Jacqueline Hassink explores sacred spaces of multinational capitalism: boardrooms of banks and corporations, and fitting rooms of haute couture. The above image is from Nestle’s boardroom. What strikes me about it is the far wall, which is the old Mercator map projection originally designed for shipping. In essence it’s a colonial map because of the obvious distortion of land mass that makes Europe and North America far larger than the southern continents.
This is the map most of us are familiar with from school, but it’s probably the least relevant map we could study, except for historical context or as a sample for a kind of thinking. In recent years there have been alternative map makers that have tried to reflect accurate land mass or even turn the world upside down (my favorite) to illustrate that how we map the world is a matter of interpretation. Not surprisingly, Nestle’s boardroom reveals a lot about their colonial subjectivity, one based on what Vandana Shiva calls “monoculture.” Moreover, can you imagine a more sterile, disembodied space for decision making that impacts peoples in far off lands? Imagine the strange rituals practiced in this space of global command and control.
No doubt, Godfrey Reggio’s Koyaanisqatsi wasn’t the final word on cinematography’s powerful capacity to depict the environmental consequences of our modern world. With Manufactured Landscapes comes Jennifer Baichwal’s depiction of photographer Edward Burtynsky‘s stunning images of industry in China. If it’s true that what is not mediated doesn’t exist, we can say now that at least one frightening slice of the world, albeit a pretty massive slice, is here for us to behold. Blink at your own risk.
© Gleison Miranda/FUNAI
As a cultural meme, photos of the so-called “lost” tribe of the Amazon circulated more rapidly in the mediasphere than electrons buzzing through duel processors. But now that the images have been revealed to be a “hoax,” we should kick back in our collective armchairs and probe what happened. To be clear, the pictures weren’t a hoax per say, because the people depicted in them are real and do live off our grid, but the implication that they were unkown or off civilization’s radar was false. Survival International, one of the organizations who published the photos, said:
This is a classic example of journalists getting the wrong end of the stick. The only people who ever claimed that the Indians photographed were ‘lost’ or ‘undiscovered’ were…. the press, despite the fact that Survival has been campaigning for the protection of the many isolated Indian tribes on the Peru-Brazil border for more than twenty years…. Indeed, you might have thought that the fact that the Indians are living in a government reserve set aside for isolated Indian groups would tend to indicate that they weren’t exactly ‘unknown’.
I found the images intriguing as a media phenomena. With our point of view coming from the surveilling eye of extraterrestrial flight, I can’t help but feel like these are stills from a Star Trek scouting mission in which we– the humanoid aliens– are observing a distant world uncontaminated by our civilization. For many viewers, I’m guessing the reverse reaction was true: that the indigenous people covered in body paint and pointing bow and arrow at our high tech aircraft are the strange, exotic creatures of a “lost” world. But as a reflection of our own zeitgeist, the intrigue of a potentially “lost” tribe says a lot more about “us” (the scientifically “advanced” world) than “them” (the forgotten, primitive ur-past of yore). In our effort to name and identify the event at a distance– i.e. to “other” the Others– the media buzz surrounding these photos is yet another indication that we have become aliens in our home world.
The images struck a chord because of the nature of media (interesting pun), which survives by cannibalizing novelty. Any photo that presents “newness” metabolizes into information and will froth to the head of the noosphere only to be gobbled and digested rapidly like a yeasty beer. In particular, what drives media’s center of gravity is the striving for authenticity in order to fertilize its newness reproduction cycle. This is not without some irony. Upon looking up “authentic” in Merriam-Webster, I found several curious and contradictory definitions. One is “made or done the same way as an original,” and the other is “not false or imitation.” A photo can embody both senses of the word, because on the one hand it is an imitation of something– reality–, and the other hand, it is a reality unto itself. The tricky thing about photos is that we assume that they are facts, yet what we do with them, how we choose what we see and the impact of the photo is far from the reality it purports to represent. Add to that digital manipulation, context and framing– i.e. the “naming” of the image–, and you have one big fat dose of truthiness.
This is the subtext of the image controversy, because there is an underlying distrust of media and civilization itself as ultimately inauthentic. Most of us feel like the characters in The Matrix. The only way that machines can keep us interested is to offer us scraps of reality through these kinds of controversial images so that we can verify the existence of truth and the so-called real. Nonetheless, I happen to not believe in the simulacra argument, because most of our lives are actually not electronically mediated, though we assume that they are. The distrust of simulation is older than modern technology and particular to the European mindset, going back to Plato. He was the one who said the bed was a mere imitation of a more perfect bed made by God. His is not a bed made by machines, but by human hands with tools. The interesting thing is that human language actually evolved from our hands and the use of tools, not the other way around: technology is human communication.
