Society of the Spectacle and War Photography

Society of the Spectacle and War Photography Discuss contemporary war photography in relation to Debords work on the Society of the Spectacle. Society of the Spectacle written by Guy Debord and published in 1967 at the height of the Vietnam war argues that the world has been overtaken by the notion of spectacle. Debord describes what the spectacle comprises of (in several numbered paragraphs); he says that, â€Å"In societies dominated by modern conditions of production, life is presented as an immense accumulation of spectacles. Everything that was directly lived has receded into a representation.† (#1) Debord is stating that life in the modern age has become fixated on reality as representation (i.e. by the media) real life experiences have been substituted for experiences that are digitally lived. Debord goes on to say that â€Å"the spectacle presents itself simultaneously as society, itself as part of society, and as means of unification. As part of society, it is the focal point of all vision and all consciousness. But due to the very fact that this sector is separate, it is in reality the domain of delusion a nd false consciousness: the unification it achieves is nothing but an official language of universal separation†¦the spectacle is not a collection of images; it is a social relation between people mediated by images.† (#3-4) With the rise of new media and the explosion of 24-hour news and reality television, it would seem that the existence of the spectacle becomes self-evident. Mass amounts of human beings are directed to gaze at what has become a global common culture, news and entertainment. For Debord, the spectacle is a tool of pacification and depoliticization; it is a â€Å"permanent Opium war designed to force people to equate goods with commodities and to equate satisfaction with a survival that expands according to its own laws†¦Ã¢â‚¬  the spectacle distracts from the most urgent task of real life. (#44) Debord argues, our sense of reality is nothing more than an immense accumulation of spectacles. All that was once lived becomes mere representation . Debords theory of the sectacle is similar to that of Baudrillards theories which concentrate on the ideas of a hyperreality. He considered a photograph to be a replacement for the real object. The lines of reality and non-reality have become so blurred in our society that a photograph can replace the real. Like Debord Baudrillards believed we live in a mediated reality, which prefers the symbol of reality rather than the thing itself. We are constantly bombarded with images form mass media that our own lives are own reality becomes entwined with the images we see. The boundary that should exist between reality and fantasy is erased. A consequence of the age we live in. Images depicting the gruesome nature of war are constantly available on television and in newspapers and magazines; every page turned reveals a new atrocity. We have been flooded with these images for so long that they no longer have an affect on us, instead on inspiring empathy and sympathy we are more passive to them a feeling of indifference. In the mass media if there is a story about celebrities or lifestyle it would surpass gruesome photographs of war. As a society weve almost grown accustomed to these types of images, seeing them everyday. In an essay entitled Photographs of Agony John Berger also argues that society has become immune to images depicting suffering saying that †¦ â€Å"In the last year or so, it has become normal for certain mass circulation newspapers to publish war photographs which earlier would have been suppressed as being too shocking. One might explain this development by arguing that these newspapers have to come to realise that a large section of their readers are now aware of the horrors of war and want to be shown the truth. Alternatively, one might argue that these newspapers believe that their readers have become inured to violent images and so now compete in terms of ever more violent sensationalism.† (ed Wells L, The Phtotgraphy Reader, chapter 27) Berger is questioning the effectiveness of the violent or shocking war photograph arguing that maybe the public have become immune to images of horror and the newspapers are competing to show ever more horrific images in order to gain pubic attention. We look around us and see a world beyond our control. Relying on advanced technologies to conduct war and to replicate it on film and TV has diminished our ability to distinguish between reality and entertainment, turning our experience of war into a mere spectacle. In regarding the Pain of others Susan Sontag Describes societies attraction to violent images†¦Ã¢â‚¬  Everyone knows that what slows down highway traffic going past a horrendous car crash is not only curiosity. It is also for many, the wish to see something gruesome†Ã¢â‚¬ ¦ there does seem to be a modern need fro the consumption of images of suffering. And this abundant supply of imagery has dulled our senses and created a new syndrome of communal inaction, we look around us and see a world beyond our control, which is what Debord was describing in society of the spectacle. In her early book On Photography Susan Sontag writes that â€Å" War and photography now seen insperable†¦Ã¢â‚¬  (pg167) and as war evolves and continues so has the photographers response to the effects of conflict. The Bulky large-format cameras of the 19th century prevented the first war photographers such as roger Fenton from capturing the action of combat instead their photographs concentrated