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SIght Gag: The Anti-Gun Conspiracy

 

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Credit: fb.com/TheMudflats

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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The Ghost in the Machine During Fashion Week

Fashion Week never ceases to teach me something.  And now that the week lasts most of the year as the shows blossom one after another around the globe, there is much to learn.  Not least about photography.

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This image is from the New York Show last September.  Fashion isn’t timeless, but the photographer’s artifice has captured something about photography itself.  Perhaps the over-the-top artifice of the shows gave the photographer more artistic license than usual, for most would not intentionally overexpose the model that supposedly is the focal point of the event.  By focusing on the audience, however, the image both brings them out of the darkness while turning her into a creature of light.  Which she always was, of course.

But which is stranger: to see an all-white silhouette, or to see the act of spectatorship offered to view?  One answer is that both are strange, with the emphasis depending on where you want to go philosophically.  By focusing on the model, images of haunting come to mind, and one might recall how images of ghosts, fairies, spirit worlds, and other premonitions of life beyond death were a prominent part of the early history of photography.  Ultimately (but not completely), realism trumped that exercise in imagination, but photography has remained a medium in several senses of the word ever since.  As the bare outline of the model suggests, the camera is only capturing traces of what is there, with the rest to be supplied by the imagination.  Likewise, one can imagine how images are already within the camera, waiting to be released, and also floating unseen through the air, waiting to be captured.  Haunting is omnidirectional, I imagine.

But is there one ghost or many?  As the members of the audience are brought out of the shadows, we are reminded how they also haunt the camera: always there unseen and often unbidden, waiting for the image to appear.  Without the audience, there is no need for the image, so in one sense they have to always be there, unseen, as the potential force that allows the camera to flash.

They are more like us than any of us are like the model.  They double our viewing, as we do theirs.  I find the experience of seeing them seeing to be a bit troubling.  (If you want to get a good dose of the experience, sit through the scene in the film Amour when the concert audience is waiting for the performance to begin.)  We might ask why that is, but I don’t have time to consider that question today.  I’ll close instead by noting how much there is to see about seeing.

The gazes in the audience shown above are by turns appraising, calculating, desiring, distracted, bored, and more.  Some are extended into taking photographs, thus also doubling the act of taking this photo.  Photography is a study in plurality, extended further by its own reproduction, and ultimately about itself only when it is showing what it means to see and be seen.

Or perhaps I should have said, to see what often goes unseen, even during Fashion Week.

Photograph from the J. Mendel Spring/Summer Show, New York, September 12, 2012, by Andrew Burton/ Reuters.

Cross-posted at BAGnewsNotes.

 

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Aleppo University and the Banality of Good

I supposed I’m biased: a university professor would be expected to take a university bombing seriously.  Likewise the journalists, who use their university educations every day, and so the 80 people killed in the attack on Aleppo University yesterday might be receiving more than the usual amount of attention.  What is 80 more in a civil war that has claimed 60,000 dead and driven ten times that number into refugee camps?  Civil wars aren’t civil, so why should a university expect to be spared?

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One answer can be taken from this photo of some of the physical damage from the blast.  There is nothing exceptional about the photo–it’s just another entry in the ever expanding archive of rubble world–and there is nothing exceptional about the building.  And that’s the point: what you see is in fact thoroughly ordinary, mundane, routine, to be expected.  Square rooms, identical radiators, standardized fittings and furniture–just another block of rooms designed for low-impact activities such as reading, talking, writing, or sleeping.  It may have been a dorm or perhaps a set of faculty offices, but the purpose in any case was civil.  No one was there for the amenities, but no one had to worry–it seemed–about being killed.

The blast brings to light the building’s routinized design and construction practices.  Instead of asking “Is this your room” or “Is this your office,” viewers are led to ponder the sameness of things: same square spaces, same concrete and metal materials, same bomb, same indiscriminate carnage.  Once the building was up, most of the people using it never had to think about how it was built, where the pipes ran through the walls, or how long some of the maintenance could be deferred.  They had better things to do, and the point of the university was to created a space where those things could be done.  The higher learning benefited from other forms of thoughtlessness, a kind of peace that had been acquired by drawing on many of civilization’s arts, including architecture, engineering, and management.  Because others had been thinking professionally, one could be free to learn those skills and many others, not least the arts that can improve civic association.

Put another way, by providing a not too emotionally charged photo of a damaged building, the photograph asks us to consider how damage extends beyond the personal tragedies of death and maiming to include the structure of society as a whole.  Because the building is placed in the middle distance, our position as viewers is placed in a corresponding spot: neither completely distant from nor intimately involved in the scene, we are invited to understand but left too far away to directly participate.  In short, we are put in a civic relationship with those in the wreckage: they are neither wholly foreign nor familiar, but inhabiting a common social structure that extends from their space into ours.   A structure that, like the building, can be both taken for granted and deliberately damaged.