Plato’s fear and distrust of appearances has repeated itself incessantly as a tulpa trapped inside a hall of mirrors that is now modern media. Advertising simultaneously assures us of the world’s stability while the news makes us fearful of its structural integrity. Despite this tension, the capitalist system of commodities and consumption has become nature, our habitat. It is so normal that anything that can differentiate itself from the ambient background of consumerism and the techno-fetishistic mind will become novel.
Nonetheless, in this semiotic war for attention, capitalism still struggles mightily to be relevant and real. The underlying argument of typical advertising pitches is that their product is “the real thing” (to paraphrase one of the more memorable slogans of the century). Marketers use every magician’s trick to offer us some kind of allusion to authenticity, be it the bodily sensations of fear, hunger, humor and sexuality, or to wink at us by acknowledging that we all know this is a con game. It’s a treadmill that marketers fear to jump off of.
Which brings us back to the photos. Like passengers in a spaceship Hummer driven by the corporate dream world, many of us have become accustomed to feeling like aliens on our own planet. I consider this kind of “alienation” the true source of our pill-popping, “social anxiety disorder” ways. I quibble with some postmodernists who contend we are too alienated to be alienated, arguing that alienation requires a sense of self, believing that when we are decentered simulations of our own beings, there is nothing to bounce off of. I disagree. I believe we yearn for nature and connection because they are tangible and exist no matter how minute the splinter in our minds and souls. Without this longing, advertising could never proceed because it traffics in the language of loss.
These images demonstrate, however, that the prevailing “lost” trope in the media zeitgeist is reversing: in our grasping for the real, more than ever we feel the urge to really be “lost”: off the radar, away from the cell phone, pager and Internet like Into the Wild‘s Chris McCandless or the actor reciting Jack Kerouac in a recent BMW ad. In our post-National Geographic world where all has been disovered, cataloged, photographed and integrated into the electronic sphere of our realm, there is little left for us to remember or know about how we used to be. But like the X File’s Agent Mulder, we feel the truth is out there, hovering outside us like pixel dust blowing in the cosmic winds.
Contact with “authentic” humans in the natural world gives us hope and wonder, yet the very act of taking the photos violates that innocence. Some even argue that trolling the forests for “authentically lost” humans violates their right to be uncontacted. Consider Star Trek’s Prime Directive:
“No identification of self or mission. No interference with the social development of said planet. No references to space or the fact that there are other worlds or civilizations.” (Quoted from Wikipedia)
Because these photos indeed touched upon the “lost” meme, they also drew awareness to Survival International and to the plight of indigenous people in the Amazonian preserve (an interesting word in itself) and elsewhere. The fact that ultimately we are talking about the fate of real people with integrity and just as much of a right to exist on their own terms as we do, makes the this whole discussion more urgent. The civilization end game is upon us, and our budget of cultural diversity is dwindling rapidly, suffering the same fate as the biological diversity that supports us.
So, while acknowledging that organizations like Survival International do necessary and important work, they also depend on the media to educated the public about their mission and projects. Like many NGOs, Survival International’s site has plenty of sensationalistic images and videos, which begs the question of whether or not other people’s suffering can be contained and communicated effectively through images. Is this unethical? Not necessarily, as long as we are clear about the game we are playing and the nature of how it works. But it certainly remains ironic that it’s through media that we have to communicate civilization’s inauthenticity via the language of propaganda and exploitation.
Bonus footage: the following is a short documentary produced by Survival International,”Uncontacted Tribes.”
In the decades since Kennedy’s death, we’ve achieved photographic ubiquity. Today, billions of tiny cameras record everything, and broadcast it all immediately online. The world, now, is constantly watched, each of us Zapruder himself.
Strangely, though, all these images have not pushed us toward greater collective agreement about what has happened, or what is happening, in the major controversies of the day. Sept. 11 is a primary exhibit, but in other issues, too, photos seem to prompt more disagreement than agreement: Images did not settle, for instance, what really happened between American and Iranian boats on the Strait of Hormuz in January. Indeed, the brilliant pictures that now come at us daily often only blur the truth, casting reality itself wide open for debate.