on the aftermath of the battlefields. With the technological advancement of cameras and not needing to haul darkroom equipment with them the first world war photographer could get closer to combat and then during the 2nd world war the introduction of the 35mm camera increased the intimacy of the cameras eye, enabling photographers to become part of the action, in a way the first exponents in the 19 century could never have dreamed. During the Vietnam war photographs could now been seen within days of them being taken, the immediacy making the images relevant and challenging the inevitability of war the viewer was now looking at something which is part of the present, and which carries over to the future. For a century and a half the camera has been witness to events that have shaped and shocked the wor ld, capturing these images forever. We might now live in a world of multi channel television, 24-hour news coverage and instant his on the Internet, but it is the still image that provides the most powerful record of our history, good and bad. The still image seems to hold so much power over us, they last, television is passing and goes by quickly, photography lasts, imprinted on paper and in the mind. War and the effects of warfare have always been explored throughout history in literature, poetry, art, film and photography. Before the first world war the depiction of battles by artists were often of soldiers and generals depicted as heroes, in their uniforms adorned with medals but during the first world war when artists were sent to the front line to record the scene, what they saw there defied their imagination. It soon became clear that the traditional painting couldnt capture the full horror of warfare. The modernist painters began to look at the universal grimness of war, the harsh reality of the world and painted not what they saw but what they felt. For example the artists Paul Nash who served as a solider, portrayed the battlefield in a painting titked Menin Road in 1919, what he depicted was the aftermath of war, a barren scene of an almost alien world the surreal colours a purple blue sky the mutilated bare trees, bursts of smoke rising from the debris strewn ground and blue light filtering through the clouds completely empty apart from four lonely figures in the background. Nash wanted rob warfare of its last shred of glory and its last shine of glamour. Francisco Goyas series of etchings Disasters of War depicts the horrors of the Napoleonic invasion of Spain in 1808 during which French soldiers brutally tortured the Spanish peasants and the Spanish responded with their own acts of cruelty. The works were withdrawn and withheld from publication during Goyas lifetime because of their controversial and disturbing qualities. Susan Sontag writes of Goyas etchings in Regarding the Pain of others, â€Å"†¦Goyas art seems a turning point in the history of moral feelings and of sorrow-as deep, as original, as demanding. With Goya a new standard for responsiveness to suffering enters art Goya was witness to these events during the war, but the etchings depict imagined scenes of the atrocities of violence where the lines between real events and imagined ones blur creating a unique reality that is complimentary yet distinct from the historical realities of war. As the viewer is not lead to believe the images are exact reproduction of act ual events the effect is one of a sincere meditation on the terrifying potential that resides in all humans. The images dont specify who the people are-the soldiers could be French or Spanish, the dead tortured bodies could be those of civilians or soldiers giving the viewer a more open interpretation bringing images to life in a way that relate to personal experience. Goyas images are constantly being revisited looking at Francis Bacon triptych Three Studies for Figures at the Base of a Crucifixion 1944 the twisted screaming distorted creatures depict mans inhumanity to man and capture the fear of the future mood after the second world war and still our mood today, bacon like Goya still has a hold over our imagination, for example the Chapman brothers reconstructed the Disasters of war in 1991 using miniature plastic figurines. Painting and sculpture are clearly viewed as interpretations of the effect and consequences of war, with photography the assumptions is that images are seen as a document they appear real, even when we know photographs can be faked and subject to the photographers view of events. In On Photography Susan Sontag wrote†¦ â€Å"War and photography now seem inseparable.† In On Photography Sontag explains what she saw as the sad state of a society that lived at a more and more voyeuristic distance to the first hand experience of reality. In accordance with this Sontag describes the photographers whose personal concern was apparently with finding out and understanding, were doing no more than satisfying the human thirst for sensation and driving this to extremes by ever more sensational images, until ultimately all feeling was lost. In the book The photograph as contemporary art†¦Ã¢â‚¬ ¦describes the contemporary war photographer†¦ â€Å"The use of medium-and large-format cameras (as opposed to 35mm format), not normally seen at the sites of war and human disaster-not at least, since the mid-nineteenth century-has become a sign that a new breed of photographer is framing the social world in a measured and contemplative manner†¦Ã¢â‚¬  She goes on to say†The subject matter has been different, too; rather than being caught up in the midst of an event, or at close quarters to individual pain and suffering, photogrphers choose to represent what is left behind in the wake of such tradegies, often doing so with style that propses aqualifying pperspective.