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Feb 22, 2009

“I Guess, You Know, Stuff Happens”

You might have heard that there was a shooting in midtown Manhattan late last week.  It was in all of the papers and on the nightly news. Of course, then again, such events seem to be routine so maybe you missed it.  The perpetrator got off five rounds, all aimed directly at his target; the police got off seventeen shots.  Nine bystanders were hit with bullets.  Do the math.

The photographic record of the event ranges from the somewhat clichéd representation of yellow and blue police line tape and numbered crime scene markers shot from on high and at a distance to mark the official response to a somewhat voyeuristic image of a dead body resting in a sea of red blood to the absolutely bizarre snapshot of smiling tourists (from France, no less) posing in front of the scene where the carnage too place.  But it is the photograph above that tells the story that really needs to be told.

The woman, Madia Rosario, is one of the nine innocent bystanders hit by police bullets (that’s right, all nine were wounded by police bullets or ricochets).  She is thankfully in stable condition, as are apparently the other eight bystanders who were wounded. But what should concern us is that she and the others were shot at all.  There have already been calls to investigate whether the officers were following regulations when they discharged their weapons with bystanders at risk, but there is a different point to be made.  Or maybe two.

The first point is that this is just one more of a continuing—weekly if not daily—litany of such shootings, each of which is treated as if it were an entirely individual and isolated event.  A disturbed individual goes berserk and shoots up a school yard or a campus or a church or a movie theater. As one of the bystanders hit by a police bullet put it, “You know, stuff happens.”  But of course these  are not isolated events, for what connects them quite palpably is the simple fact that in each case the perpetrators all had too easy access to automatic or semi-automatic weapons.  There is no easy way to represent that connection photographically, and so we resort to commonplaces that individuate the problem by emphasizing the perverse psychology of the perpetrator and/or visualizing the official response.  But of course  in countries with more restrictive access to such weaponry events like this happen far less frequently. On this point the facts are incontrovertible.  Once again, do the math.

The second point is really a response to those who claim that everyone will be safer when we all have guns and can thus protect ourselves from such violence and bloodshed. But the photograph of Madia Rosario suggests perhaps otherwise.  The police are enjoined never to “put civilians in the line of fire.”  And more, they are trained in how to respond to crisis situations in which chaos reigns and human behavior is animated more by fear and the rush of adrenalin than reason or common sense. And on par they do a pretty decent job.   And yet for all their training and preparation, “stuff happens.” One can only imagine what stuff would happen if bystanders not trained in crisis management of any sort were carrying weapons and started shooting.  Just do the math.

Photo Credit: Uli Seit/New York Times

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Sight Gag: And Again … and Again, and Again, and …

Credit: John Sherffius

Sight Gags” 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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Photobook Awards: Call for Entries

Paris Photo and Aperture Foundation announce The Paris Photo-Aperture Foundation PhotoBook Awards, celebrating the book’s contribution to the evolving narrative of photography.

Paris Photo and Aperture Foundation have joined forces to celebrate the book’s contribution to the evolving narrative of photography by launching the Paris Photo-Aperture Foundation Photobook Awards.  Two categories have been created:
– First Photobook Prize
– Photobook of the Year Prize.

Entries will be accepted from July 15 through September 10, 2012.

A shortlist of thirty titles will be profiled in The PhotoBook Review, will be exhibited at Paris Photo at the Grand Palais and at Aperture Gallery in New York, and will tour to other venues to be determined.

The award winners will be announced, at Paris Photo, November 14-18, 2012.

Additional information and entry forms are available here.

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Todd Akin’s Right-Wing Science

If Congress had a committee on stupidity, we know who would be this week’s nominee to chair it.

The Huffington Post nailed it with this headline, and the triptych of images nicely captures how a blindly idiotic mentality can be hidden within the otherwise scripted demeanor of public performance.  (There are very few news photos of Akin that are not typical head shots of the Serious Public Official.)  Whether due to an offhand remark or the camera freezing a momentary blink of the eye, it’s only by accident, it seems, that we can see how a politician’s blue shirt, red tie, and white lies might be masking genuine stupidity.  After all, and I’m not making this up, Akin is a member of  the House Committee on Science, Space, and Technology.

Except that no one should be surprised, and not only because of the many well-documented examples of conservatism’s renewed commitment to the subordination of women.  The larger truth of the matter is this: Akin’s understanding of biology is no worse than the Republican party’s understanding of economics, climatology,  or the other sciences that are essential resources for sound policy in the 21st century.  Furthermore, he has provided a remarkably clear example of how the Right finesses the difference between rhetoric and reality: they just make stuff up.