One cause of this is a phenomenon psychologists call “selective perception”…
An interesting article on how we interpret images. It brings to mind one of the kookiest presentations I ever saw, a talk by William Cooper (author of Behold a Pale While Horse) who explained how JFK’s driver shot the prez. He looped the video over and over again to the point that if he said jackie O did it, I would have believed him. Anyhow, 9-11 has spurned a cottage industry of photographic “evidence,” but the problem is that in the age of digital photography, it simply does not exist. This being a visual culture, it’s surprising that a belief in god is still so strong given the lack of visual proof. Nevertheless, images still are the most potent propaganda weapons, but depend greatly on context, which means either captioning, framing or presenting them in such a way that any sense of objectivity is impossible due to the mere act of suggestion.
Ya think the Earth is telling us something? The Atlanta tornado.
You can read my latest column on war, pictures and propaganda at Understand Media. Link follows.
Regardless of your opinions about the reasons for going to war in Iraq, the Bush Administration has relied heavily on media management and imagery to justify and promote its cause. Whether it is Secretary of Sate Colin Powell using a multimedia presentation at the United Nations Security Council to cajole a resolution to support military action before the war, or the now infamous publicity stunt orchestrated by the White House in which President Bush landed on the aircraft carrier donning a flight suit, framed by a large banner, “Mission Accomplished.”
Add to that the use of imbedded reporters and the vigorous attempt by the Pentagon to prevent photos of dead soldiers and flag draped coffins from appearing in the media furthers the resolve that images of the war would be tightly managed by the government. It’s no wonder than that historians of the future might regard the unraveling of domestic support of the war as coming from images in the media.
As they say, live by the sword, die by the sword.
Still, there is something predatory in the act of taking a picture. To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them they can never have; it turns people into objects that can be symbolically possessed. Just as the camera is a sublimation of the gun, to photograph someone is a sublimated murder – a soft murder, appropriate to a sad, frightened time.
Susan Sontag, On Photography
The votes are in. Streetsy has posted the most popular photos of street art in 2007. The winner is……
“muck on ludlow”
But I like this one the best:
Technorati Tags: streetsy
Truth Digg has this little reminder of how photography can translate wishful thinking into the subliminal:
Some photos documenting my obsession with street art. This set is from the streets of Rome.
Today I photographed this image from the cover of an old book being sold at my local produce market in Rome. It’s from the late fifties.
With the Greek statue of Victory at Ancient Olympia surrounded by fire, we see a perfect visual metaphor for the state of our world. From where I write I can see the island of neighboring Sicily and the smoke from fires that have been raging here in Calabria for the past couple of weeks. With a searing North African wind called the Scirocco (pronounced “Sheeroko”) gusting through, the combination of aridity and increasing temperatures are too much for the regional environment to sustain. Fire is purifying the land and our efforts to control the world.
The Greek statue embodies the ideal of rational man as separate from nature. This worldview smolders like the fires surrounding Olympia. Our mechanical, technological world is a direct consequence of the ancient Greek template to isolate and amplify our left-brain functions through the alphabet and to reject a right-brain, holistic conceptualization process of so-called tribal cultures. To be civilized was to impose upon nature certain ideals that don’t harmonize, but facilitate greed and selfishness. It’s fitting that the fires were started illegally to clear forest for development because it is not legal to build if there is forest in the location.
Even the concept of Olympia is questioned by the image: containing the force of the body through competition so as to restrain it within predictable outcomes is no match when the rivalry is with nature.
Finally, the photo itself is a kind of “truth” that we accept. By its fact of existence, we believe the reality that it contains to be valid as well, yet the truth is that a mediary chose to frame the perspective and point-of-view that is embodied within the photo. In this case he or she recognized that there was something significant in the relationship between the ideal of permanence set against a backdrop of catastrophe.
It’s hard to say what NYC Mayor Bloomberg has jammed up his you-know-what, but my guess is that the proposed new restrictions for small film crews and photographers in Manhattan may appease his friendly allies in Big Media who will be covering his not-yet-ready-for-primitime presidential bid. Here is a brief preview of the rules:
The Mayor’s Office of Theater, Film, and Broadcasting, which coordinates film and television production and issues permits around the five boroughs, is considering rules that could potentially severely restrict the ability of even amateur photographers and filmmakers to operate in New York City. The NY Times reports that the city’s tentative rules include requiring any group of two or more people who want to use a camera in a single public location for more than a half hour (including setup and breakdown time) to get a city permit and $1 million in liability insurance. The regulation would also apply to any group of five or more people who would be using a tripod for more than ten minutes, including setup and breakdown time.