† It is clear to †¦Contemporary war photographers have in the main taken anti-reportage stance; slowing down image making, remaining out of the hub of action, and arriving after the decisive moment to allow the viewer a more contemplat ive look at war and the effects of war. Using Photomontage Martha Rosler infiltrates our comfort zones and reveals the dangers involved in an illusionary distance often created by the mass media between war and ourselves. By using images from magazines of advertisements combined with military images of soldiers and weaponry she transforms the notion of the safety of a home into one under assault. Her intent is to project the terror and atrocity of war into the comfortable place in which we live. She employs devices that work against the seduction of advertising and consumer imagery, the process of photomontage allows her to expose the gaps between image and reality, and ultimately make the viewer aware of an out of place presence. She addresses the impact of the mass media who according to Debord make the images of horror seem mundane and remote by pointing out the implicit presence of militarism in our daily lives, by juxtaposing popular lifestyle magazine images with stark images of war. The French Photographer Sophie Ristelhuber Photographs depicts the aftermath of war they are usually un peopled with no survivors and no dead, concentrating on the spaces of war rather than its participants, the scars and burns are found on buildings and landscapes rather then the people. Her photographs of the Kuwaiti desert, entitled Fait were made shortly after the end of the first Gulf War. Many of the photographs from this series were taken from a ariel viewpoint This elevated angle creates a distorted abstract view of trenches, tank tracts, bomb craters, blazing oil wells and battlefield detritus. You have to look carefully and closely at the photographs to discover that the lines and tracts objects engulfed by the sand are the results of war scarring the landscape emphasising how vast and sprawling the effects of war can be. Sophie Ristelhueber describes the effects of scale and perspective in her work: †¦.†The constant shift between the infinitely big and the infinitely small may disorientate the spectator. But its a good illustration of our relationship with the world: We have at our disposal modern techniques for seeing everything, apprehending everything, yet in fact we see nothing.† Ristelhueber recently won the Deutsch Borse Photography prize 2010, which included set of images titled eleven blowups, a series of images of huge craters made by bombs In Beirut and Iraq, again the y describes the devastation war leaves behind both on the earth and the body. Paul Seawright photographs the traces of destruction that war leaves behind in a place The solitary places in Seawrights photographs seem to be concealing something they require the viewer to look beneath the surface of the image the isolated barren areas reveal hollows where mines have been cleared or left unexploded, or the subtle rubble of military debris strewn across the desert landscape. The quiet subtlety and blankness of the desert distances them from the spectacle associated with the medias representation of war, there is an unknown tension in the images Seawright generates a view of the futility of war. One of his photographs is almost identical to that of Fentons photograph of the Crimean war depicting empty cannon balls in a valley illustrating the fact that despite its technological advancements war is fundamentally always the same. In his book Hidden Seawright says that he has†¦ â€Å"always been fascinated by the invisible, the unseen, the subject that doesnt eas ily present itself to the camera.† Landlands And Bell were commissioned in 2002 by the imperial war museum to make an artwork in response to a two-week visit to Afghanistan and what they experienced there. Landlands and bells work characteristically focuses on the interconnected relationships linking people and architecture. They say: ‘were totally surrounded by architecture. It is the most tangible record of the way we live because it describes how we relate to socially, culturally and politically. It is the most persistent of the way we live-our aspirations and beliefs.† The result was among other video based works The House of Bin Laden. Presented as an interactive piece similar to a video game the viewer is in control via a joystick to explore a reconstruction of Osama Bin Ladens barren hilltop bunker. The viewer can virtually travel through a bleak set of derelict houses, surrounded by burnt-out cars and debris. Langlands and Bell took thousands of photographs of the house near Jalalabad, The eerie interactive digital exploration of Osama bin Ladens house offers an unsettling experience, and engages with the viewer in a totally new way regarding war photography. The houses surprisingly small and basic. Piles of blankets and clothes are strewn in the rooms elsewhere a single string bed is isolated in a dark corner. Outside there is a series of strangely constructed bunkers and a small mosque. Being in control of looking at the work almost feels like observing a crime scene. The buildings and grounds are absent of any human presence thought signs of people who were once there are constant, although the elusive bin Laden is nowhere to be seen, his presence can still be felt in this mesmerizing