In On Photography, Sontag classifies three different acquisitive functions photography fulfills: photography as "surrogate possession"; photography as "consumer's relation to events"; and photography as "information (rather than experience)" (150).
Choose either the photographs by Paula Zuccotti, Gordon Parks, or Jesse Burks, and explain how that photographer's work embodies Sontag's system of classification. In your explanation, use another quote from her essay "The Image World."
The photographs by Paula Zuccotti match Sontag's system of classification, which includes photography as "surrogate possession", "consumer's relation to events", and "information (rather than experience)" (p. 155). Zuccotti's photos exemplify "surrogate possession" because it captures each and every object that the subjects have touched in one day. Sontag states that this classification "gives photographs some of the character of unique objects" (p. 155). While each image may have similar objects, such as clothing, that and many of the other objects touched are vastly different. David from Tucson appears to ride horses while Nick from San Francisco appears to rock climb and create music. Zuccotti's photos give us a look into people's lives through the objects they touch daily. Zuccotti's photos also exhibit a "consumer's relation to events" by showing a variety of lifestyles that the viewer may or may not relate with. Someone in California may relate more to Nick because of his clothing and creation of music while the midwest may relate more with David from Tucson because of his work with horses or other animals. While the viewer may not relate to either Nick, David, or neither, Sontag explains that "[habit-forming consumership blurs] between the types of experience" (p. 156). Finally, Zuccotti's photos validate Sontag's classification of photography as "information (rather than experience)" because the objects in each photo give the viewer information of the subject's daily life without ever knowing or meeting them. The viewer is able to determine that David from Tucson works with animals in some way because of the hay, saddle, and tools present in the photo, while the viewer may figure out that Nick from San Francisco rock climbs, creates and plays music, and purchases items from a specific clothing brand. The viewer is able to know someone that he or she has never met, backing up Sontag's statement that photography is "[effective]" in furnishing knowledge dissociated from and independent of experience" (p. 156).
ReplyDeletePaula Zuccotti’s series “Every Thing We Touch” fulfills the three different acquisitive functions of photography. Zuccotti’s photos are seen as a “surrogate possession” (155) because the objects that people touch throughout the day are largely something cherished. The objects are exclusive to each person because everyone is different. For example, one person may find that his/her phone is most cherished and, therefore would be one of objects most often touched throughout the day. Another person may consider a book as the most cherished item. The beauty of photography is realizing that each person has a unique look on images they wish to capture through photographs. Zuccotti’s photos are also a “consumer’s relation to events” (155). Clearly, the objects of the people who participated in “Every Thing We Touch” were materialistic items that the participant (consumer) found necessary for life. One photograph was of many items related to the outdoors. Just by glancing at the items, I am picturing a young man who has a hobby of being outdoors. The items included a saddle, reigns, hay, and tools. The consumer dictates these items as necessary and uses them because they are unique and important to him. Finally, Zuccotti’s photos are considered “information (rather than experience)” (156). The designer’s purpose for finding diverse subjects to participate in the series was to see what defines each individual and how the most touched objects vary with the different background of each person. This gives the viewer information on the person rather than an experience. Sontag writes, “Photographs do more than redefine the stuff of ordinary experience (people, things, events, whatever we see- albeit differently, often inattentively- with natural vision) and add vast amounts of material that we never see at all” (156). Each person did not realize the significance of these materials until they completed the task of keeping a list of the most touched items throughout a day. These people merely carried out their day as they normally would. Zuccotti’s photos do more than “redefine the stuff of ordinary experience.” Rather, his photographs “add vast amounts of material” and reinvent the meaning of the objects to the consumer that they before would “never see at all.”