Paul Krugman at the New York Times has been doing a masterful job of exposing the lies on economic policy being pushed by those who obviously must know better.  (You can see the most recent example here.)  But Krugman remains America’s Cassandra, while Akin has been subject to instantaneous and comprehensive scorn.  So, what’s the difference between being flat wrong about conception during rape and austerity measures during a recession?  The difference is this: false claims about rape and pregnancy directly contradict the experience, education, and common sense of almost the entire adult population, whereas economics and other sciences are encountered only very indirectly.  Few adults haven’t had to think about pregnancy as a real consequence of their own actions, while only a very few can connect the dots between Congressional Budget Office projections and their personal well-being.

For better or worse, the public discussion about the presidential campaign is likely to swing back to matters of economic policy. When that happens, the GOP will once again be able to safely deny the obvious, contradict scientific knowledge, ignore decades of hard-earned experience, and promise sheer fantasy.  And like stupidity–and rape–it will be difficult or morally impossible for photojournalism to show the public what really is at stake.  In those all too familiar circumstances, it might help to remind people that Todd Akin sits on the House Committee on Science, Space, and Technology–and the Committee on the Budget.

Cross-posted at BAGnewsNotes.

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The Everydayness of War

I was having a conversation with a former student recently who was exasperated by the fact that the war in Afghanistan, approaching its twelfth anniversary, is the longest American history and yet it is rarely on the front pages of our newspapers and but for the occasional report of U.S. troops being killed—usually in small numbers—there is hardly any public debate or discussion about it.  And the question, of course, is why?  Why is it that a war that is costing us roughly $100 billion a year, and has taken nearly 2,000 American lives, while wounding another 15,000 seems to have no traction in the public consciousness?

I thought of this question when I came across this photograph circulating in a number of different slideshows this past week. The scene is from Syria, not Afghanistan, but what makes the image distinctive is the way in which it frames the act of war in an ordinary and everyday environment.  The soldier here is a sniper, but he doesn’t wear a uniform, dressed instead in a camouflage vest that covers what appears to be athletic running gear. He is not on a conventional battlefield, but rather in what appears to be someone’s living room.  And he has converted the equipment of everyday life into weapons of death as he perches himself on a couch and uses seat cushions and pillows to balance and aim his high powered rifle.  Curtains seem to provide him with a modicum of cover.  And more, he exudes an uncanny nonchalance, simultaneously focused on the task before him and yet altogether relaxed.  Notice for example how he holds his cigarette while adjusting his scope, implicitly dividing his attention between the two.  War for him has become routine, neither here nor there, a condition of everyday life that can’t be ignored and so becomes commonplace, part and parcel of living in a constant zone of conflict.

There is no parallel to this image or the experience it represents in the United States.  The wars we have been fighting in the Middle East over the past eleven years are wars fought at a distance.  We are typically reminded about them only when someone we know is directly affected by them—killed or maimed—but even then for most of us the effect tends to be temporary as we mourn our loss and then quickly return to going about our lives without any serious concerns for our immediate personal safety. In short, these wars have not become part of our everyday being.  And as such, they become too easy to forget, or worse, to ignore.

Photo Credit:  Goran Tomasevich/Reuters

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NCN on Vacation: At the Beach

There are many marvels, are there not?  We’ll hope that you can get away from the workflow for a few weeks.  By coming to see less of the usual routine, perhaps we can see more of the world in all its strangeness and beauty.

NCN will resume posting on August 20.

Photograph by Damien Meyer/AFP-Getty Images.

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SIght Gag: “Justice” or “Just Us”

Credit: Bill Day

Sight Gags” 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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Brighton Photo Bienniel: Photography and the Politics of Space

Photoworks is excited to announce the fifth edition of the acclaimed Brighton Photo Biennial, once again bringing international and emerging photographers and artists to the city.  From October 6 through November 4, 2012, Brighton will be populated by free exhibitions, new commissions, events and interventions, at a host of established and more unusual venues across the city’s urban landscape.

You can read more about it here.

Photograph by Jason Larkin.

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Figure, Ground, and Self-Awareness

It’s not easy to take a distinctive photograph at the beach.  They’ve all been seen already, except perhaps for this one.

At first glance, I wondered what I was seeing.   Was it some strange species from the liminal realm between earth and sea: gooey, nearly featureless, and dumb, but able to survive for millions of years as something almost as much plant as animal?  On closer inspection, the correct species definition locked into place: toes, paired feet, human being (as Aristotle put it so aptly, a featherless biped).  And only later did I also notice the legs emerging from the sandy ooze in the background.  One fragment now was two having some figural continuity (although the line was still partially obscured), and it became easier to imagine not just the rest of the body but the person, someone not buried but rather soaking in the cool waters pooling along the shore, enjoying a day at the beach.

