Alexander McQueen Spring 2010

from the minute 1.30

Oren Ambarchi - Alma (possible music)

Image-World

Though these two attitudes, the aesthetic and the instrumental, seem to produce contradictory and even incompatible feelings about people and situations, that is the altogether characteristic contradiction of attitude which members of a society that divorces public from private are expected to share in and live with. And there is perhaps no activity which prepares us so well to live with these contradictory attitudes as does picture-taking, which lends itself so brilliantly to both. On the one hand, cameras arm vision in the service of power-of the state, of industry, of science. On the other hand, cameras make vision expressive in that mythical space known as private life. In China, where no space is left over from politics and moralism for expressions of aesthetic sensibility, only some things are to be photographed and only in certain ways. For us, as we become further detached from politics, there is more and more free space to fill up with exercises of sensibility such as cameras afford. One of the effects of the newer camera technology (video, instant movies) has been to turn even more of what is done with cameras in private to narcissistic uses-that is, to self-surveillance. But such currently popular uses of image-feedback in the bedroom, the therapy session, and theweekend conference seem far less momentous than video's potential as a tool for surveillance in public places. Presumably, the Chinese will eventually make the same instrumental uses of photography that we do, except, perhaps, this one.

Our inclination to treat character as equivalent to behavior makes more acceptable a widespread public installation of the mechanized regard from the outside provided by cameras.
China's far more repressive standards of order require not only momitoring behavior but changing hearts; there, surveillance is internalized to a degree without precedent, which suggests a more limited future in their society for the camera as a means of surveillance. "


"A capitalist society requires a culture based on images. It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetize the injuries of class, race, and sex. And it needs to gather unlimited amounts of information, the better to exploit natural resources, increase productivity, keep order, make war, give jobs to bureaucrats. The camera's twin capacities, to subjectivize reality and to objectify it, ideally serve these needs and strengthen them. "

"Cameras define reality in the two ways essential to the workings of an advanced industrial society: as a spectacle (for masses) and as an object of surveillance (for rulers). The production of images also furnishes a ruling ideology. Social change is replaced by a change in images. The freedom to consume a plurality of images and goods is equated with freedom itself. The narrowing of free political choice to free economic consumption requires· the unlimited production and consumption of images. "

"Our oppressive sense of the transience of everything is more acute since cameras gave us the
means to "fix" the fleeting moment. We consume images at an ever faster rate and, as Balzac suspected cameras used up layers of the body, images consume reality. Cameras are
the antidote and the disease, a means of appropriating reality and a means of making it obsolete."

Susan Sontag - The Image-World