Student of the Week

I remember that Adam got it three times because he always picked cherries as the snack for the class. I hate cherries. Adam. Chris. Elizabeth. Chelsea. David. Monica. Daniel. Kelly. Caitlin. Timothy. Christina. Lynn. Brian. Brandon. Every single one of them got the chance to be Student of the Week at least once. The student of the week had very important responsibilities. They got to lead show and tell. They would get to choose which books would be read to the class during story time. And most importantly, they would get to pick the snacks that the class would have that week. Only one name was never picked: Raka. The student of the week, I came to learn, was not chosen based on merit, but simply whomever the teacher favored that week.

As the only student of color in my small Kentucky elementary school, it was not unusual for me to hear questions about how I got so tan and whether it was because I never showered, as if years of dirt had permanently changed the look of my skin.  When I tried to explain to my peers that I was Indian, they almost always asked, “what tribe?” None of these people were inherently bad. It is hard to argue that an entire elementary school could have ill intentions. So, although most would characterize my experience as one rooted in racism, I would argue that it was instead rooted in…well, something else. Ignorance, maybe. Later, I wondered what type of sociological rift and geographical isolation allowed for an entire school to act so racially ignorant. There had to be more to it than that.

I cried to my dad before the last day of school about never getting my opportunity to be Student of the Week. He had some words with my teacher. I was Student of the Week for that last day, but only in name, because I was unable to make any of the important decisions that came with the job, like choosing the snack we would eat or what book we would read. It came as no surprise that my parents moved us back to the colorful state of Colorado.

 By fourth grade, my struggles had reversed. My psychiatrist mother had done her research and chosen the school with the most diversity, in the hopes that it would undo the psychological damage caused by my time in Kentucky. However, when she attended parent teacher conferences at Knight Academy, she quickly realized it wasn’t the right fit. Although the teachers said I was bright and likely to succeed, success was defined as my ability to avoid early pregnancy. One teacher worried that I was growing very close to a boy named Leo, so he had his doubts that I would succeed even in that.

As it turned out, Knight Academy was a behavioral school. I did not finish fourth grade there. But now I cannot help but look back and wonder: what happened to those students? Was separating them into their own school really the right solution? The teachers had neither the time nor resources to understand the students, their backgrounds, or the roots of their behavioral problems. I noticed, again, the same theme here as I had in Kentucky: good people behaving badly. I wondered how the groups to which we are assigned by others change our outlook on the world. Why were there disproportionately more children of color in the behavioral school? If this pattern held throughout the country, what were the implications?

The racial whiplash I experienced created a curiosity that has been a guiding factor in my life since. Stepping from a white world to a black one with so many questions and so few answers moved me to search for answers myself. It has driven me down my educational path and deepened my thirst to understand the forces behind what I experienced. In every introductory sociology class, you learn C. Wright Mill’s concept of the sociological imagination as the link between personal troubles and public issues. These personal experiences and the immense curiosity they have incited are at the heart of my sociological imagination.

I spent my undergraduate years reading the works of many great sociologists, both old and new. The American poet John Godfrey Saxe wrote one of my favorite childhood poems, which tells the tale of six learned men who are blindfolded as they describe attributes of an object in front of them. Each describes it differently, saying it is very much like a wall, a snake, a spear, a tree, a fan or even a rope. In the end they realize they were all touching different parts of the same object: an elephant. Even though they were all right, in a sense, they were also all wrong. Every sociologist, to me, is one of the six blind men. Marx looks at society and sees social class, Durkheim sees solidarity, Weber sees religion, Toqueville sees politics, Compte sees positivism and Simmel sees social interaction. Together these six sociological thinkers are simply trying to piece together the mysterious elephant that is society. Each of these thinkers is trying to help us understand society through a scope of their choosing, in order to make sense of the otherwise unintelligible.