Hannah Arendt, who cared a great deal about civic life, is known in part for developing the concept of “the banality of evil.”  This somewhat counter-intuitive phrase should not be summarized lightly, but it is fair enough for the moment to say that she was focusing on how evil benefits from a certain form of thoughtlessness.  That was how Adolf Eichmann and other Nazi executioners could sleep at night, by thinking about only their technical responsibilities while accepting unthinkingly the false beliefs and hideous values that made genocide seem normal.  Much has been said for and against Arendt’s argument, both in respect to the particular case and the problem of evil more generally.  I want to add a small emendation that is brought to mind by the photo of a ruined buiilding in Aleppo.

The point is offered by the deep asymmetry in the image between the routinized, taken-for-granted infrastructure and the unexpected but intentional act of destruction.  In this case, thoughtlessness was largely in the service of the good.  Indeed, that’s why the university was so vulnerable.  By not having to think about security, and by having a temporary reprieve from the throat-tightening anxieties of the war, people were able to think–and probably to think as Arendt would have wanted, that is, by questioning and improving the basic assumptions of the society to combat the banality of evil.

A student at the university remarked that,”with all the brutality, no one could imagine [the government] shelling a university.” The LA Times story goes on: “The woman, who crosses multiple rebel and government checkpoints to reach school each day, had been determined to pursue her education despite the violence. But now she is rattled. ‘This is not the way schools are supposed to be,’ she said.”

Not thinking about material infrastructure is not the same as not thinking about violence. but my point stands: a well functioning civil society is one in which you don’t have to worry about civil war.  The university represented the last space where that was possible, and now that has been lost as well.

The thoughtfulness desperately needed in Syria, the Middle East, and everywhere else around the globe requires its own forms of thoughtlessness.  Ignoring ethical ideas leads to the banality of evil, but there is another kind of inattention that one might call the banality of good.  How do we know?  Because in Syria we can see it exposed to view, as it is being destroyed.

Photograph by the Syrian Official News Agency.

Cross-posted at BAGnewsNotes.

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The Winters of Our Discontent

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I wish I could claim sole authorship of the title for this commentary, but in fact it is an adaptation of a recent article in Scientific American (which adapted it from the title of John Steinbeck’s last novel who in turn borrowed it from Shakespeare’s malevolent characterization of Richard III).  But for all of that it is no less a compelling characterization of our current state of climactic affairs as we find ourselves confronting the acceleration of what has become known as “slow violence.”

Slow violence refers to environmental disasters that occur so gradually that we barely see them, but which reap long-term, catastrophic outcomes.  Recent global warming trends top the list and what makes such phenomena all the more problematic is how they can often appear to be incredibly, breath takingly beautiful, approaching what we might even call the sublime—representations that in some measure transcend reality, transporting us to a place that defies the very capacity for representation itself.  The photograph above is perhaps such an image where sky and water bifurcate the horizon of here and there as variations in lightness and darkness mark the temporal distance between now and then (or perhaps past and future).  The orange and magenta tones of the sky cast a calming shadow upon the sea which masks the mysteries of who knows what within its otherwise murky depths.   And overall the image invites both our approach and avoidance as if a heavenly and sanctified location.  It is hard to not look it and to be in awe.  Only the protuberances that emerge from the bottom of the frame call attention to the fact that this is a photograph and not a scene that fully transcends human occupation.

What we are actually looking at is “haboob,” a white shelf cloud of dirt that has been stirred up by a ferocious dust storm in the Indian Ocean off of the coast of Western Australia.  This dust storm, one of many that has caused brush fires over nearly one million acres is the result of uncharacteristically hot temperatures peaking at more than 119 degrees Fahrenheit in some parts of Australia.  The result of those brush fires invites consideration of sublimity’s counterpart, the grotesque, as a second photograph from New South Wales pictures the carcasses of sheep incapable of breaking free of a fence that contained them while a wildfire consumed the earth on which they stood.

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The bodies are not human, and so the tragedy is not as pronounced as it might be—not that we should scant the lives of sheep or other living beings—but it is not hard to imagine that they could be human bodies.  The image is hard to look at, but that would seem to be the point, as it works as a powerful, visual counterpoint to the awe-inspiring beauty that all too often and all too easily diverts our attention and placates (gratifyingly so) our acceptance of slow violence in the first place.

This is the third winter in a row that we have faced extreme weather patterns throughout the world.  These are the winters of our discontent. How much longer will they go on before we respond responsibly as global citizens is the real question we need to be asking.

