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Installation ideas

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New picture research for second video in Augmented Reality. Two paintings from National Gallery W chick they may be a trigger image and recent images of children affected by stupid adults war. I’m not sure yet what image I’m looking for, children working or children victims.

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POST ONE-TO-ONE WITH DISSERTATION TUTOR: DAVID CAMPANY

David Campany helped to narrow down my theories and evaluations set in place for my dissertation: The Eroding Affair of Ethics Regarding War Photography. 

My initial objective was to focus upon the ethics set in place for visual journalists by the National Photographers Press Association. Campany questioned whether these code of ethics are followed purely for and by all photojournalists. As they are underlined by the National Press Photography Association, they are in fact set for the Associated Photographer of its community. In order to ease my research and theories whilst maintaining the structure of the dissertation coherent, focused and sharp, Campany opened the idea of focusing upon the photographs of war and post-war which were hidden from the wider public.

This proposal began by discussing Ernst Friedrich’s photographic publication War Against War (Krieg dem Kriege! Guerre a la Guerre! Oorlog Aan Den Oorlog!). Which then later developed into the discussion of Susan Sontag: Regarding the Pain of Others. 

Below are several books suggested by Campany during our tutorial.

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This Wouldn't Be The First Time a Child's Photo Changed History

suffering of children in war as VOYEURISM ?

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THE CRUEL RADIANCE

Just like Ariella Azoulay’s book on The Civil Contract of Photography, Susie Linfield begins her voice towards photographs of suffering from her personal experience towards spectating war – but rather through spectating the effects of war through imagery, not through her actual eye, like Azoulay. Claiming she did not comprehend what the text around the images declared, she later expresses that in fact, the imagery of pain described what happened to the subjects in The Black Book of Polish Jewry during the Holocaust. Linfield passionately declares that spectating such imagery is an ethical requirement to the human as it permits individuals of society in understanding the capacity for cruelty. Her work will support the ethic: ‘do not intentionally sabotage efforts of other journalists’, in relation to editors filtering, trimming or even subtracting particular photographs for the press, when in fact those particular photographs could prevent an echo of history. 

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REGARDING THE PAIN OF OTHERS

Regarding the Pain of Others is a reflective analysis in relation to photographs of suffering since the 19th century. Sontag’s reflection on her historical, literal and photographical references does not require a thorough understanding of the photographic theory and knowledge of the history regarding photojournalism. The Eroding Affair of the Code of Ethics Regarding War Photography will analyse the culture of desensitisation towards photographs of suffering and trauma. In her book, Sontag questions whether we as spectators are indirect victims of the pain depicted and symbolised in the materials that we have the ability to turn away from. Addressing that we should be psychologically influenced of war imagery, Sontag writes that we as spectators are not morally defective to what editors place on our laps. Sontag’s words will encourage a scrutinising question of the thesis: ‘what measures are photojournalists and/or editors doing to battle the desensitisation of viewers?’

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DISPATCH: WAR PHOTOGRAPHS IN PRINT 1854-2008:

Dispatch will aid The Eroding Affair of the Code of Ethics Regarding War Photography in relation to an examination of the production in war imagery, the roles of photojournalists and their professional collaboration with editors of the press. As a short book, flowing with prestigious and not so focused photographs of the Crimean and Afghanistan Wars, Dispatch considers the representation of war whilst profoundly interrogating how the field has developed over 150 years. The thesis will consider the roles and verdicts shaped through editorial authority and therefore altering the photojournalists initial objective which will welcome ethical considerations. This theoretical assessment of Dispatch compares the original prints to what has been reproduced in magazines such as Life. Furthermore, the book expresses the authority decided by editors in order to suit their [news corporations] needs which will maintain my argument concerning how there’s more to war photography than just capturing the scene.

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THE CIVIL CONTRACT OF PHOTOGRAPHY:

Carved by a witness of war, Ariella Azoulay evaluates the ethical and political status in photography. Azoulay reflects on what the camera is, how it has developed into something mechanical and how contemporary acts as a ‘transit visa’. Contemplating on the ego of mankind, The Eroding Affair of the Code of Ethics Regarding War Photography will reflect on how the camera gives power to those who hold the shutter. Considering what it means to be a photojournalist due to: the development of photography, tolerable public access to mechanical cameras, Azoulays opinions on photographs of Abu Ghraib prison give an insight.