I am dissatisfied with the answers I have found thus far; having the tail in hand does not necessarily imply that I am looking into the eyes of the animal in front of me. I am trying to circle back to the answers I seek in the attempt to make sense of my experiences in Kentucky and Colorado. These experiences are minute examples of a worldwide phenomenon. As the recent election cycle has shown, we are quick to assume that blue-collar and poor white people are ideological racists, but hesitate to look deeper than those blanket generalizations. I wonder how many of my peers from Kentucky voted for President-elect Trump and, simultaneously, how many of my peers from Colorado made it to high school. My experiences, past and current, make me want to study and understand these public troubles, and I believe my personal struggles have given me the right drive and mentality to do so effectively, and with passion.

Blinding Nationalism

“Oh my god, I know it’s bad to be happy when someone is killed but I just wanted him to shoot those fuckers up. Also Bradley Cooper is sooooooo hot.” Four girls emerge from the Regal Movie Theater in Union Square on a frigid January evening. Three continue to chatter about the amazing film they just saw as they briskly walk home. One follows behind, slowly… silently. Her mind is racing… “Did we just see the same film?”  Her thoughts are interrupted by another loud comment. “I don’t understand the controversy, this was an amazing and heroic film”. “More like racist and propagandistic” she thinks to herself. Often, people say that being a sociologist involves a certain level of social detachment or awkwardness. For the first time, I experienced this detachment from my own social location.

This past weekend Hollywood spent one hundred and thirty four minutes brilliantly epitomizing the problematic mindset of the American nationalist. From racism to the military industrial complex, it is all in there. American Sniper is a film which depicts a man overcoming his internal struggle about being the one to stop a beating heart in order to protect his men become a legend: becoming a hero. 

The film follows the path of the War on Terror, beginning just before the 1998 Embassy Bombings. Chris Kyle, the American Sniper, wants to be a cowboy but upon seeing the news of the Embassy Bombings he enlists as a Navy Seal. Fortunately, he finishes his training just in time to be deployed right after 9/11. He goes on 4 tours and in between whenever he comes home we see his struggle because he knows that his men are still getting slaughtered over there.  The first hugely problematic portion of this film is that there is no explanation of why these “bad guys” want to get us. Ironically, the American public or mass media has never truly posed this same question in reality.

Durkheim defines a social fact as "A social fact is any way of acting, whether fixed or not, capable of exerting over the individual an external constraint; which is general over the whole of a given society whilst having an existence of its own, independent of its individual manifestations." Based on this definition, this American Sniper has pushed me to realize a social fact. This fact is that nationalism undermines critical thinking, which is a powerful way to blind a group of people.

In the movie, Chris Kyle’s father imparts some paternal wisdom upon him. He states that: “There are three types of people in this world: sheep, wolves, and sheepdogs. Some people prefer to believe that evil doesn’t exist in the world, and if it ever darkened their doorstep, they wouldn’t know how to protect themselves. Those are the sheep. Then you’ve got predators, who use violence to prey on the weak. They’re the wolves. And then there are those blessed with the gift of aggression, an overpowering need to protect the flock. These men are the rare breed who live to confront the wolf. They are the sheepdog.” This is arguably a true piece of wisdom. But the irony lies in who the actual sheep, wolves and sheepdogs are. On one hand, we can look at it the way the movie portrays where Kyle is a sheepdog protecting America. Or, we can look at it realistically, in which a bloodthirsty occupier guns down more than 200 faceless Iraqis (Kyle has160 confirmed kills out of 255 probable kills) but then decided that the real victim is his own anguished soul. He even snipes Iraqi children, though this he does feel bad about. Our hero has no qualms with killing, but does have qualms with being congratulated for killing.

This essay could easily interpreted as a scathing review of American Sniper, but that would be missing the point entirely. The point is that we in America have a huge problem. The problem is in the American mentality. We think in terms of acquiring, dominating, being the best and having the most.

Capitalism vs. The Environment

Climate change is one of the most daunting, complex and consequential problems of our generation; it threatens every community, ecosystem, and corner of the world. Ever since the industrial revolution, we have been going down the path towards the unnatural. Our factories, cars, and new technologies all contribute to the exponential increase of greenhouse gas emissions that coincides with modern development. This phenomenon is clearly laid out on the infamous Hockey Stick Graph, created by Mann, Bradley & Hughes. The graph maps out the mean global temperature for the past 1000 years to demonstrate global warming and the “discernable human influence on climate” (Mann, xix).