Photo Credit: Brett Martin/Reuters/fishwrecked.com; Greg Wood/AFP/Getty Images

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Sight Gag: Guns and Drugs

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Credit: owsposters.tubler.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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Best Photographs of 2012

Aurrora Borealis, Zoltan Kenwell

The Monroe Gallery has put up the mother of all best photo lists, which you can see here.

One list you won’t see there is this one by Mikko Takkunen, whose blog Photojournalismlinks is a great resource for anyone who wants to appreciate the range of work being done in the field.

And the photo above?  Not a winner, as far as I know, but it was an entry at the National Geographic Photo Contest, and it seemed a good way to represent photography as an energy field enveloping the planet.  Others might fear the Matrix or see the Illuminati or worry about government control of the radiation belts, but let them.

Photography is not about winners or losers, or about reality and fantasy, but something broader, richer, democratic, radiant.  A plenitude, like the world it represents, and a screen for projections, like the mind that sees.  Pulsing, patterning, appearing and disappearing again, things seen to remind us of forces unseen.  Happy New Year.

Photograph of the Aurora Borealis, Lamont, Alberta, Canada by Zoltan Kenwell.

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Small Arts and Great Crimes

This photo was front page above the fold at the New York Times, and for good reason: it’s a work of public art.

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Two works, actually: an effigy of Syrian president Assad and the photograph framing it with an apartment building gashed in two by bombing.  The building is in the war zone formerly known as the city of Aleppo.

The effigy might have been made by an artist or by some kids on the street, and the photograph might have been taken by an old pro or a young stringer.  Doesn’t matter.  Both are skillful and work in the same direction, while the photograph relays and adds something to the stuffed figure to bring out its full artistic potential.

And what a statement that is.  Comically askew helmet and uniform on a ruler who takes no risks while having others do his killing for him; photographed face on a dummy’s body for a man who hides behind an authoritarian screen of authority; a hunched, wary, remorseless attitude that allows his society to be torn apart as he turns his back on the suffering. . . . the vernacular artist has eloquently captured this vicious martinet’s lack of flexibility, legitimacy, empathy, and shame.

The photograph adds to the composition by making the connection between the tyrants’ personality and the damage done to the nation.  We can easily imagine that Assad might some day stand over a country in which every building has been razed, only to say, “but I’m still in power.”  And that is what photography is supposed to do: extend the imagination.  Photojournalism in particular is there in part to extend the political imagination, allowing us to see how the future might be already evident in the present.  Evident, for example, in the character of the leader, and in the suffering, knowledge, skill, and resolve of the people.

Art works by allusion as well, in this case to the Chaplinesque figure of the Great Dictator, who was really a little dictator.  And so it is in Syria: the great man is really very small, and 60,000 people are dead because he doesn’t have a larger heart or mind.  But there is another point to be made here as well, which is that this distortion in magnitude is one that is best captured by small arts.  Arts like the effigy and the photograph, for example.

Great leaders, like great moments in history, may require more panoramic media to be adequately represented.  But when a petty despot is leading his people into the slaughter pen, the grand painting or sweeping film won’t do.  Leadership is one thing, criminality another.  Fortunately for modern times, we have the arts we need.

Photograph by Agence France-Presse/Getty Images.
The photo accompanied this story at the Times.

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“A well regulated Militia, being necessary …”

“A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear arms, shall not be infringed.” — Second Amendment, U.S. Constitution

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The children of Sandy Hook Elementary School returned to their classrooms this past week; President Obama reiterated that solving the “gun problem” would be among his highest priorities in the weeks ahead, even as Republican leaders in the Senate insist that the only issues that will receive any serious attention in the coming months will be the deficit; and nearly 400 people have died in gun related events since the Sandy Hook massacre, including four people yesterday in a townhouse in Aurora, CO.  And the beat goes on, for as gun advocates never tire of reminding us, the Constitution guarantees their absolute “right to keep and bear arms.”

The problem here is that when gun advocates reiterate this clause of the Constitution, which has taken on the quality of a sacred mantra, they forget  that it is qualified by a preceding clause that links the absolute right to ownership to the necessity of maintaining “a well regulated Militia” for “the security of a free State.”  This was a time, we might recall, when “standing armies” were seen as something of a threat to freedom and liberty—think British Redcoats—and calling out of the Militia required individual soldiers to supply their own weapons.  I don’t know for certain, but I seriously doubt that the U.S. military currently even allows soldiers to bring their own weapons with them when they are called to duty, let alone requires it as part of maintaining a “well regulated  Militia.”  The point here is not that we should eliminate the right to keep and bear arms,  but that the conditions that animated the original intent of this amendment no longer abide.  And given that fact, it surely makes sense to reconsider the standing of the right as an “absolute,” as well as the regulations needed to secure a “free State,” especially given changed and changing weapons technologies and circumstances.