ReplyDeletePaula Zuccoti's photographs fully embody Sontag's system of classification in which she states photographs operate as a "surrogate possession"; "consumer's relation to events"; and "information (rather than experience)" (150). The photographs fit Sontag's classification of "surrogate possession" as the objects pictured in each photograph are the possessions that each person touched most in the day and ultimately cherish most. These possessions embody who these people are and what they are about. In addition, the items are photographed in a way that allow the viewer to become immersed in the image and feel ownership of the items themselves. The photographs in "Everything We Touch" also embody Sontag's classification of photography as a "consumer's relation to events" as they each depicts items that the participants use in the events of their daily life. These objects are what the participants use the most to participate in the events of their day. In a way, these photographs depicts how each participant relates to the events of their lives. This idea can further be explained with Sontag's statement, "But a photograph is not only like its subject, a homage to the subject. It is part of, an extension of that subject..." (155). Zucotti's photographs fulfill Sontag's last classification of photography as "information (rather than experience)" because the photographs do not depict the actual experiences or activities of the participants, only the objects they touch throughout the day. With this, the viewer is only given information about what the participants' lives might be like and are not fully immersed in their experiences.
ReplyDeleteJesse Burks photograph prove that Sontag's system of function classification that photography fulfills: photography as a "surrogate passion",photography as "consumer's relation to events", and lastly "information (rather than experience)" because it shows pictures of a young girl in amazing places around the world just doing her thing. On page 156 Sontag states "Photographs do more than redefine the stuff of ordinary experiences (people, things, events, whatever we see--albeit differently, often in inattentively--with natural vision) and add vast amounts of material that we never see at all". This is relevant in Burks photos of his daughter because they travel to places that more people never go. And when they travel, they go and explore and find locations. Burks just photographs his daughter the whole time, not having her pose and model, but just being free.
ReplyDeleteThe photographs by Gordon Parks embody Sontag’s system of classification of photography being a “surrogate possession”, “consumer’s relation to events”, and “information (rather than experience)” (155-156). Sontag describes a “surrogate possession” as a “cherished person or thing, a possession which gives photographs some of the character of unique objects” (155). Parks’ pictures show this because he is taking pictures of 11 of childhood friends grown up. These are people who are of great significance to Parks. He searched for them through many states to see where they ended up. Parks’ photographs show a “consumer’s relation to events” because he took the pictures of black people in the 1950s to show how their life is. People can relate to these events by seeing how much has changed since then. We can see how black people have gone a long way since then in equality and lifestyle. People who are black can look at these pictures and reflect on how they have similar experiences as the photographed people. This also gives “information (rather than experience) because many people are not aware of how it was back then for black people. Parks’ was to publish these photographs in Life magazine to inform people about the effects of segregated education. These pictures are significant because it shows the life of a black person in the 1950s before the civil rights movement had gone into full effect. We learn so much about the people and how they live through the photographs. For example, one of Parks’ photos shows a black couple standing out of a theater because they are not allowed in. As Sontag states, “Images are more real than anyone could have supposed” (180).
ReplyDeleteOne of Sontag's acquisition classifications of photography is that it is a "surrogate possession." In regards to Jesse Burks' photographs, this can be seen as a picture can be a substitute for the moment and be used as a memory later in life. I also noticed the titles Burks gives the pictures are nature related; he can be portraying and using his daughter as a substitute to what you would usually see in nature. For instance, "The Blizzard" and "Bird with a Broken Wing" both consist of his daughter reenacting a blizzard and bird in her own way. Sontag may describe the daughter's ability to portray nature in her own way as a "possession which gives photographs some of the character of unique objects (155)." A second acquisition is that of "consumer's relation to events." Burks' photography shows his experience with photographing nature and that of photographing his daughter. Road trips and photographing first began in order to capture beautiful landscapes throughout their experiences, but it later resulted as a type of bonding between him and Clover. Burks incorporated Clover in his images and this transformed his project into a more meaningful action. This lead to a handful of trips consisting of Burks capturing his daughter's essence in beautiful landscapes. The third form of acquisition described photography as "information (rather than experience)." Sontag is saying that images illustrate and are trying to convey some type of message; in Burks photographs he is teaching his daughter a lesson of life. His goal was "always to further instill in Clover a knowledge and appreciation in time (Teicher, par. 2)." Photography created situations which allowed an intimate relationship between Clover and nature, and this contributes to gaining knowledge as well as to consumer's relation to events.