The evidence for climate change is everywhere. “As of 2013, 905 animals have become extinct to the knowledge of researchers. This number stood at 784 in 2006. Animals (are) going extinct 100 to 1,000 times (possibly even 1,000 to 10,000 times) faster than at the normal background extinction rate, which is about 10 to 25 species per year”(Endangered Species). At this rate, during our children and grandchildren’s lifetimes, nearly half of all species will go extinct (Global Warming: What You Need to Know).  The effects of greenhouse gases that we currently experiencing are based off of the emissions from 50 years ago. If the effects from those times are this bad, imagine what the future would look like when the earth begins to show the effects from the greenhouse gasses we are emitting now 50 years down the line.

We have a limited amount of time to make a difference to combat these challenges. But instead of making strides to alleviate this widespread problem, the United States continues to host organized skepticism about whether or not climate change is happening, and if it is happening, if humans cause it.  This skepticism is costing us valuable time.The American government is failing to enact overarching policy programs to combat global warming and greenhouse gas emissions. America is the biggest contributor to climate change worldwide so this failure could be devastating not just us but the entire globe. The main problem lies within how the environment is treated within the American capitalist system. In this paper, I plan to look at the clash between our markets and the environment to show that the classical liberal argument is very flawed.

Classical liberalism is a political ideology that is rooted in total individual freedom. This means that it supports the free market and condemns government intervention. It supports total unregulated capitalism in which capitalism has four main components.  The classical liberal definition of capitalism is that it has production for sale, sale for profit, production is privately owned and it is carried out by wage labor. This means that there are two markets, a market for goods where producers compete and a market for labor where laborers compete. The fundamental root of this argument lies in a belief that human nature is competitive individualism. Meaning the inbuilt, unchanging characteristics of human nature is that humans are selfish.

            There are two arguments for classical liberalism: normative and pragmatic. The normative moral argument is what features classical liberal capitalism as good or desirable. Classical liberals believe that, morally, markets promote liberty and liberty is the paramount values, therefore the markets maximally promote our values. The pragmatic argument is more about the feasibility of this type of free market economy. Their understanding of the efficiency of this system is that the invisible hand works to coordinate supply and demand in order to reach the perfect and most efficient equilibrium, though later on we will realize that this is entirely untrue (Chibber, 9/18/14).

The classical liberal argument has holes. The most blaring piece of evidence is the trend across the rest of the world to move towards massive government intervention. In contrast to all other advanced counties, the US has had the freest market in the past 200 years. On average in other advanced countries, somewhere between 33 and 35% of the work force is employed by the public sector. This means so many jobs, programs and benefits for the citizens. In the United States the number is a little closer to 15% (Chibber, 9/4/14). We have the smallest public sector, lightest taxation, greatest inequality and provide the least amount of benefits to our citizens. Many other advanced countries balance providing citizen needs with having a free market economy. Why does the US have the strictest adherence to this free market rule as opposed to other advanced countries? The gist of the answer is that our wealthy have an obsession with growth, specifically maximizing their disposable income.

            When it comes to the environment not having a prioritization of civilian needs is very detrimental to America because a free unregulated economy will quickly consume all of our natural resources and pollute the earth without being regulated. In a company there are always consequences based on decision. The decisions they make will determine the price of the good they are selling. And thus, we say that in a capitalist society prices give us information. But this information is not always accurate because the company will continuously be trying to cut costs in order to increase profits. Sometimes when companies make decisions they don’t have to cover the full cost of these decisions. This case is called a negative externality. Because it increases profits, there is an incentive for producers to seek out negative externalities (Chibber 9/23/14). Capitalists have a tendency to destroy the environment for individual gain. For example, if a manufacturer has a waste product that they decide to dump into a nearby river instead of paying for it to be properly disposed of that cuts cost. But the manufacturer will not necessarily be required to pay to clean up the river. The river then flows into the ocean and the pollution meets up with all the other pollution from the other manufacturers who made the same decision. We cannot blame the company here because there is no rule saying they cannot do that, and why would they take on an additional cost just because. The company’s main priority will always be profits and growth therefore it would be irrational for them to evade negative externalities.

