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Je ne regard pas. Voire me suffit.
(I don't look. Seeing is enough for me.)
We of the industrialized world of the twenty-first century are awash in photography. As an anonymous Portside posting of March 9, 2012 reads: “As the camera shrinks in size, becomes ever present and hardly ever noticed, its impact just keeps growing.” Who could argue with that? The Portside writer's take on this situation is distinctly optimistic: “The video record is our collective memory, our conscience, our shield against deception and amnesia; our political as well as artistic resource of choice.” But is it really? Is it not also pervasive surveillance and invasion of privacy? Can we be sure that the resulting pictures will not be used for the manipulation of the historical record, of our opinions and attitudes, whether political, aesthetic, or economic? Is it not true that at present the manipulation or “editing” of photographs, whether of events or individuals, is within the reach even of teenagers? How then can we distinguish the actual from the fictive?