"These methods, which made possible the meticulous control of the operations of the body, which assured the constant subjection of its forces and imposed upon them a relation of docility-utility, might be called 'disciplines." (Foucault, 7).
From this knowledge, the photograph becomes a tool with which shifting assemblages of practice, culture, custom & knowledge can be dissected for interrogation. A collective visual discourse with which we can examine the past, present & future.
This information can assist in the professional examination of circulation, cultural meanings, objects and identities in converging time-space social reality. This type of investigative research is known as a multi-sided ethnographic study. A multi-sided ethnographic study follows the conjunctions and juxtapositions of human interaction within virtual and physical locations in the time-space continuum.
"Paradoxically, photography has been used either to expose the social problems of the proletariat or as propaganda for social control by the state. State and social relations during the 1960s in the United States is a prime example of these forces at work. Photography was used to document the social lives of the counterculture at political demonstrations, the conditions of poverty created by racial and economic inequities, and violence occurring in war zones abroad. Photography was also used by the federal government to produce a romanticized narrative of prevalent social conditions in an effort to increase support of recently introduced welfare programs.
Since the 1960s, knowledge and practice of visual sociology in academia has dwindled. Many modern sociologists are not trained in visual research methods and are not skilled in evaluative photographic research."
“Does the nudity undercut the images of toughness? That even a tough woman can still be made to strip for a camera may merely reinforce her domination by male patriarchy (810).”
“At sunrise, in the morning, the salt air of the seemingly mystical-like isle blows across our faces. We come to the water. Outstretched hands guide us through rocky sand and mild waves to a circle of faith in cold healing water; a circle of love seems to envelop around us as we form a circle holding hands. Exercising at play, our outbursts of song and prayer are spontaneous and joyful. We are in another realm, and we are with our sisters (221).”
"The images present an argument for a sense of continuity of aboriginal presence and identity in such spaces, but they resist being cast into categories of sameness or difference that the previously discussed colonial images portray (43).”
“Consumer-society photographers approach but do not enter. In hurried visits to scenes of despair or violence, they climb out of the plane or helicopters, press the shutter release, explode the flash: they shoot and run. They have looked without seeing and their photographs say nothing (426).”
"To pre-judge propaganda as inherently immoral fails to appreciate its positive value to gather and disseminate credible information (107)."
- Peter Szto.
“... taking photographs is not anymore a primary act of memory with the social function of portraying the family moments, but it has become an instrument of forming and communicating individual identity (177).”
"Genesis is an attempt to portray the beauty and majesty of regions that are still in pristine condition, areas where landscapes and wildlife are still unspoiled, places where human communities continue to live according to their ancient culture and traditions (432)."
- Salgado; Images, Ideology, and Praxis in the Environmental Movement.
"You didn't have to be a "revolutionary" to be part of the Revolution - and even if you were innocent, you could be beaten & gasses just for watching... I came to know gunfire and panic and the sight of my own blood on the streets."
- Thompson (xxiv).
“The journey home is no more or less than the awareness that comes with the living of each moment, day by day. The way is simple, yet the truth must constantly be repeated. I am this whole world. The search for a spiritual home in this Midwest landscape is just that much (231).”
“... his photographs do not tell, they show, and in showing they enable their beholders to arrive at their own conclusions, to formulate their own truths, within a system of meanings crystallized by the legacies of activism and repression (149).”
"See his crown of thorns. His bleeding face in the whole photo... the middle of this forehead mutilated during the flagellation and his falls (439)."
"Our everyday life becomes pervaded with a reality which increasingly comprises representations in which the space of the signifier is invaded by the referent, and where the signifier invades the place of the referent. While modernism has the problem of how to represent reality, postmodernism injects a flimsiness and instability into our experience of reality, and thus poses the problem of what reality is (134).... It presents the imaginary as real, and undermines any contrast to the real, absorbing the real within itself (128)."
-Visual and Verbal Critique, Chaplin.
"He argues that deconstruction must involve desire - the body's energy charge, its libidinal intensity. According to Freud, desire is intolerable, and must be released. Lyotard argues that all cultures, including capitalism, use their power to dam it up and thereby profit from it. Thus power prohibits the free reign of desire, forcing it to seek release in fantasy, in the contemplation of ideologically generated fetishes (124)."
“Through the photographic prism, one discerns better how the project of a total science of society, capable of embracing all aspects of reality, visible and invisible, embodied and objectified, and of laying bare the social causes and reasons for its unruly course, not only made intellectual sense. It met a vital existential need and harnessed the impetuous civic urges of Bourdieu by giving him a concrete task in and an urgent mission in which to lose himself (481).”
- Les Back.
“The tension is between wanting to live or experience the idealized gemeinschaft-like, old-fashioned “village-like neighborhood lifestyle (where neighborliness and close-proximate living is deemed valuable), and the modern realities of wanting to keep others out, at a distance, where one’s own privacy, security, and additional need for space are valued over these more traditional interests (50).”
“...imposing publishing norms, demarcates the field of what is publishable and operates in the same way as the machinery of censorship, discouraging the production and even the conception of works that do not fall into any recognized class.”