            Often, powerful actors even impose choices on consumers. In the 1930’s, many American cities had trains. But by the 1950’s they had largely disappeared (Snell). Now the American train system exists mains on the eastern seaboard, but even that train system does not hold a candle to those in other parts of the world. What happened is that the three biggest auto companies used their leverage to buy all of the railroad companies and eliminated that choice. After that, consumers could only choose between cars and busses. Because of power asymmetries they also have it in their interest to impose choices. Again, in a free market there are no rules against this and consequently it would be irrational for powerful actors who can afford to do this not to do so. More mass transportation is inherently better for the environment than individual cars because less carbon is emitted (among other reasons). We see again here, the environment loses out.

            What the classical liberals would argue is that when the environmental problems got bad enough the market would provide a solution. By that they probably mean something along the lines of a cool new geoengineering technique that relies on technology and corporations. This would open a whole new market. Examples of these techniques might include something like putting something in the sky to release greenhouses gasses more quickly, increased storage of carbon in biomass, or using algae biofuels to fuel the planet.  There are a number of problems with this solution though. First, there is no guarantee that such a solution exists or what the ramifications of such solution would be. Second, creating a market around this could be potentially cataclysmic. And finally, it is much easier to just change what we are doing now instead of cleaning it up later. 

Our society places a huge emphasis on growth. But, it is not enough just to grow, the rate matters. As a society, we are constantly racing to grow faster. The priority of economic growth was among the most important ideas of the twentieth century. Unfortunately, economic gains and environmental losses go hand in hand. As Gustave Speth tells us in his book The Bridge at the Edge of the World: Capitalism, the Environment, and Crossing from Crisis to Sustainability, “The economy consumes natural resources, (both renewable and nonrenewable resources), occupies the land, and releases pollutants” (Speth, 49). Hence, we can assume that the growth of the economy corresponds with the growth of the amount of pollutants in our atmosphere.

For example, in a report cited by Speth, we see that from 1890 to 1990 the world economy grew by 14 fold. Great news, right? But what was happening to the environment in the background? Energy use grew by 14 fold, carbon dioxide emissions went up by 17 fold, and the number of marine fish caught went up by 35 fold. The same trends hold true today, in spite of widespread environmental programs enacted globally, from 1980 to 2005 gross world product has increased by 46 percent. The use of paper and paper products increased by 46 percent, energy use increased by 23 percent, and carbon dioxide emissions grew by 16 percent (Speth, 50). It is very significant that the rate of increase of these factors is less than that of the world economy. Speth says that this is accounted for “by “dematerialization,” the increased productivity of resource inputs, and the reduction of wastes discharged per unit of output.” Despite dematerialization, the fact remains that things are still getting worse, just a little more slowly.

            This market failure has two facets. First, in a market prices provide information. There is no cost for many valuable resources such as clean air or water or a cost of emitting harmful greenhouses gasses like carbon. Therefore, the market exploits these resources with ease. But how could we expect the invisible hand to create prices to allocate these resources properly? What corporation would impose a price on clean air? Here we find an example of where the classical liberal argument is crumbling. Government intervention would be necessary to properly price Mother Natures gifts. The environment and the beloved American free market remain in collision. And it is clear that today’s growth is unsustainable in the future.

To begin to fathom a solution to this problem, we must first understand the structural limitations we have as a society that has inhibited them from being changed thus far. Speth articulates seven main limits in his book. The first is that modern environmentalists believe that climate change can be solved within our existing system. Second, it aims primarily at small problems because the movement takes what it can get and would prefer small victories to large defeats. Third, the movement wants to be a positive economic force and not impose too much of a change on people. Fourth, the solutions are coming from the environmentalism sector but they do not know about corruption, flaws, or inner workings of our political system. The movement is not focused on a strong political or grassroots movement. And finally, it entrusts major action to expert bureaucracies that have seemingly good intentions but in reality get very little done.