ReplyDeleteOut of the three different acquisitive functions photography fulfills the very first function, surrogate possession, matches the photographs taken by Jesse Burks. “In its simplest form, we have in a photograph surrogate possession of a cherished person or thing, a possession which gives photographs some of the character of unique objects “(155). Burk’s photographs are of him and his daughter on their various outdoor adventures in different places all over the world. This photographer's work embodies Sontag's system of classification because his work is of his cherished person, his daughter, traveling the world by his side. “As the taking of photographs seems almost obligatory to those who travel about, the passionate collecting of them has special appeal for those confined—either by choice, incapacity, or coercion—to indoor space” (162) While Burk’s was traveling he mentions that his intention was to photograph the wilderness but found taking photographs of his daughter was much more interesting. These photographs will more than likely be kept so that his daughter will remember all the places she has traveled so that her love for the wilderness never fades away.
ReplyDeletePaula Zuccotti’s photography collection “Everyhting People Touch in One Day” best captures and embodies Sontag’s classification of functions photography fulfills: photography as "surrogate possession"; photography as "consumer's relation to events"; and photography as "information (rather than experience)" (155-156). The photographs capture the idea of photography being a “surrogate possession” by showing a full display of several individuals’ own possessions. The photographs allow the viewer to own these possessions for themselves for a quick moment as they view the various items. The photographs provide a “consumer’s relation to events” by showing real objects and articles that we ourselves may possess or apply to our own day. “Through photographs, we also have a consumer’s relation to events, both to events which are part of our experience and to those which are not-a distinction between types of experience that such habit-forming consumership blurs” (156). Each of the collections of objects allow the viewer to put together their own idea or story of what the subject may have partaken in during their daily adventure. This further gives the viewer a ticket to participate without actually living the same experience. The photographs each provide the function of “information (rather than experience)” by providing the viewer with insight into another’s life. Although the viewer did not have the same exact experiences as the individuals whose belongings these are, it provides a set of data or a collection of information about someone we may not personally know. The viewer comes away from these photographs with just a small slice of the pie into someone else’s life, not quite on the personal deepest level, but enough to be informed of another.
ReplyDeleteThe photographs by Jesse Burks are greatly classified in all three acquisitive functions that photography fulfills. As a “surrogate possession,” his photographs show a sense of innocence. He had his daughter be the star in every picture, and in every photograph she is enjoying the beautiful landscape around her. It seems as if it is a world she has never seen because of the stare in her eyes as she is capturing the environment. The second acquisition is photography as a “consumer’s relation to events.” Burks took his daughter to explore nature and to have her pose in some different areas, but it turned out that the best ones were of her acting like a natural.. Sontag says, consumers relation events, both to events which are a part of our experience and to those which are not”(155). There is a distinction to the photographs as time passed. In the beginning photographs, his daughter seemed very young, shy, and attentive. Then, in later pictures she engaged with nature and the scenery. An example can be when she was jumping on the rock; the name of that photograph is “Going Wild.” The third form of acquisition is photography as “information (rather than experience)”(150). Through these images Burks was able to capture meaning behind every picture. Every picture was named in part of the act that his daughter was making. Sontag states, “Photographs do more than redefine the stuff of ordinary experience (people, things, events) and add a vast amounts of material that we never see at all” (156). In one photograph his daughter is holding up a large leaf and is holding it over her eyes so she can’t see. That picture’s name is “I See Darkness,” It is not the literal meaning of darkness, but the act of darkness as the eyes are covered. Sontag would perceive theses photographs as more than just an ordinary experience of exploring landscape, but engaging it through body and mind.
ReplyDeleteJesse Burks’ series “Wild and Precious” can fit into the classifications Sontag describes. The concept of surrogate possession is that the photographer utilizes a cherished object to translate the importance of the subject. Burks uses nature to emulate the preciousness of his daughter and the oneness of nature. Surrogate possession creates a deeper connection between subject and view. Sontag uses this classification to show a stronger understanding for photography as an art. In the case of “consumer’s relation to events,” his photography directly concerns nature and the self. Jesse Burks uses his daughter to convey the connection of the importance of oneness with nature. The consumer can relate to the beauty of nature by witnessing a young child explore the beauty of wildlife. It is common to explore our world in the early stages of development. A child’s spatial awareness is very different from that of an adult. This is because they use their hands and mouth to explore new objects. The consumer relates to the children in Burks’ photographs because most adults have experienced their “exploratory” stage. Sontag also points out that information and knowledge can be shared through photography: “This is the most inclusive form of photographic acquisition. Through being photographed something becomes part of a system of information, fitted into schemes of classification and storage [.]”(156). Sontag explains a classification system that is much like the memory center of the brain. Storing, recollection, comprehension, and retention are all forms of photography. The photographer uses their art as a basis to preserve a moment in time and sharing the moment to educate the consumer.
