.

Readers of Buddhist texts such as The Lotus Sutra are likely to notice the continual repetition and elaboration of the vastness, richness, and endlessness of the Buddha worlds.  Multitudes of beings, worlds, eons–“innumerable hundreds of thousands of billions” of buddhas, each showing “bodies as innumerable and numberless as the sands of hundreds of thousands of millions of billions of Ganges,” extending for “innumerable tens of millions of billion of eons,” and that is only one small part of the teaching.  One tiny fragment of the immeasurable Dharma of the innumerable millions of billions of buddhas, but still glorious.

Radiant, you might say, like a thousand (million billion) lights in the sky.  I have no doubt that the monks know that they are looking at lanterns, and I expect that they are enjoying them much as anyone would, that is, for the sheer delight created by the visual spectacle.  But I suspect that some of them are seeing more as well.  Seeing through teachings and ritual practices that have developed the human ability to discern the universal radiance that lies beyond the range of ordinary vision.  Religion and science alike draw on and extend this larger power of perception; not always, of course, but enough to give us a hint of what more could be known or experienced.

Photography can be another way to extend that power of perception, or at least to hint at what more could be done.  Not least when it teams up with the right ritual or the right telescope.  But even though such images are familiar enough, they often come wadded in spiritual denial.  We see them as images of something, instead of understanding them as signs of things unseen.

There are many reasons for the falling away from a sense of holy immanence–and many of them are of religious origin, not least in Western Christianity.  But part of that falling away may have included writing off images as vehicles of spiritual enlightenment.  You might say there has been an iconoclastic attitude within the secular construction of Western image culture, not least in respect to our habits of interpretation.  Thus, images are secular, and images of the cosmos (of which we have many stunning examples from astronomy) are scientific illustrations of an immense but essentially alienated reality.

I’m not the first to think that modern religion needs to reconnect with a palpable sense of the immensity and beauty of the universe as that has been revealed by modern science, but that is a topic for another day.  (As is the idea that modern science might draw on holiness traditions to extend its understanding of how all of reality is fearfully and wonderfully unified beyond human perception.)  Let it be enough for the present to begin to sense what is suggested by the photograph above: that not only a festival or the night sky but all of reality is glittering with the same connecting, enveloping, awakening energy.

Photograph by Justin Ng/Sony World Photography Awards 2013 Open Short List, Arts & Culture.

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Save the Skeets!

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You have no doubt seen the above photograph in the past couple of days as it has been making the rounds, featured, well, just about everywhere on the internet, as well as places like The Daily Show and the Sunday morning news programs.  Yesterday it appeared on the front page of the New York Times, centered and below the fold, although the story about it was buried on p. 22.  The photograph, it seems, was much more important than the story that went along with it.

I find it a troubling image,  but before I get to that I should make a confession:  Although I am a strong advocate for strict gun controls laws, I too once purchased and shot a gun.  Some years ago I had a woodpecker roosting in a nest it had created inside one of the side walls of my house.  Woodpeckers are (or at least then were) endangered species and so one could do nothing about this that would actually endanger the life of my feathered friend.  On the advice of an exterminator I sheepishly and with no small amount of embarrassment went to the local K-Mart and purchased a BB gun pistol with the idea of trying to scare the bird.  The logic was that a BB gun pistol did not have enough force to hurt the bird from the distance I would be shooting, but if I could ping it once or twice in the butt it would move away.  In retrospect the arrogance of thinking that I could hit anything with this weapon is, well, truly stunning.  And my friend Woody figured that out pretty quickly too, as he sat there and actually mocked me—and my manhood— as I shot away at it.  After a day of this I decided that peaceful coexistence was the better policy, but then out of nowhere an owl perched in a tree in my backyard.  Owls are natural predators of woodpeckers and Woody took his leave.  Sitting on my deck and watching the owl swoop through the trees in the early evening hours gave a whole new meaning to Hegel’s invocation that “the owl of Minerva spreads its wings only with the falling of the dusk.”  But I digress.

The controversy that has flourished around this photograph concerns whether or not President Obama really does hunt skeet at Camp David or not.  And if not, so the logic goes, it would seem to be a somewhat disingenuous performance posed for the camera and simply for the purpose of creating political identifications and promoting his own agenda.  I find this a somewhat odd argument because one of the things that politicians (of all stripes) do is to perform their jobs for the purpose of creating political identifications and promoting their own agendas.  In its way, such photos are not much different than pictures of politicians cooking meals in country diners or kissing babies.  It is worth calling attention to the convention, but making a major issue out of it seems to be more trouble than it is worth—or at least an unwarranted distraction—particularly given the gravity of the debate over the mayhem created by the usage of guns in the United States.

But that said, I do find it a troubling image.  And the reason is that it is a visual symptom of the troubling love affair we have with guns in the United States.  Guns are weapons designed to destroy life—an irony given their phallic symbolism.  And but for their original and primary purpose we would not have them.  It really is as simple as that. That we rebrand them for the purposes of “target shooting,” whether as the manly weapon the President wields or the child’s BB gun that I purchased with the idea that it wouldn’t hurt anything, is a marker of how easily and willing we are to accept and mask their fundamental purpose. Whether the picture above was posed for political purposes or not is really besides the point, what should trouble us is the assumption that the image it displays really does create lines of identification with very many Americans by naturalizing and valorizing a tool created for the purpose of maiming and killing.

We may live in a world where such weapons are as necessary as some allege, and our Constitution guarantees at least some rights to “bear” them under qualified conditions.  But I would hope that we never lose sight of how regrettable the former condition is if it is in fact true, or how truly profound our obligations are to securing the later.

Photo Credit:  Peter Souza/White House

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Sight Gag: Remediating Great Literature

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Credit: SomethingAwful.com

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

International Street Photography Awards Competition

spaceman, Tomasz Lazar

Now in their third year, the International Street Photography Awards are looking for the best street photography from around the globe.  The past two years saw entries from 113 countries, and allowed street photographers the chance to have their work seen on an international platform.

This year the awards will be hosted by FOTOURA.  The 2013 Awards will include Open and Student categories, and are open to photographers from all over the world.  The winners and a selection of the best entries to this competition will be shown in an exhibition in central London in Spring 2013.

More information is available here.  The deadline for entry is February 12, 2013, 11:00 pm GMT.

“Spaceman,” by Thomasz Lazer, Poland; the photograph received third prize last year.

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