Climate change could represent a historic opportunity for the world, but especially Americans. It is not just another issue but a civilizational wake up call. If we start by thinking about the history of capitalism in contrast to the history of the world we realize that there have been maybe 500 years of capitalism and say 4,500 years of not-capitalism (Chibber 9/4/14). Before 500 years ago, we focused on breaking even instead of focusing on profits, growth and disposable income. Shifting back towards something like that would mean investing heavily in our public sector. It is not unrealistic because other advanced countries are doing it. In the past few years Germany has made over 25% of its electricity renewable because the people have voted to de-privatize parts of it (Klein). In the Netherlands they tax very highly (up to 52% on income) and have a massive public sector and with that they have universal health insurance, low inequality rates, free high-quality schooling, incredible social security, programs to help rehabilitate the poor, they even gives parents subsidies for having children and countless other benefits for their citizens. The Netherlands incidentally has one of the best laid out plans to combat climate change, which was critical given their geographic vulnerability. The country built the government funded Delta plan; which consisted of a network of dikes, man-made islands and a river levee that was designed to prevent a storm so strong that it would only occur once in 10,000 years. It is astounding that they can do that and we cannot even pass legislature to impose a carbon tax (Speth).

        Classical liberals will continue to argue for freer markets, less restrictions, less taxes, more profits and more disposable income. But this thirst for rapid expansion is digging our country into a hole that is catastrophic for us and for the rest of the world. The effects of climate change we have faced so far are showing that the environment is starting to react after we have spent decades poisoning it. What use are pockets full of money if we have no planet to live on? Instead of separating the environmentalists off into their own sector and expecting them to fix this monumental problem for us, we should all embrace the problem and begin to integrate environmental considerations into every piece of legislature. Just think of where we could be if our capitalists put that same amount of desperate attention they put into finding negative externalities and cutting costs into combatting a problem that is so dire. 

 

WORKS CITED

Chibber, Vivek. Lecture.

Global Warming: What You Need to Know. Dir. Nicolas Brown. Perf. Tom Brokaw, James Hansen, Michael Oppenheimer, Stephen Pacala. Discovery, 2006.

Klein, Naomi. This Changes Everything: Capitalism vs. the Climate. Simon & Schuster. New York. Print.

Mann, Michael E. The Hockey Stick and the Climate Wars: Dispatches from the Front Lines. New York: Columbia UP, 2012. Print.

Snell, Bradford C. “American Ground Transport”, A Proposal for Restructuring the Automobile, Truck, Bus & Rail Industries. Rep. Print. 1974 U.S. Government Report.

Speth, James Gustave. The Bridge at the Edge of the World: Capitalism, the Environment, and Crossing from Crisis to Sustainability. New Haven: Yale UP, 2008. Print.

On Photography: The Object Behind Shadows.

Every being has a shadow, but what if one day you looked down and had two? Then the next day you had five? Then ten? Would you start to lose sight of the real you? You knew that the first shadow did not epitomize who you are. Do you lose this certainty as the number of shadows begins to grow? Sixty years ago, almost every photograph was memorable and had a meaning. Photos were so expensive that no one would waste their money on a pointless image. But when, similar to the hypothetical shadows, the number of images began to grow, what was the end result? Each photograph acts as a shadow of the subject, adding a detail to what the viewer knows about them. Sometimes, there are enough shadows that the viewer believes they understand the object without ever seeing it. But what happens when you are the object? Can someone know your essence from seeing your shadow… even thousands of times? The growing frequency of images in our society has been exponential throughout history; therefore the ubiquity of photos must have some consequences on society. What are the differences between a society that uses their eyes to capture remember their own images and create their own perceptions versus our society—where one has to sort through an abundance of images and overcome the notion that they comprehend objects that they have never seen with their own eyes. Susan Sontag, noted writer and critical essayist, addresses the consequences that the profusion of photographic images has caused in our society.