ReplyDeleteThe photographs by Paula Zuccotti relate most to Sontag’s system of classification of photography as “surrogate possession”, as “consumer’s relation to events”, and as “information (rather that experience)” (155-156). Her series of photographs known as “Every Thing We Touch” show the aspect of “surrogate possession” because the objects that she is photographing are things that people touch in their everyday routine. Most of these objects have sentimental value to her subjects and they may be cherished items. The photographs portray that each person used for Zuccotti’s series has different lifestyles, interests, and hobbies than one another. This is how Sontag’s acquisition of “consumers relation to events” is shown in Zuccotti’s photos. Sontag also explains that those events are “part of our experience”(155) and the items that are photographed give an insight on what events and experiences these people go through within a day. One person’s items tell us that they like to surf, another may ride horses, and one rock climbs. We can make these predictions just by looking at the items each person touches in a day. Photography as “information (rather than experience)” is provided in Zuccotti’s photos because just by viewing the items touched by each person gives us information on who that person is. Even though as viewers, we don’t personally experience that person’s day with them, we are able to imagine what it is like by seeing what objects they use to complete their day.
ReplyDeleteGordon Parks’ photographs embody Sontag's system of classification. They fulfill the three different acquisitive functions: "surrogate possession"; photography as "consumer's relation to events"; and photography as "information (rather than experience)"(150). Park took photographs of his old African American classmates back at his hometown. He wanted to capture the history of segregation and the way many of his friends lived during that time. I find his photographs to be valuable because they portray the true life style of African Americans and set aside the stereotypes Park was explaining about. Sontag states, “the force photographic images comes from their being material realities in their own right, richly informative deposits left in the wake of whatever emitted them, potent means for turning the tables on reality-for turning it into a shadow. Images are more real than anyone could have supposed” (p.180).
ReplyDeleteIn the photographs by Gordon Parks I feel that Sontag’s classification of photography as “consumer’s relation to events” applies for his exhibit. By simply viewing his photographs we are able to see the events that he has captured on film but we are simply unable to know what it was like to have lived through what he photographed. That’s the tricky business with photography; it’s easy to think that just because you have seen pictures of something you can understand it, relate to it. And that may be so for certain things, but on the whole emotions are not accurately portrayed in pictures and to think that they can be is almost insulting to the people who were actually there when the picture was taken.
ReplyDeleteSontag says “to possess the world in the form of images is precisely, to re-experience the unreality and remoteness of the real” (pg. 164). I think that she is talking about how it is a disservice to try to imagine what life is like simply through photographs. Pictures only tell part of the story and in order to gain the full story you must include a human component such as storytelling or experiencing it first-hand.
The work done by Paula Zuccotti, “Every Thing We Touch” embodies Sontag’s classification of photography in more ways than one. Her work embodies the classification, photography as “surrogate possession” because Zuccotti’s work documents every object that her subjects have touched in one day. The photographs carefully demonstrate the possession that each subject has over each object they touched. Zuccotti’s photographs embody the concept of ‘consumer’s relation to events” by showing the relation of each subject to the objects they use in their daily lives. These photos depict the importance in each object used on a daily basis by connecting with the viewers and their relation to the objects in their lives. Photography as “information (rather than experience)” is shown in Paila Zuccotti’s work by engaging the viewers her subjects’ lives. Sontag states, “But a photograph is not only like its subject, a homage to the subject. It is part of an extension of that subject; and a potent means of acquiring it, of gaining control over it” (155). The viewers are able to correlate and gain information about her subjects by just viewing the objects they touched on a daily basis without actually knowing them.