Clearly the new regulations violate the spirit of independent filmmaking that made NYC great. It’s yet another example of how Manhattan is becoming a simulacrum of itself. But it doesn’t have to.
Technorati Tags: picture new york
Photo by Tony de Marco
I have only been to one place in the world where there is no advertising: Cuba. But if you include propaganda in that category, it’s in ample ample supply. Still, you have no idea how refreshing it is to be in a place without ads because in cities like New York the competition for your eyeballs is dizzying. Now it’s possible to enter another ad free zone: São Paulo, Brazil. As the article below indicates, the “Clean City” initiative took the concept of clean to the extreme. Accompanying the story are some really nice photos by Tony de Marco. You can see Tony de Marco’s flickr set of the adless city here.
In September last year, the city’s populist right-wing mayor, Gilberto Kassab, passed the so-called Clean City laws. Fed up with the “visual pollution” caused by the city’s 8,000 billboard sites, many of them erected illegally, Kassab proposed a law banning all outdoor advertising. The skyscraper-sized hoardings that lined the city’s streets would be wiped away at a stroke. And it was not just billboards that attracted his wrath: all forms of outdoor advertising were to be prohibited, including ads on taxis, on buses—even shopfronts were to be restricted, their signs limited to 1.5 metres for every 10 metres of frontage. “It is hard in a city of 11 million people to find enough equipment and personnel to determine what is and isn’t legal,” reasoned Kassab, “so we have decided to go all the way.”
I just love this photo spread, and this image of Jason Rowe in particular, of avatars and their creators. Click here for the link.
I was once on a panel with Lance Strate. He is a thoughtful, smart media ecology expert who recently wrote a provocative blog on the Virginia Tech murders. He is not the first to equate guns with cameras (Susan Sontag and Paul Virilio have each made the connection on a deep level), but I thought he made some particualry sharp observations about the manner in which news media allow themselves to be exploited by sensationalism. I encourage you to read the entire post.
Guns and cameras are both media of communication, as McLuhan makes clear in Understanding Media: The Extensions of Man where he includes chapters on the photograph, motion picture, television, and weapons–both guns and cameras are extensions of the human body, guns extending the fist and fingernail in their offensive capacities, cameras extending the eyes in their voyeuristic capacities. Both guns and cameras are means by which we mediate between ourselves and elements of our environment, they go between us our environment, and in doing so keep the environment as a distance from ourselves. Guns and cameras are both methods by which people communicate, sending messages to their target, and to bystanders alike–that is why we have phrases like, “the shot heard around the world” after all. Guns and cameras are both weapons, both used to attack and cause harm (e.g., the paparazzi, the private detective stalking the adulterer), both used to control and imprison–that is why we talk about cameras using words like shoot, snapshot, load (the film), capture (the subject, the moment), etc.–this is a deep metaphor that reveals an often-unconscious understanding of the link between the two technologies.
One of the primary propaganda techniques used by politicians is to stage photos, especially in the Bush White House. The ideas is to put the President in the context of other visual imagery, be it Mount Rushmore or in front of a portrait of George Washington. The most famous is placing Bush underneath the “MIssion Accomplished” banner during his now infamous speech on the aircraft carries USS Lincoln that declared major combat operations over in Iraq. Ironically, the official photos from that staged event are now re-cropped on the White House Web site so that the banner is no longer visible.
As an exercise, I highly recommend going the White House’s site and looking at these photos of the President’s so-called war on terror (an overused term I thought had been discarded). For those working with students, it might be interesting to ask kids what kind of textless narrative the images create.
Anatomy of a photo-op.
Bush at Walter Reed: “Journalists were allowed to take pictures and watch for only a few minutes before being ushered out, though not before Bush told photographers to take pictures of Sgt. Mark Ecker’s tattoo of a naked woman. Reporters were not allowed to interview patients in Abrams Hall, hospital officials said, citing logistics. The hospital instead made available two doctors, who spoke glowingly about the president’s visit and had no information to provide about the facility’s problems.” Bush wrapped up his visit an hour before the scheduled time.
UPDATE: “The president was not taken into the shut-down Building 18 yesterday but was shown a well-kept, empty dormitory room equipped with flat-screen television and desktop computer in Abrams Hall, where some Building 18 patients have been moved.”