 

 

“The disconcerting ease with which photographs can be taken, the inevitable even when inadvertent authority of the camera’s result, suggest a very tenuous relation to knowing…The older generation of photographers described photography as a heroic effort of attention, as ascetic discipline, a mystic receptivity to the world which required that the photographer pass through a cloud of unknowing” (“Photographic Evangels” 115-116).

 

A loss has occurred in the decades past. Starting out as a society with few but very memorable photos we have transitioned -- thanks to Instagram, Facebook, and other new technologies-- to a society with millions of photos that even the photographer probably does not remember. Society previously had emotional investment photographs, instead of just skimming over one of five million pictures. Sontag succinctly illuminates this loss for her reader through her use of long, fluid sentences, academic vocabulary and many commas. She juxtaposes lists in order to effectively compare and contrast the two time periods. The effect of these commas, in addition to her words, creates the fluid effect that acts as a powerful force deconstructing and creating new definitions. The end result is the reader understanding fully what the loss, caused by the recent ubiquity of photographs, truly was. It was reduction of the strength of the emotional connection between the photograph and its viewer. An image was truly a photograph when it was authentic (meaning that it was taken for the sake of being more than just an image).

Susan Sontag’s On Photography, published in 1973complicates the mainstream notions of photography, --- it is a critical study, which applies a sociological, political and psychological framework to photography. Through words of critique, Sontag purposefully disintegrates the readers’ preconceptions of photography. This collection of essays is written in the manner of an academic critique --- it is dense and uses challenging vocabulary that favors a skillful economy of phrase to mental understanding. Sontag often deconstructs and redefines definitions; this break down begins to blur the understanding that the reader has before reading Sontag’s collection of essays. The biggest redefinition in On Photography is of photography itself. Photography, according to Sontag, is a tool for conceptual investigation, capable of capturing and thus emphasizing any aspect of human reality “and in that sense it seems a peculiarly modern art…it has the capacity to turn every experience, every event, and every reality into a commodity, object or image”  (“Melancholy Objects”, 60). Sontag gives the reader a new idea about this silver halide art as a “meta-art,” one that "takes the whole world as its subject, cannibalizes all art forms, and converts them into images” (“Melancholy Objects”, 60). In this quote she continues with her fluid list format. She uses this format to breakdown and redefine photography as a meta-art here.

Sontag has a penchant for concisely putting into words the abstract concepts, such as photography’s role in art and society, which she describes as “setting up a chronic voyeuristic relationship to the world which levels the meanings of all events”(“In Plato’s Cave” 11).  Sontag examines the nature of photography, concluding that it leads to a continuous stream of images. “For it is the very nature of photography that it be a promiscuous form of seeing, and, in talented hands, an infallible medium of creation” (“Photographic Evangels” 129). There are rarely breaks in her narrative structure paralleled by her usually long fluid sentences, which create a flow through time paralleling the constant flow of images she refers to. On Photography reveals Sontag’s distaste for the ubiquity of photographs--- how “just about everything has been photographed, or so it seems” (“In Plato’s Cave” 3).

 

Another example of this penchant is when she discusses Walt Whitman’s vision. Whitman was an illustrious poet and writer with numerous works. Sontag summed up the conclusions of his works in one lone standing sentence: “Whitman preached empathy, concord in discord, oneness in diversity”("America, Seen Through Photographs, Darkly" 31). Photographers “gradually gave up the struggle. They might continue to practice the atomistic visual stenography inspired by Whitman. But without Whitman’s delirious powers of synthesis, what the documented was discontinuity, detritus, loneliness, greed, sterility.” ("America, Seen Through Photographs, Darkly" 47-48). This quote exemplifies a Sontag sentence. She utilizes scholarly diction and effortlessly flowing sentences pulled by a string of commas in order to demonstrate the obvious value in the Whitmanian Vision. Sontag parallels Whitman’s writing structure; they both utilize reputation, long list, and long lines. Sontag utilizes an enumeration of examples to recreate this “oneness in diversity”.  All of these examples show one idea—the idea that photography is a meta-art. Each object photographed is a piece that fits into the puzzle of the photographic world. Each photo is a component of the picture on a puzzle piece. All of these sub-components, despite how many there may be, come together to create the piece. The pieces and their sub-components come together to form the whole photographic puzzle.

