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Dark Impact Steven Humblet Imperial Impact Ariella Azoulay Relations

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Dark Impact Steven Humblet Imperial Impact Ariella Azoulay Relations 00 Dark Impact 00 The Impact of the Camera on Wheels: Steven Humblet The Moving Gaze in the Modern Subject 00 Imperial Impact Sara Dominici Ariella Azoulay 00 Fashioning an ‘Image Space’ in Apartheid 00 Relations and Representations of Artistic South Africa: Afrapix Photographers’ ‘Impact’ in Rio’s Favelas Collective and Agency Simone Kalkman M. Neelika Jayawardane 00 Shine a Light in Dark Places 00 The Crisis of the Cliché. Has conflict Donald Weber photography become boring? 00 So You Want to Change the World Peter Bouckaert Lewis Bush 00 On Iconic Photography 00 The Reliable Image: Impact and Rutger van der Hoeven Contemporary Documentary Photography 00 Burning Images for Punishment and Change Wilco Versteeg Florian Göttke 00 Radical Intimacies: (Re)Designing the 00 Photographing the Anthropocene Impact of Documentary Photography Taco Hidde Bakker Oliver Vodeb 00 Break the Cycle. Latin American 00 Imagining Otherwise: The impact of photobooks and the audience aesthetics in an ethical framework Walter Costa Chris Becher and Mads Holm 00 What if We Stopped Claiming the Photobook? 00 Reclaiming Political Fires in Bangladesh. Stefan Vanthuyne Interview Shahidul Alam Shadman Shahid 00 Antwerpen Alberto García del Castillo 00 A Letter to Dr. Paul Julien. Pondering the Photographic Legacy of a Dutch ‘Explorer of Africa’ Andrea Stultiens 00 The Impact of the White, Male Gaze Andrew Jackson and Savannah Dodd 2 Titel 3 The first meaning of ‘impact’ refers to a forceful a genuine belief in the power of images to sway Preface striking of two bodies against each other—a Dark public opinion. Photographs are here supposed to collision, simply put. It derives from the verb function as visual arguments by simply showing ‘impinge’, which in turn comes from the Latin Impact what needs to be addressed. As such, they are ‘impingere’, meaning ‘to push, to bump into, to fully determined by the intentions of those who strike, to hit, to impose’. All very physical actions, produce and disseminate them. They stress a all executed with a certain amount of bodily human worldview and always fit neatly in the violence. This, of course, is not what photogra- Steven different scientific and intellectual frameworks phers mean when they say they want to have an we’ve developed to make sense of the world: they impact. They use the term in a more figurative never veer off-script (which makes them ulti- way, as ‘having a strong effect of one thing, Humblet mately quite predictable). Considered within the person, action, etc. on another’. In this subdued duality of the photographic process as a meeting definition, photographs function as vehicles between optics and chemistry, these argumenta- through which photographers hope to realise a tive images stress the optical side of photography. strong effect on others. If violence there is, it’s Clarity, readability, and sharpness are the most (safely) encapsulated in the images themselves. If important formal qualities of these images. they hit us, it’s only our moral imaginations that But if we go back to the original meaning of they strike. the word ‘impact’—as a forceful collision of two The aspiration for impact seems indestruc- bodies—then another way of thinking about tible. Even after the demise of the printed press photographic impact becomes possible. Instead and acknowledging that the impact of photo- of the optical (theatrical) side of photography, graphic images is uncertain, unmeasurable and this other kind of photography stresses the highly unpredictable, photographers still (cl) photo-chemical element as the (material) point aim to make images that have an impact. How of contact between us and the world. Thinking is it that this impossible desire is still alive and about impact in this way suggests that photo- kicking? Part of it is fuelled by a general move- graphic images, precisely because they are the ment in the artworld that’s taking up a more result of a semi-automatic process in which the activist role, with the photographer as a procurer influence of the human operator is rather limited, of vivid examples of the evil that men do. can open us to a different relationship to the Another part has to do with a lingering attach- world. Initiated by a human action, these images ment to the role documentary photography once are nevertheless attentive to the agency of the played in our visual understanding of the world. world itself and all the non-human elements in Here, the longing for impact takes on the form it. Maybe we need more of these non-human of a desire to become relevant once more—to be perspectives to tilt us out of our self-indulgent, a witness of our times. And last but not least, anthropocentric worldview. If we want more some of this desire can even be attributed to images with impact, maybe we should stop pros- mere calculation on the part