and ancient environment. It brings us disturbingly close to him, even as it emphasizes his continuing ability to evade capture. The House of Bin Laden becomes a metaphor for the elusive presence Bin Laden maintains by the very fact of his disappearance. By presenting this piece as an interactive game like simulation Langlands and Bell are actively engaging in the idea of the spectacle by using what is essentially and entertainment based media and allowing the viewer to control their viewer using a joystick, it could be argued that by combing entertainment and unreality with real life situations speaks more to a generation obsessed with mass media. They do not attempt to make the 3d environments look realistic like the photographs they took instead it looks constructed exactly as a computer game would look, angular and flat. I personally experienced this work when I saw the Turner Prize in 2004, and it is clear that their intention was for this piece to be viewed and experienced like a computer game. Violent warfare is sold as entertainment in the form of computer games whose manufactures claim to make them as realistic as possible. Thus reflecting modern societies engagement with entertainment as opposed to real life issues. There seems to be a move in contemporary war photography to a more contemplative and abstract approach, maybe this is as Debord describes because we are use to the violence and horrors the ‘spectacle of war presented in the media, and have become almost immune and unmoved by these images. we can never experience the true horrors of war unless from first hand experience but photographers seem now to be taking the stance of the modernist painters of the first world war who painted what they felt rather than what they saw. Contemporary photographers are interpreting these events rather than documenting them, in a way that enables the viewer a more contemplative approach to the contemporary war photograph.

Against School-Engaging The Text Essay

1. Question: Why does Gatto think that school is boring and childish? How does Gatto’s depiction of school compare with your own elementary and secondary school experience? Answer: Gatto thinks school is boring because the teachers and students are bored with material. The students say they already know the material. I can compare my school experience to Gatto’s depiction of school. My experience in elementary was a breeze and easy. Then I entered secondary school and was shocked. I was shocked that I had nobody to hold my hand and tell me what to do. I was given assignments and dues dates. It was up to me to get them done in time. My teacher’s taught me with their opinion, I really didn’t learn by that kind of teaching. But I read the text and studied hard, a way that I learn the best. 2. Question: What, according to Gatto, are the six unstated purposes of public schooling? To what extent does your own prior educational experience support this bleak view of American education? Answer: The six unstated purposes of public schooling are as follows 1. Adjustive or adaptive function: more discipline then educating 2. The Integrating function: being made to be someone you are not 3. The Diagnostic and Directive Function: a lot of testing 4. The Differentiating Function: teachers holding back the students and not letting them achieve their goals 5. The Selective Function: students are being put down and not able to succeed 6. The Propaedeutic: students are taught to be robots and to do what they are told and not ask questions. This view sort of pertains to me. I was taught by the teacher’s liberal views and opinions. I was raised to respect to others opinions. But I don’t give into the thought or idea that I am to learn and think because my teacher told me so. I did my work and did quite well without using their opinions. 3. Question: To what extent would you agree that we really don’t need to go to school? Given the current state of technology and globalizing economy, do think most people would gain the abilities they need to survive and thrive through homeschooling? Answer: I think education is VERY important. I disagree that kids do not need to go to school, they need to go. I think the school system and teachers can make school more appealing to students by changing the way they teach. For example they can do group activities, hold class somewhere else other than a classroom; like Starbucks, outside in the grass, a park. Anywhere where its stimulating, that way each day is a question of where is class going to be today? Homeschooling is good if you are self disciplined. I was homeschooled the first three months of my senior year in 1997. I graduated in November 1997 instead of June 1998. It depends on the person, if you are a go getter and want a way out of the school system ( in my opinion holds you back), then homeschooling is the ticket. 