Month: March 2023

The first chapter of Sturken & Cartwright’s “Practices of Looking” is titled “Images, Power, and Politics,” where the authors argue that visual culture is deeply intertwined with issues of power and politics. Visual culture is somewhat of a tug-of-war between different groups competing for control over certain images. The authors state that “the power of images is derived both from the shared meanings they generate across locations and the particular meanings they hold in a given place or culture.” 

They use photographer Weegee’s work to illustrate the ways images can be used to reinforce dominant narratives and ideologies. Weegee’s photographs were not just objective records of reality. His subjective choices created carefully crafted images that worked as documentation, but also showed insight into his beliefs and cultural biases. One of their biggest arguments is that images are both documents as well as powerful symbols, full of meaning. They not only document a moment in time, but more importantly, reflect the ideologies and social climate of the time. 

This made me think of Dorthea Lange’s image of the “Migrant Mother,” which became a powerful symbol of the great depression and the hunger and hopelessness it brought with it, and reflects the social climate of the time.

Sturken & Cartwright discuss how images are powerful enough to spark political action. The photograph of Emmet Till, mutilated in a casket, became a powerful cry for public and political action. Things like violence or innocence are strong visual symbols that people relate to on an innate, subconscious level. 

They discuss how photojournalism is vastly different than it was 75 years ago. With the majority of people carrying a camera on their person at all times, and the rise of social media, photojournalism can be mass circulated in an instant. This shifts more power into more people’s hands. 

I found the section titled “Representation” interesting. The authors define representation in terms of visual culture. Representation helps us to analyze and understand an image, taking into consideration the context. The still life painting by de la Porte at face-value just looks like a table with some fruit on it, but looking deeper and taking the context into consideration, is a symbolic representation of peasant life. The example of Rene Magritte’s painting “This Is Not A Pipe” helps to illustrate the idea that representations aren’t always true to the things they’re representing. Representations are shaped by social and cultural norms and beliefs and help us look past the literal. Sturken and Cartwright point out that images can be both informative and expressive, working as both allegories and documentation. 

The section titled “Vision and Visuality” discusses the distinction between vision and visuality in terms of visual culture. The authors define vision as the physical capacity to see, but visuality as the way vision is shaped through social context and interaction. Different social groups have different ways of interpreting visual images, and these ways of seeing are shaped by their positions of power or social class. I found the example of the large photograph of the child killed in a drone attack extremely powerful because of the child’s  innocent face. This photo was able to draw attention to the inhumanity behind drone attacks and delivers a powerful political message.

The last section titled “The Myth of Photographic Truth” questions whether photographs are objective or subjective documents. The authors argue that they’re not truly objective, citing the ease of altering images as the main reason. Programs like Photoshop, and now AI, can create false, realistic-looking images in no time. I just read Samsung explains its ‘fake’ Moon photos yesterday about Samsung’s “fake” moon photos. Samsung is using AI called “Scene Optimizer” to add details to images taken of the moon that weren’t actually there, which is being publicly criticized. It really calls to question if we should take photographs as real evidence or truth. Maybe software that digitally alters photographs should embed a digital watermark in the image, describing how the photo was altered. 

The concepts from this reading can help web developers and designers create websites that are visually compelling, as well as culturally sensitive, inclusive, and equitable. These ideas about images and visual culture will shape a lot of my future decisions as a web developer. Web designers can use the power of images to create engaging sites, but need to be aware of the potential for images to reinforce dominant narratives. By being conscious of the images we use and how we use them, web designers can help make the web more inclusive and equitable. 

Images, Power, and Politics by Sturken and Cartwright is an important piece of literature for web designers and content creators to understand. This article dives into the complex relationship between images, power, and politics in modern society. It examines how visual representation can be used as a tool of control or manipulation depending on who creates it. As web designers, we have the unique opportunity to craft powerful visuals that can shape public opinion or attitudes towards certain topics. We must consider this responsibility carefully when creating content for our clients or ourselves. As Sturken & Cartwright point out: “Visuals are not neutral; they carry with them specific meanings which are linked to their context” (Sturken & Cartwright).

Our designs should always strive to accurately represent the subject matter while avoiding any potential bias or manipulation through subtle design choices like font selection or color palette. Visual representations can play a major role in spreading awareness about these issues but they must be handled delicately so as not to perpetuate any negative stereotypes associated with them (Sturken & Cartwright). For us as web designers and content creators to do this effectively, we need to have an understanding of how visual representation affects people’s opinions on various topics – something that this article provides insight into through its examination of the historical roots behind image-making practices today (Sturken & Cartwright). For example, here are two images that will reflect different emotions once a person takes a look at them; however, it is according to each individual’s perspective and what the image commands. When you think of water you could think of serenity or disaster and even though both of these images include water, they spark a different emotion based on the person.

In particular, it emphasizes that web designers should consider how their choices around color scheme or subject matter might influence viewers’ perceptions and attitudes towards certain topics or organizations. For example, if a website is intended to promote progressive values then using bold colors such as reds and oranges could help convey those messages more effectively than traditional blues or greens which may evoke feelings of conservatism instead. Similarly choosing an appropriate background image could also be used in order to send out a strong political message – one which reflects both the company’s values as well as aligning itself with popular opinions on current issues. One thing this article makes clear is that there is no ‘one-size-fits-all’ approach when it comes to designing visuals; what works best will depend on individual contexts and goals.

Images are not just pretty pictures or neutral representations of reality. They carry with them a set of meanings and symbols that can be really powerful in terms of communicating ideas, emotions, and messages. The book “Images, Power, and Politics” by Sturken and Cartwright explores this concept in depth.

The power of images can be seen in famous photographs like that of Che Guevara. The image of Che Guevara isn’t just a photograph, but it’s become a symbol of revolutionary spirit and anti-imperialism. The image is associated with socialist and communist ideals, and it has been used to inspire revolutions and protests around the world.

Advertising is another area where the power of images is evident. Advertisements use images to create desires and aspirations in people that are often tied to a capitalist consumer culture. This reinforces the dominant ideology that consumerism is the key to happiness and fulfillment.

In social and political movements, images can be used to convey powerful messages. For example, the Black Lives Matter movement has made powerful use of images to convey the pain and suffering experienced by black people in America. Images of police brutality and racial injustice have been used to evoke anger and frustration, and to challenge dominant narratives about race and justice.

But images can also be used to challenge dominant ideologies. Feminist art and photography, for example, challenge dominant narratives about gender and sexuality, and offer alternative visions of what a just and equitable world might look like.

The power of images to convey emotions is also evident. Images can evoke a wide range of emotions, from joy and happiness to fear and anger. The power of images to evoke emotions is evident in the use of propaganda during wartime. Images are often used to demonize the enemy and to rally support for war efforts.

Studying the power of images offers insights into the many ways in which art, politics, and culture intersect. The image above paints a very moving image that pulls anger straight out of the viewer just by viewing this image.

In conclusion, images are not neutral but have meanings and symbols that can be used to convey ideas, emotions, and messages. They can be powerful tools for reinforcing or challenging dominant ideologies, and for conveying a range of emotions. The power of images is evident in the many ways they have been used throughout history to shape our understanding of the world. The study of images is a fascinating field, and it offers insights into the many ways in which art, politics, and culture intersect.