A Quote by Pierre Bourdieu
In stamping photography with the patent of realism, society does nothing but confirm itself in the tautological certainty that an image of reality that conforms to its own representation of objectivity is truly objective.
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Photography itself is most frequently nothing but the reproduction of the image that a group produces of its own integration.
... what is faked [by the computerization of image-making], of course, is not reality, but photographic reality, reality as seen by the camera lens. In other words, what computer graphics have (almost) achieved is not realism, but rather only photorealism - the ability to fake not our perceptual and bodily experience of reality but only its photographic image.
The immature conscience is not its own master. It simply parrots the decisions of others. It does not make judgments of its own; it merely conforms to the judgments of others. That is not real freedom, and it makes true love impossible, for if we are to love truly and freely, we must be able to give something that is truly our own to another. If our heart does not belong to us, asks Merton, how can we give it to another?
Realism' has been abandoned in the search for reality: the 'principal objective' of abstract art is precisely this reality.
Reality manifests itself as constant and objective - independent of us, but as changeable in space and time. Consequently, its reflection in us contains both properties. Mixed up in our mind, these properties are confused and we do not have a proper image of reality.
The challenge for me has first been to see things as they are, whether a portrait, a city street, or a bouncing ball. In a word, I have tried to be objective. What I mean by objectivity is not the objectivity of a machine, but of a sensible human being with the mystery of personal selection at the heart of it. The second challenge has been to impose order onto the things seen and to supply the visual context and the intellectual framework - that to me is the art of photography.
This society is driven by neurotic speed and force accelerated by greed and frustration of not being able to live up to the image of men and woman we have created for ourselves; the image has nothing to do with the reality of people.
The photograph as an objective representation of reality simply does not exist. The photograph does not explain to you what is going on to the left or to the right or above or below the frame. Oftentimes, it doesn't even explain to you what is going on inside the frame.
... Nothing resembles reality less than the photograph. Nothing resembles substance less than its shadow. To convey the meaning of something substantial you have to use not a shadow but a sign, not the limitation but the image. The image is a new and different reality, and of course it does not convey an impression of some object, but the mind of the subject; and that is something else again.
A society that feels itself to be flourishing is likely to interpret everything that happens to its own advantage and in its own image. By contrast, a society that feels confused or in decline often converts any event - however innocuous - into a weapon of self-laceration.
Consciousness does not just passively reflect the objective material world; it plays an active role in creating reality itself.
The main difference seems to be that, whereas photography still claims some sort of objectivity, digital imaging is an overtly fictional process. As a practice that is known to be capable of nothing but fabrication, digitization abandons even the rhetoric of truth that has been such an important part of photography's cultural success.
I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either.
Wars are fought to gain a certain objective. War itself is not the objective; victory is not the objective; you fight to remove the obstruction that comes in the way of your objective. If you let victory become the end in itself then you've gone astray and forgotten what you were originally fighting about.
It is perhaps not a surprise that photography developed as a technological medium in the industrial age, when reality started to disappear. It is even perhaps the disappearance of reality that triggered this technical form. Reality found a way to mutate into an image.
The vice named surrealism is the immoderate and impassioned use of the stupefacient image or rather of the uncontrolled provocation of the image for its own sake and for the element of unpredictable perturbation and of metamorphosis which it introduces into the domain of representation; for each image on each occasion forces you to revise the entire Universe.
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