4. Question: How would you go about teaching your own children to be â€Å"leaders and adventurers† to think â€Å"critically and independently,† and to â€Å"develop an inner life so that they’ll never be bored†? How many parents, in your estimation, have the time, experience, and resources to make Gatto’s ideal education a reality? Answer: In teaching my children to be â€Å"leaders and adventurers† and to â€Å"think critically and independently,† I would teach them the basics of right and wrong, respect their elders, and most importantly respect yourself. What you say and how you handle yourself is always watched by others. I would be sure to teach them to be open minded about other’s opinions. And to ask questions to why they have that opinion, you may be enlightened and see your opinion a different way. Asking questions and learning from them will make you smarter person. I believe my child will be successful in school and out of school, if I raise them with integrity, respect, good work ethics, and good morals. But in this day and age many parents cannot do that, due to the lack of time, lack of knowledge, and the lack of knowledge. I taught myself when I did the homeschooling program through BYU, it was hard not having an instructor to help me. And my parents tried to help but luckily I had internet access. My Reflection. In reading Against School, I thought it was written like a factual story. I did learn a lot about the history in how school used to be. Back in the early years, education wasn’t that important. What was important was money, race and social class. They used a lot of discipline as well. The teachers and students are bored with the material and with school in general. Often teachers teach with their opinions and what they have been taught. I think that if teachers learn with the students and be open minded with what they are teaching, the students may opt to want to learn and enjoy school. The Summary Against School is about a retired teacher named John Gatto. He explains how school is boring for the students and teachers. He feels that the students are bored because the teachers are bored too. Its same material year after year, same classroom year after year. The students want to learn freely instead of being forced to learn. He feels schools have changed our children into addicts and children into children. He also feels that we suppress our genius because we don’t know how to handle them. His solution is to let them be their own person and think for themselves.

The Design of Microsoft® Support Network 1.0

Microsoft Corporation Microsoft Corporation: The Design of Microsoft ® Support Network 1. 0 1. What factors suggest that Microsoft's PSS Division needs a more comprehensive and flexible approach for its service offerings? Admittedly, Microsoft's support services were not as good as those offered by some competitors. Several factors contributed to the nondescript nature of Microsoft services. Previous support service policy had been determined at the product level. Annually, each product manager negotiated with PSS over the type, extent, and pricing of services to be offered to customers along with their products. Because Microsoft had 150 products, the result was a hodgepodge of service offerings. Some products had no support services, some offered unlimited â€Å"free† service that was accessed by phone via a â€Å"toll† number, and still others provided extensive telephone service â€Å"for fee†. For customers, particularly those that owned and used several Microsoft products, the service offerings were confusing because it was difficult to know which service came with which product. Moreover, expert users felt that they were paying for services they didn't need on basic applications. At the same time, they could not get sophisticated support services on some of Microsoft's newly introduced line of highly technical advanced systems, even if they were willing to pay extra. 2. Based upon the guidelines that senior management has provided to Trish May, what product support strategy has Microsoft envisioned? Before the PSS task force started its work in December 1992, Patty Stonesifer, Trish May, and key team members, along with the input of Bill Gates, Steve Ballmer, and Mike Maples, devised a set of goals that were to guide efforts and serve as the basis for all technical support programs. These included: †¢Microsoft technical support services should reinforce and enhance the high quality of Microsoft products. Bill Gates insisted on this goal. He maintained that Microsoft needed to deliver a comprehensive offering to the marketplace that was comprised of both high quality products and support services. Gates was willing to invest significant resources into technical support services to improve their overall quality and customer perceptions of them. †¢Choice, Quality, and Simplicity should characterize all technical support programs. Based upon several market research studies and experience, the task force concluded that customer satisfaction would be sustained by delivering technical support that met customer needs in three ways. First, support programs should offer customers a choice. Those who â€Å"did not want to pay for support they didn't need† should be able to buy software alone, at a price that did not include service costs. At the same time, customers that â€Å"wanted more support and were willing to pay extra for it† could also do so. Second, all technical support provided by Microsoft should meet or exceed industry standards for quality. Third, all technical support programs should be marked by simplicity; that is, customers should have little difficulty understanding Microsoft's offering and how it applied specifically to their needs. †¢Technical support services should be a â€Å"cost center† for the Microsoft Corporation. On this point, there was uniform agreement in the company. As managers saw it, Microsoft's â€Å"core competence† was its technology. Though important, technical support services were not seen as a potential source of corporate profits. Instead, Microsoft was prepared to invest in them in the short run, with the eventual goal of breaking even. †¢The Microsoft Corporation should be the technical service provider of â€Å"last resort†. Microsoft managers took progressive steps to leverage the work of PSS engineers. First, the development group engaged in continuous efforts to make all software as â€Å"user-friendly† as possible. Resulting reductions in user problems would lower demand for service. Second, managers initiated special efforts to give customers tools and information, so that they could resolve as many problems themselves as possible. Third, the firm would inform customers about and encourage them to use third party service providers (e. g. , VARs, dealers, ISVs) in their communities and industries. Finally, if the first three methods proved ineffective, then managers would actively directed customers to PSS personnel. 