of the photographer. elytising the public with trite truths and stale Having an impact is a sure-fire way of getting arguments and instead use photography as a tool noticed and could therefore become the starting to give presence to the spirits lurking in the dark, point of a successful career. silent world. The desire to have an impact is the desire to act upon the world. Included in this definition is the presumption that the one who wants to have an impact is in a position of power from which it is possible to influence worldly events. The wish to have an impact posits the photographer as an agent of change and the world in which he acts as his subordinate object. To strive for impact is to assert control, to state how the world ought to be, not how it is. The photographer understands having an impact as a moment of empowerment, whereas the recipient who absorbs the blow of the image often feels powerless. How to react to this injustice? How to answer the plea of the image? The image confronts us with an intolerable situ- ation but shows us no way out. In the end, we’re left to simply utter our moral indignation. Never- theless, there’s a (rather important) difference between moral indignation and acting morally. The former boils down to simply speaking up, to accusing, while the latter requires an imaginative leap. The question then becomes: how can photography help us attain this imaginative leap? Traditionally, the desire of the photogra- pher who wants to have an impact starts from 4 5 Steven Humblet This article first appeared on Still Searching, rights that continue to lie at the basis of our are reducible to their real estate components and where Ariella Azoulay published a series of essays Imperial political regimes’. The unlearning she proposes nation-building campaigns, these photographers called Unlearning Decisive Moments of Photog- re-envisions the impact photography in a non-im- dismiss the plight of the indigenous population raphy.1 In this series, Azoulay sought to invert Impact perial way: taking photos differently means really as well as the destruction of the common. Differ- common assumptions about the moment of the including the other(s).6 In order to do that, ‘one ences between situations were blurred in such a emergence of photography that present it as a sui has to [first] engage with the imperial world from way that perpetrators could be depicted as victims generis practice and locate said moment in the a non-imperial perspective and be committed or law enforcers even though they were respon- mid-nineteenth century and in relation to techno- Ariella to the idea of revoking rather than ignoring sible for the destruction of the existing world and logical developments and male inventors. Instead, or denying imperial rights manufactured and the plight of others. she proposes to locate the origins of photography distributed as part of the destruction of diverse These three 1956 photos taken by Burt Glinn in the ‘New World’, to use the early phrasing of Azoulay worlds’. in the same place—a destroyed Palestine, or the European colonial enterprise, and to study photo- Through [a] combined activity of newly declared State of Israel—and shown last graphs alongside early accounts of imperial expe- destroying and manufacturing ‘new’7 worlds, year in Paris were displayed only with their mini- ditions. The essays are based on her forthcoming people were deprived of an active life and their malist original caption: ‘Palestinian Prisoners’. book Potential History: Unlearning Imperialism, different activities reduced and mobilised to fit Both the display and the captions take the impe- which is out through Verso in fall 2019. larger schemes of production and world-engi- rial narrative for granted and assume that there’s 1 Two concepts play a fundamental role in this Still Searching is a separate blog of neering. Through these schemes, different groups no harm in reiterating it nor any need to question new work and thus in the essay below; these Fotomuseum Winterthur, ‘offering of governed peoples were crafted and assigned the authority of those who acquired their imperial are ‘unlearning’ and ‘imperial rights’. In order an intellectually challenging and access to certain occupations, mainly non-skilled rights and sovereignty against the Palestinians, interactive discussion on all aspects to acknowledge that photography’s origins are of the photographic.’ This essay was labour, that in turn enabled the creation of a whom they expelled from their homes. These in 1492, Azoulay posits that we have to unlearn originally published as ‘Unlearning distinct strata of professions with the voca- Palestinians are not ‘prisoners’. In the photos Expertise Knowledge and Unsettling the expertise and knowledge that call upon us Expertise Positions’ (9 September tional purpose of architecting ‘new’ worlds and taken in 1956 in Gaza, they are rather brutalised, to account for photography as having its own 2018), which was the third blog within furnishing them with new technologies.
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