ReplyDeletePaula Zuccotti’s series “Every Thing We Touch” fulfills Sontag’s system of function classification of photography which includes photography as "surrogate possession", photography as "consumer's relation to events", and photography as "information (rather than experience)" (150). Zuccotti’s photos are seen as a “surrogate possession” because each photo in the series represents an individual and their personality and style. Each item in the photos is important to that individual and through Zuccotti’s lens we are able to understand who that person is. Zuccotti’s series also fulfills the function of photography as “consumer’s relation to events” because each item in the picture are material items that the consumer bought and needed in their life. We see some of these consumer items are pretty basic items like the Raisin Bran from the photo of Nick from San Francisco’s items and then we see the elaborate the dragon costume seen in the photo of Wang of Shanghai belongings. Lastly, Zuccotti’s photos fulfill the function of photography as “information (rather than experience)” because the photos indicate what each individual personality is like, their hobbies, and what is important to them. For example, we see in Nick’s belongings he has rock climbing equipment. So, we can assume that Nick enjoys rock climbing, but we do not see Nick physically climb rocks.
ReplyDeletePaula Zuccotti's photographs match Sontag's system. Which photographies are described as "possession of a cherished person or thing" and classified by object based on what was touched during the day. The photographs taken by Zuccotti fulfill Sontag informative possession of photography, "...possession which gives photographs some of the character of unique objects" (pg.155).
ReplyDeleteIn Paula Zuccotti’s “Everything We Touch”, we are able witness all three of Sontag’s classifications that photography accomplishes. One of Sontag’s categories says that photography fulfills a “surrogate possession” and we can observe this in the photographs by Zuccotti because she reveals what items a person touches in just a single day. The objects seen in the pictures also fall Sontag’s category of photography being a “consumer’s relation to events” because we see what different items are necessary for peoples’ everyday lives. Their possessions demonstrate a relationship with their routine and what they use in their day-to-day schedule. Zuccotti’s series exhibits “information (rather than experience)” as well, based on the fact that we gain a more inside look into her subjects’ lives, providing personal information just by photographing things they use on a daily basis. Sontag states, “Through being photographed, something becomes part of a system of information, fitted into schemes of classification and storage” (156). In viewing these items, we catalog the type of person we believe the items belong to; their articles convey who they are and what they experience.
ReplyDeleteJesse Burke's "Wild and Precious" illustrates Sontag's acquisition of photography which emphasizes on "surrogate possession," "consumer's relation to events," and "information (rather than experience)." Surrogate possession is defined as "a possession in which gives photographs some of the character of unique objects." In these images, the focal is Burke's daughter Clover. She brings the landscapes and her surroundings to life as the connection between the beauty of the earth and the innocence of humanity is made. It is in these photographs and individual can see how we are a small part of this large world and somehow we interconnect. Sontag defines consumer's relation to events as "a distinction between types of experience that such habit forming consumership blurs." These images are far from habit forming. Burke brings landscape to life while allowing his daughter to breathe in these great road trips and experiences which are not habit forming as they are finding hew sites to see and finding different ways to appreciate their surroundings. The final concept to acquisition in photography is "information (rather than experience)." Burke uses his image to convey the story of road trips and and nature and how they have impacted her as she grows through life. Although we do not know the experience in detail the images themselves reiterate information in regards to the series. Sontag states that "[individuals] feel that they are images, and are made real by photographs" (161) Photographs provide a legacy as people die, places fade and things change. However, despite these inevitable facts, photography has the power to freeze each of these in time where people continue to live, places continue to thrive and things never really change because they have been photographed and remembered.
ReplyDeleteIn the photographs by Zuccotti, they fill the function of "surrogate possession" because the items in each photograph give a certain characteristic. It each photograph has possessions of a person which tells a story of that individual and can relate to "consumer's relations to events". By looking at each item, you can depict the events of what this person did through out the day. It also fulfills the "information" function, which by looking at the pictures, you can get an idea of what is needed to do certain activities without experiencing them or experience the culture without actually visiting the area.
ReplyDeletePaula Zuccotti's photographs captured the function of "surrogate possession" as each photograph included the person's possessions and what they have touched. The photos in this series were really interesting because the items were set up from the start of the day to the end, and it really puts your day into perspective. If we took pictures like that everyday to see what consumes our time and energy it would be an amazing way to really understand what goes on in ones' life. Throughout the pictures you can see that even in different cities, states, and countries, there are some items that everyone uses, but you can also see the differences in culture and livelihood.
