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Ready, Aim, Shoot!

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Much of what we do here at NCN is a celebration of photography.  And among its many virtues are that it slows the world down, indeed, it stops the world in ways that normal sight is often hard pressed to do—at 1/800th of a second, for example—inviting  us not just to look at the world around us, but to see it, sometimes with fresh eyes.  It operates as such in many registers, but sometimes it invokes what the philosopher and literary critic Kenneth Burke called a “perspective by incongruity,” literally encouraging us to “see” things in terms of things that they are not. Or perhaps, as in the photograph above, encouraging us to ponder the similarities between things that on the face of it we assume are altogether different.

According to the caption we are viewing a member of the Free Syrian Army who is simultaneously “pointing” his weapon and his camera at a “scene” in Deir al-Zor, one of the largest cities situated in the eastern part of Syria.  Of course, he is not just “pointing” his rifle, and the purpose of the gun is not to so much to capture a “scene” as to contain or intrude upon a strategic space.  And so, one might think that the language of photography somehow masks and moots the language of weaponry.  But, of course, the language could be reversed as we might say that he is “aiming” his camera and “shooting” at his enemy.  And if that seems like too much of a stretch, don’t forget how cameras have become one of the primary “weapons” in the war on terrorism—and more—surveying public spaces, authenticating identities, and so on.  And indeed, if nothing else the image of the Syrian freedom fighter is a stark reminder of how entangled the language (and, as it turns out, the history) of the camera and the gun are, each calling attention to the capacity of the respective technology to aggressively intervene in, capture, and control a situation.

There is no question that I would rather be “shot” by a camera than by a rifle, and I have no doubt that the world would be a better place if we could truly substitute “pixels for pistols.”  But for all of that,  we should not lose sight of the potential predatory power of the lens or the ways in which a camera can serve as a weapon, however good or ill the purpose to which it is put.

Photo Credit: Stringer/Reuters

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Sight Gag: Be Prepared

Guy Fawkes mask

Credit: Blogspot.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.

 

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“Something There is That Doesn’t Love a Wall”

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Several weeks ago the U.S. Senate managed to overcome all odds and agree on a bill to address the so-called “immigration problem.”  To accomplish this they had to agree not only to hire an additional 20,000 border police but to build 700 miles of fence along the U.S.-Mexico border.  That would be 700 miles in addition to the approximately 350 miles of fence that begin at the shore’s edge in Tijuana (see above) and extend to the east.  Of course, the U.S.-Mexico border is approximately 1,950 miles long, so you can see the problem; then again, when we add 20,000 more border police to the approximately 21,000 we already have we will be able to station one officer every 1,000 feet along the border—a human fence, as it were— so maybe things will work out (although, as far as I know, no one has addressed the question of how far west into the Pacific Ocean we will be able to station border guards).

Of course all of this assumes that walls and fences work to keep things out (or is it to keep things in?, it’s always hard to know which way the structure works).  And therein lies the rub, for whether they are designed to contain or exclude, it is pretty clear that they also exist to be breached.  They might make it hard to get from side A to side B (or visa versa) but their very presence marks the desire to do so.  And more, however high and sturdy a wall or fence might be, it always has to answer to the test of time, crumbling and falling apart, leaving holes large and small that encourage and enable their breach.  I was reminded of this recently by a photograph that shows a man sneaking through the Old City Wall in Jerusalem.

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The wall is pretty substantial, and yet what the photograph emphasizes is its inevitable fallibility.  But there is more. According to the caption the man is Muslim.  Whether he is sneaking in or sneaking out is not all that clear, but the irony is pronounced: the wall itself was built in the 16th Century by a Muslim Sultan with the intent of protecting the interests of the Ottoman Empire, i.e., keeping non-Muslims out.  Of course, today, and so many years later, the wall serves a diametrically opposed set of interests.

And so, to return to the photograph of the fence that separates the US-Mexico Border, one has to wonder how successful it will be in containing and excluding whatever it is that it is supposed to contain or exclude.  Or even how successful it can be given all of the constraints it must weather?  And for how long?  And most importantly, perhaps, whose interests might it serve, both now and in the future?  Artificial borders like fences and walls, it seems, know no permanent masters other than time and that should give us pause when we commit ourselves to building them, for what today serves to fence out may one day serve to imprison.

Photo Credit:  James Reyes; Abir Sultan/EPA.  The title for the post is from Robert Frost’s “Mending Wall.”

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Sight Gag: The House at Work

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Credit: Sack, Star Tribune

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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All’s Well That Ends Well?

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If we take the photojournalistic slideshows at the major newspapers as evidence, the news for the past two weeks has been dominated by protests, both large and small around the world—though oddly enough hardly any that apparently warranted documenting in the United States—and a wide array of American patriotic displays, ranging from ersatz celebrations of red, white and blue to reenactors playing out the battle of Gettysburg on its 150th anniversary.  The photograph buried amidst all these images that caught my eye, however, had nothing to do with any of that and instead showed four children “playing” on a burned out armored vehicle in Kabul.

The vehicle is unmarked, and so it is hard to know who originally brought it to this spot. It could be American or British or even, however unlikely, a left over from the occupation of the former Soviet Union.  But none of that seems to matter as the particular history of this weapon of war has been erased.  What does seem to matter is that it has become a part of the “natural” landscape and that these children, young, innocent, and altogether happy, seem as comfortable climbing on it as we might imagine an American child climbing in an oak tree in his own back yard on a bright summer day.  There may have once been a war in Afghanistan that put these children at risk, but as this photograph suggests, there is now something like a return to normalcy.  Once there was a war, but now all is well.