But there is a second point to be made as well.   The “arms”  that the Founders had in mind were the sort of single file muzzle loaders seen in the photograph above and on display at the East Coast Fire Arms antique gun show sponsored this past week in Stamford, CT, not the Bushmaster semi-automatic, military-style assault rifle with thirty bullet clips—seen below— and used to take the lives of twenty school children and six others  at the Sandy Hook Elementary School in Newtown, CT on December 14th.

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If Adam Lanza, the mass murderer who wrought havoc and tragedy on the village of Sandy Hook, was carrying a muzzle loader it is possible that one person might have been injured or died instead of twenty-six.  One person.  At most.  Maybe.   And that is something that we should bear in mind every time we hear the Constitutional invocation of an absolute right “to keep and bear arms” used to justify the ownership of semi-automatic weapons.

Photo Credit: Christopher Capozziello/Getty Images North America; Anon/Wikipedia. Cross-posted at BAGnewsNotes.

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After Newtown: Tokenism or Culture Change?

This is one photo that probably wasn’t included in the slide shows at the major papers this week.

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And why not, some might say, isn’t one memorial to the victims in Newtown as good as another?  Well, no, not really, but the show must go on in pro sports, and so perhaps this is the best that Kevin Durant could do, all things considered.  If you look closely, you can see that he has written “Newtown CT” on the shoe that he wore for the Friday night game.  Nor was he alone: players and teams around the NBA and NFL put names on shoes and gloves, pasted decals on helmets, observed moments of silence, and otherwise had token observances across their scoreboards, end zones, and assorted other media.

And the New England Patriots even went to far as to donate $25,000 for the families of the victims.  Really.  And if you don’t believe it, just tune in to ESPN, which is making darn sure that everyone knows just how much the sports world cares, really cares, about the tragedy.

It’s hard, very hard, not to be cynical about these token gestures.  Indeed, I think the photo above neatly captures just how small and temporary they are: compared to the gleaming arena floor, polished like the finest glass, and the Nike swoosh, which represents a lucrative shoe contract for a global market, the small, black lettering is sure to be discarded soon, which will hardly matter as no one without a telephoto lens could see it anyway.  Ditto the tiny helmet decals, the player Tweets, and any other efforts to laminate compassion onto celebrity.

But that’s too easy.  Just about every candle, teddy bear, classroom letter, and prayer chain is also but a gesture.  And if the better memorial would have been to cancel the game, well, how many of you refused to go to work on Friday or Monday because you thought doing so would dishonor the dead?  The truth is, there is very little that anyone can do in response to such senseless slaughter, and that applies not only for distant strangers but also for close friends and family of the bereaved.  And however mixed the motives might be in the business of sports, one shouldn’t be too quick to assume that nothing is sincere.  (I’m told that Kevin Durant is a fine human being.)  So, token gestures become part of the story of how a nation deals with social rupture.

Of course, nothing said above should excuse pro sports for some of its excesses.  Individual players perhaps should get a pass, but the organizations may indeed need to consider that the better response really is to do nothing–or, if they really want to help the people in their own backyard, to do it right.  (Certain prominent figures on the religious right might want to take a hard look into that same mirror.)  But, again, the matter at hand is about more than pro sports or any other single institution.  The hope that many of us have this week–the one we hold on to against the shock and grief and dismay–is that this time the carnage might really bring the country to its senses about its culture of violence.  And although the resistance will be extensive, there are signs that change could be happening already.

One of the interesting things about American democracy is that it can be stalemated for so long and then seemingly transform itself in a few years.  Think of what happened after Pearl Harbor, or what has happened in the past few years regarding the acceptance of homosexuality (even the word now sounds antique).  The strength of the political culture is that it’s not just a political culture–that is, a subculture defined solely by a political class, although there is some of that–but instead richly intertwined with all the rest of society.  Think of the importance of integrating pro sports for civil rights, not just then but continuously, and look at how so many different people and organizations respond in kind to disasters such as hurricanes, floods, earthquakes–and shootings.  In those situations, what otherwise would be tokenism can become something else: a small but visible commitment to real change.

Guns are not unknown among pro athletes, so hypocrisy may yet prove to be the norm there and elsewhere as well.  But I hope that something else could be in the works, there and especially elsewhere.  In any case, the change requires silent, personal, private resolve to think differently–and not least to move beyond the political habits that were part of the prior stalemate.  Thinking differently is easier to do, however, if it can be done in small ways that can be shared with others who might want to do the same.  And to be shared with other citizens, there is nothing like doing something that can be seen.  So this week I’m giving token gestures of solidarity a pass, and in the hope that this time the nation can raise its game to a higher level of play.

Photograph by Jerome Maron/USA Today Sports.

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