Now maybe you got that right away.  My obtuseness may be the problem.  Whether due to the fact that my beach time has been rather limited, lifetime, or that I’m easily smitten by surface effects such as the sheen of the watery sand, it may have been too easy for me to not see the obvious.  But if you weren’t mistaken, try to see it as if you didn’t know.  Look at that image as if it could be documenting another species, or as if it were a work of art where what mattered most was the way the smaller, darker, firmer shape emerged out of the lighter, liquid substance suffusing the visual field.

This figure-ground inversion may not be possible: as in the classic drawing, when you see the two heads in profile, you can’t see the vase.  But what you can do, I hope, is look again at the photo and see how the photographer’s adroit use of figure-ground composition has created an opportunity to see the human species as something a bit strange–as if it were not the “rational animal” but rather defined primarily by its ability to stay out of the primordial ooze by blind adaptation for sheer biological continuity.

Humans don’t often define their species by its feet, which are not seen as the basis for an exalted view of ourselves–but here they look almost sentient, if barely so.  Perhaps we should spend more time pondering them, and not just as one way to idle away the time on vacation.  And one might ask how odd the human body could appear when seen only as, say, an elbow, ear, or back.  And how is self-consciousness itself a protrusion amidst a bodily, behavioral field that is itself arbitrarily defined?  Which leads to another photo from the summer slide shows.

Again, the composition features a strong contrast between figure and ground.  The small fish protrudes out of the much larger body of the ray, which encompasses most of the visual field.  Like the liquid sand, the ray’s body is a subtly modulated light surface carrying  the power of nature.  There also are significant differences, however.  The figure of the fish is the more familiar sight than the closely cropped ray’s body, and the portion of the fish that is not seen is evidence of disintegration, not wholeness.  The fish is going into the maw, not peeking out, and if it is sentient–one can imagine a last shock of biological awareness that life is ending–that is about to end.  Consciousness, like any life form, can emerge, and it can be swallowed up again.  The photograph brings one to consider how the most ordinary of processes–animal eating animal–is also strange, violent, awful perhaps, while also being completely routine, natural, like gliding through the water and breathing.  The smooth, uniform body of the ray covers the digestive processes, just as the smooth, liquid surface of the shoreline covers the struggle for life that leads each species to find its niche or die.

Human beings are the strangest animals in that they have survived without yet finding their niche.  One might think of that as a figure-ground problem.  In any case, artworks such as those above provide one basis for rethinking self-awareness against the background of nature.

Photographs by Jeon Heon-kyun/European Pressphoto Agency and Itsuo Inouye/Associated Press.

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War’s Longue Durée

At a time when the quarterly report is becoming the long view, there is need to remember that some events will continue to be felt long after they have ceased to be the news of the day.  This recent photograph from a Bosnian reburial program seems suffused with sadness despite the bureaucratic uniformity of the victims’ coffins.

These green capsules contain additional victims of the 1995 Srebrenica massacre that were discovered this year.  Unfortunately, Bosnia has had to learn how to handle large-scale funerary responsibilities.  The coffins seem to stretch out behind the frame endlessly, as though part of some industrial process.  Or perhaps a similar operation in agribusiness: the green coloring and slight variations give the scene a ghastly similarity to some sort of hydroponic production facility.  The remains contained within will already have given much back to the earth, so the analogy may be more apt then we’d like.  No matter how you look at it, dignity is not easily restored to those who were butchered by the thousands.

And yet dignity is possible–as long as there is the sorrow of individual loss.  The lone woman provides that sense of proportion and more.  She could be a worker, but even so one who has become pensive by virtue of those around her.  More likely, she is a relative, for nothing needs arranging and she is empty handed, with one finger touching the box to her right.  That single gesture speaks volumes, saying at once how much we want to touch the loved one, and how impossible that is.  She can only gesture, and so her sorrow remains contained, as if her heart were in one of those green caskets.  And yet she is there, and they are restored to the human community, however belatedly, by her presence.

And by ours. The photograph is part of the memorial.  And memory needs to include not only the names of individuals but also the history that they suffered.  More yet: there is need to realize how that history is still unfolding.  The term “the longue durée” comes from an historiographic method that emphasized structural factors over events, and I’m not about to settle that argument here.  One might note, however, that for moral judgment “long” is defined in part by the span of a human life, and that war is one of those events that creates a harvest of sorrow for generations.  By looking at the photo above, one can begin to realize how nothing in modern society changes any of that.

Photo0graph by Dado Ruvic/Reuters.

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