3. How should the Microsoft Support Network 1. 0 matrix be structured in terms of rows and columns? Early on in their analyses, the task force hit upon the idea of using a matrix to summarize the various service offerings. Members referred to it as the Microsoft Support Network 1. 0. The rows of the matrix would consist of major service groupings, while the columns would capture the differences in those services across product or customer segment categories. In turn, each element in the matrix would describe a specific service offering and include a fee structure. To avoid customer confusion, the group concluded that 4 rows and 4 columns should be the largest size of the matrix; however, no research had been done to confirm this. Although the concept of a service-offering matrix received enthusiastic and universal approval among Microsoft managers, there was widespread disagreement over the make-up of the rows, columns, and elements. Trish noted that the matrix could be constructed in several ways. Each had distinct advantages. 4. What implementation problems should PSS managers anticipate? How can PSS managers successfully overcome them? Main problem – to offer some free services for its software and if yes which ones. Such services should be implemented and delivered to customers, some for free and some for a little fee. Also there exist many different competitors who offer rivalry products for the better terms. For example Adobe gives its customers some cards on which they get bonus points and then have the opportunity to exchange them for the service delivered. Company also has a problem with communication and making its customer to understand what they are selling. There are cases when customers did not clearly understand what they are paying for or what problems will this software solve for them. Management first of all should allocate priorities, based on the overall corporate goal of the company. As far as I can see from the case company management clearly understands that they need something to change, they know that this something is the new support system more frequently working one. Also hey know that this would need investment and are ready to pay for it, because the most important they understand that without that system harmonic development of the company would be almost impossible. So as I think Microsoft first should listen to heir customers understand their needs clearly and deliver the value that way, cause without clear understanding what your customer wants good, workable strategy will be impossible to implement. And the last one Microsoft should understand that they do not need complicated software with many gadgets and etc. neither they are the experts (all of them) in the field of IT, so the one thing they want in easier solving of problem. If Microsoft will manage to this by better communication, more user friendly programs etc. it does not matter for the customer. Customer need problem solving not the exact product.

School Uniform Policy And Student Achievement - 939 Words

Implications Much of the current school uniform policy literature offers descriptions of potential strategies to achieve successful school uniform implementation. After reviewing all literature, the finding provide some support on school uniform policy and student achievement. Survey No.1, student survey indicated that combined with both schools, more girls participated in the study than boys. The results were very similar in both school results that most males and females did not agree with the uniform policy. Specifically more females, one hundred and seventy eight females overall did not agree. Students indicated that they totally disagreed with the school uniform policy because of their identity restrictions, which the school have enforce on them. The majority of the students from LaGrange High School who participated in this study were ninth graders. However, at this age students are going through identity crisis and are trying to find themselves. School uniforms identify students as a group or the same person because everyone wears the same style and color of clothing. Which is very good because school officials can identify outside intruders from students. But students do not want to look like each other, they want to be different. Schools often adopt the school uniform policy as a way to improve student self-esteem and cut down clothing cost to parents. Several students did indicate, on the survey that school uniforms help them to feel safe at school. This is anShow MoreRelatedSchool Uniforms And The School Uniform1422 Words   |  6 Pages Most of schools have different policies regarding the school uniforms. There was increase in the school that ask their students to wear a uniform. However, the benefits of the scho ol uniform still unclear for many people. So, the researches conduct research about the actual benefit of the school uniform. 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