Of course, notwithstanding the claim the U.S. has accomplished its combat goals in Afghanistan and turned military control back over to Afghani security forces, we know that the hostilities are not over, nor is it likely that we will see the significant downturn of U.S. or NATO military forces—whether we choose to call them combat troops, security forces, or military advisers—in Afghanistan for sometime to come.  In short, all is not well.  That said, what makes the photograph disturbing has less to do with the implication of a return to happier times, and more to do with the way in which it functions to make the past invisible by removing specific markers of the occupying forces and by naturalizing what has been left behind. And this all the more so as it appears in the midst of images of continuing conflict and social protest and American celebrations of its own exceptionalist past.

Photo Credit: Mohammad Ismail/Reuters

 

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Sight Gag: China, Land of Individual Freedom

crgva130614Credit: Gary Varvel

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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Those Who Forget the Past …

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The above photograph pictures a sluice of life in Mobile, Alabama in 1954. I don’t know who saw the photograph in 1954 or how they might have interpreted it, but it is hard to imagine that one would not have been affected by the ironic tension between the image of an elegantly dressed African-American woman and her niece, shot in “living color”—a  rarity in 1954—and the neon sign to a movie house marking the “colored entrance” and designating a stark difference between black and white.  However one might have received and engaged the photograph when it was first produced there can be no questioning the fact that the scene that it depicts serves as an aide-mémoire to a critical moment in the American experience to which we are all heirs, a collective past that we ignore or repress only at our national peril.

Of course, Jim Crow segregation was not only a southern phenomenon—I remember seeing “colored only” beaches at Asbury Park, New Jersey when I was growing up in the 1950s—but it certainly had a home in Dixie where it was aggressively defended in the name of “states rights.”  And from this perspective the photograph is a vivid and eloquent reminder that there are times when “home rule” and a parochial localism need to be governed by a more capacious moral compass, not least when human and civil rights are at stake.

It is this last point that bears special attention today as the photograph was recently printed in the NYT along with the reprise of a series of similar images shot by Gordon Parks for an issue of Life magazine originally published in 1956.  What makes it especially pertinent is that the Supreme Court is about to rule on a number of cases concerning the constitutionality of gay and lesbian marriages and legal unions. Many are arguing that such decisions should driven by local interests under the rationale of states rights.  Of course, it was not so long ago that the cultural logic that warranted the “colored entrance” sign in the photograph above also proscribed interracial marriage as an unnatural act of miscegenation in many states.  That changed in 1967 with the Courts decision in the case of Loving v. Virginia.  One needs only to ponder the photograph above and the legacy that it gestures to, both past and present, in order to understand why the Court needs to guarantee the civil right of gay and lesbian couples to marry and join in legal union.

Photo Credit:  Gordon Parks/Gordon Parks Foundation

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Sight Gag: Quack, Quack, Quack

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Photo Credit:  Weibo.Com/Weibolg

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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It Can’t Happen Here

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There is no shortage of photographs of riot police containing protests against austerity measures instituted by various countries in the European Union, from Germany to Greece, Italy, Portugal, Slovenia and beyond, including most recently Turkey, which has made application to join the EU.  And there is nothing particularly distinctive about the vast majority of these images as they pit generally youthful and bedraggled unemployed protestors against state security forces dressed in black riot gear that might well be the late modern version of medieval armor, prominently wielding riot shields, batons and tear gas grenades.  The conflict marked by these photographs is altogether generic and but for the occasional signage in Greek or French or Slovenian they are all interchangeable with one another.  They could be anywhere in Europe, a feature that contributes to naturalizing the image as it signifies an “other” world wholly distinct from the US.  And at least one implication is, “it can’t happen here.”

The photograph above caught my eye because despite the fact that it is similar in many regards to the numerous other such images of European austerity protests it is distinctive in one important respect that warrants our attention.  Shot outside the Parliament of Catalonia in Barcelona it shows Spanish police forces advancing on Spanish firefighters with their riot batons raised.  What makes this image distinct is not so much the aggressive stance taken by the police—as disturbing as the poised baton, ready to strike, is—but the fact that they appear to be attacking other civil servants who are also sworn agents of the State.  In short, we are not just witnesses to an instance of civic unrest;  rather, we are spectators of  a more profound, extreme civic disorder that borders on something like mutiny or perhaps even civil war.  Put simply, we are viewing the State fighting against itself in a manner that challenges the very legitimacy of whatever it is that the police officers are “defending.”  One can only wonder how long a State can persist under such conditions?

Austerity hounds in the US have faced a number of strong challenges in recent weeks stemming from the fact that the economic scholarship which presumed to ground their case has been proven to be seriously flawed.  This has not stopped them from repeating their mantra, that “we don’t want to end up like Greece or Spain.”  There are good reasons why the fiscal crisis in the US is different than that in the EU and thus the analogy doesn’t apply all that directly. That said, the photograph above suggests one of the potential risks of too austere a response to the recession that we certainly don’t want to see in the US.  We probably don’t face a strong likelihood of this happening at the present moment as unemployment and other signs of large scale economic improvement like housing prices seem to be rebounding—albeit at a snail’s pace; but if those pushing for something on the order of the Ryan Budget in the House were to get their way it is not impossible to imagine how a growing number of “have not’s” could be pushed to the outer limits of their ability to sustain themselves.  And if that were to happen images very much like the one above might become more than just a bad nightmare, giving a different meaning to the plaint that “we don’t want to end up like Greece or Spain.”

Photo Credit: Paco Serenelli/AP

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Sight Gag: The Long and Winding Road

VA-Claims-Backlog

Credit:  Sack, Star Tribune

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