The voyeuristic regard is an essential component of photography: not necessarily in a perverse manner, but in the manner that world is viewed both with detachment and intimacy. Susan Sontag’s tone is voyeuristic and stoic, despite her easily discernable investment in the topic of photography (why else would she write an entire book on it?). Again, Sontag parallels what she is saying and how she says it: Sontag discusses the inherent detachment that comes with photography in a detached manner. Her affinity for photography parallels the intimacy she alludes to. Sontag had a very sexual connection to photography, displayed through both her personal sexual relationship to Annie Leibovitz and her vocabulary. To describe photography with perverse words like: “voyeuristic”, “aggressive”, “a violation”, etc., demonstrates her pattern of the perversion of reality. All of these words are both sexual and stoic, recreating her balance between intimacy and detachment in photography. There exists a strange gap between her use of academic essay constructs and her sexual vocabulary. This gap is dark and slightly disturbed, and its purpose is to obscure reality.

An example of Sontag leaving understanding only for those who actively strive for (and are therefore worthy of) it is found in her discussion of Plato’s parable of the Cave. Sontag claims that the abundance of photographic images form a "chronic voyeuristic relation"(“In Plato’s Cave” 11) between people and the world around them. Sontag parallels the profusion of photographs we see and the people ‘in Plato’s cave’ (“The Image World”). The people in Plato’s cave only see the shadows projected onto the cave wall. Both modern society and the people in the cave ignore the dissonance between the images (even in shadow form) and reality; the people in the cave do not wonder about what the causes of the shadows are.

Sontag argues that “to photograph someone is to violate them”(“In Plato’s Cave” 14) because the camera captures an image of the subject that the subject cannot capture themselves; therefore the camera is inherently aggressive. The balance between detachment and intimacy of photography is well represented when Sontag mentions“The voyeuristic stroller who discovers the city as a landscape of voluptuous (“Melancholy Objects”55). The Bourgeois Flaneur (the specified version of the “voyeuristic stroller”) observed and partook in an inhumane surrealist take over of the modern sensibility. The Flaneur parallels a camera: Sontag parallels both. In On Photography Sontag acts as a camera: she creates an image of the problem and only hints towards the solution. All three: Sontag, the camera, and the Flaneur; are simply a lens and a medium for image capture. They are detached, like a shadow from its object. Sontag argues that seeing photographically replaces the real and alienates the photographer from reality. Due to the modern convenience of cameras the heroism of vision --- a constant thirst for art that derived from photography as a medium--- is accessible to all (“The Heroism of Vision”).

In John Berger’s “Steps Toward a Small Theory of the Visible”, Berger conveys his apprehension over a “system”(106) that is losing touch with reality-- Berger’s system is the technological aspects of society. His concern is also the ubiquity of images. Berger discusses the necessity of art capturing the relationship between the model and the painter, but photographs do not always do this. Berger’s solution is to focus on our eyes and sense of vision, and by doing so he believes we can regain our authentic sense of reality. “Technological innovation has made it easy to separate the apparent from the existent. And this is precisely what the present system… needs to exploit” (106). Berger suggests using the very technology that made the differences between the physical and conceptual volatile can be used to reverse the effect. What if Instagram limited its users to one photograph a month? Instantaneously, every Instagram photo would be more memorable and have inherent emotional value. Sontag proposes an ecology of the real and of the images. Sontag exclaims that such an ecology of images occurred during the time of the Farm Security Administration.