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ReplyDeleteIn On Photography, Sontag classifies different acquisitive functions photography fulfills: one being photography as "information (rather than experience)" (156). In which he also explains that once a photograph has been taken it becomes part of information, "fitted to schemes of classifications and storage." In his photographs, Jesse Burks captures snapshots of his 5 year old daughter on their road trip up to Canada. Though his intentions were to capture his daughter, instead landscapes and scenery, he realized that from the photographs he had captured his daughters photographs were the most significant and important. This indicates that Burks acquired more than just photographs he acquired information about himself that maybe he didn't know he had. To me seems that him photographing his daughter made him realized how important the trip was to him and her. Such photographs allowed him, like Sontag says in "The Image World" to see that "photographs do more than redefine stuff of ordinary experience... and add vast amounts of material that we never see at all" (156). IT allowed him to see the simplicity that his child was important and was in fact having a great time out ion nature. This informs him as a photographer the importance of being a parent and enjoying the little or vast amounts of times one gets to spend with their kids. Also, he was able to see his daughter act out many different forms of characters in his photographs that if she played them alone he would have not realized.
ReplyDeleteSontag’s system of classification is closely embodied by Paula Zuccoti’s photographs, “surrogate possession”, “consumer’s relation to events”, and “information(rather than experience)” (pg. 150). The photographs can relate to Sontag’s photographs of “surrogate possession” because it shows objects that each person has had contact with and what they ultimately cherish. It represents who that individual is and gives the viewer an idea of that person’s character through a photograph. In “everything we touch” represents Sontag’s classification of photography as a “consumer’s relation to events” allows the viewer to see the events that each person encounters throughout their day and could even give the people an idea as to where they live. By seeing the beach equipment, one can tell that the person lives by the coast. Sontag states “but a photograph is not only like its subject, homage to the subject. It is part of, an extension of the subject…” which embodies that there is more behind an object than what it may appear to be(155). The last part of Sontag’s classification, “information (rather than experience”, is shown in Zucotti’s photographs by allowing the viewer to have an idea of what that person is like, by the objects they touch, not necessarily the experiences that they encounter throughout their lives.
ReplyDeleteAccording to Sotang’s system of classification there is different acquisitive functions of photography. These include photography as a “surrogate possession”; photography as “consumer relation to events”; and photography as “information (rather than experience)” (155). Burks’ photographs show her daughter in various settings, this photographs might have different classifications. The pictures also include a caption which is used in order to try and save the meaning of the moment. The pictures do a great job of capturing the moment. The photographs capture well the moment since the author and the subject does not really focus about the camera. The camera is the object which facilitates the effortless part of picture taking. This object with “a single movement, the touch of a finger, produces a complete work” (164). The works produced by Burk capture not only the essence of the moment but, also preserve a piece of the present for the future. The pictures really focus on the information classification of Sotang. The photographs provided the photographer with more information that they were intentionally supposed to provide. They allowed him to see how important her daughter was and not just the road trip in which they embarked.
ReplyDeletePaula Zuccotti’s photographs relate the most to Sotang’s description of “surrogate possession”; “consumer’s relation of events”, and “information (rather than experience” (155-156). Zuccotti’s “Every Thing We Touch” shows “surrogate possession” in the sense that all her photographs consist things and belongings that people use in their every day lives. The series of objects photographed seemed so different in every city/ country. Through these objects we are able to see what type of lifestyle, hobbies, or interest these people might live. For example, Arki, 8, in Melbourne seems like a very active child who enjoys outdoor activities and in the other hand Wang, 50, in Shanghai seems to be very connected to his roots in China based on his belongings; this shows Sontang’s acquisition of “consumer’s relation to events”. Through Zuccotti’s photos we are able to see photography as “information (rather than experience)” because just by getting a glimpse of what each person touches thorough out there day gives us information about who they are. From a viewer’s perspective we cannot experience what a day in their life would be like, but we can get an idea on how all of these objects come in to play in their everyday lives.
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