 

Personally, the most arresting aspect of Sontag’s writing is the way she briefly touches on meaningful examples (if the reader is not familiar with the tidbit, it is not her prerogative to inform them). This attitude it creates pathways and opens meanings for the reader to discover on their own. An example of one of these opened paths along the way of Sontag’s discussion is the significance of the Farm Security Administration (FSA)--- The FSA was a group of America’s most talented photographers; like Dorothea Lang, Walker Evans, Ben Shahn, and Russell Lee were commissioned by the government to take depression-era documentary photography (“In Plato’s Cave” 6). Their value was that as government funded group of artists, they could afford to perfect each shot, “the immensely gifted members of the FSA… would take dozens of [their]… subjects until satisfied that they had gotten just the right look on film” (“In Plato’s Cave” 6). During the time Sontag was writing On Photography, the government was cutting funding for arts in education and society as a whole and the value of photography in the government was diminishing. Her persistent reminders of the FSA imply the loss of governmental value for authentic and historic photos taken by the time period’s best photographers. This point could have been an entirely separate Sontag essay, but by out casting it as a repetitive offshoot of her other essays she leaves it to be understood only by the readers who are worthy of understanding it.

Sontag articulates that the plethora of images we see every day leads us to mentally reconstruct a new reality of the world. After researching externally --- and becoming worthy of the meaning--- about the allegory of Plato’s cave, I realized that Sontag fails to mention the ultimate fate of the cave people. Her only hint towards their fate is when she bridges the two worlds together briefly and says that the “insatiability of the photographing eye changes the terms of confinement in the cave, our world” (“In Plato’s Cave” 3). According to Plato, the cave people are actually prisoners, and those who escape from the cave see the authentic world behind the shadows. At first, the escapees are shocked and horrified by what they see. But, after they adjust they are the only people able to see an authentic reality (Plato).

Walker Percy’s “The Loss of the Creature” fills the gaps Sontag leaves the reader to self-discover; Percy discusses perception and unpackaging reality, or in this case finding the object behind shadows and the distinction of photographs from reality. Percy’s essay is a study of the way the reality of an individual is masked in and eventually lost because of the systems of education and classification in the “modern technical society”(Percy 760). It illuminated the power society has on everyday life. Sontag reiterates that reality and the images our society creates are “packaged”(Percy) together. Percy also discusses touristic validation: it is not about the travels but about having an authentic experience that is validated by an external source (Percy 755). Sontag, in solidarity with Percy, accords that photography is a validation of experiences—such as traveling, “it seems positively unnatural to travel for pleasure without taking a camera along”(9). But, the flaw in this validation is that photos do not render a world of understanding like the human eye and brain do. The camera merely renders a world of aesthetic consumerism; the embodiment of the inseparable bond between reality and photography or as Plato would say, between the shadow and its object. Sontag self validates with her straightforward and aggressive tone; thus she is the change that she wants to be.

 

To unwrap these packages and escape Plato’s cave is virtually impossible due to the magnitude of the interconnectedness of image and reality. Percy claims that to unpack these packages the prisoner’s must struggle and escape. This struggle, if understood, deepens Sontag’s essay greatly. To understand how to overcome the problem possesses the reader to actually make a change in his or her own life. This change could be to limit their photo output on social networking or simply to take a moment to take in each image they see. Sontag poses the complex conundrum of our prepackaged, image-overridden society but never directly addresses the solution, leaving way for an infinite number of solutions. Without struggling to understand the solutions that Sontag implied by the patterns in her writing, the reader will never be able to find the solution to the perplexing problem--- a continued struggle.

WORKS CITED

"John Berger: Steps Toward a Small Theory of the Visible." Occasions for Writing With 2009 MLA Update Card. Wadsworth Pub Co, 2009. Print.

Plato, and Paul Shorey. The Republic,. Cambridge, MA: Harvard UP, 1937. Print.

Sontag, Susan. On Photography. New York: Farrar, Straus and Giroux, 1977. Print.
“In Plato’s Cave”
"America, Seen Through Photographs, Darkly"
“Melancholy Objects”
“The Heroism of Vision”
“Photographic Evangels”
“The Image-World”

"Walker Percy: The Loss of the Creature." Occasions for Writing With 2009 MLA Update Card. Wadsworth Pub Co, 2009. Print.