Chapter Three: Modernity

Images are also factors in the power relations between human subjects and individuals/institutions.

What is important to remember is also the way in which we view images. Rarely do view an image while we are in total seclusion and isolation. Sometimes the room may be cold or the hustle and bustle of other tourists distracting. The concept of spectatorship allows us to talk about the full scope of viewing.

Modernity is a term that scholars use to refer to the historical, cultural, political and economic conditions related to the Enlightenment: the rise of the industrial society and scientific rationalism; and to the idea of controlling nature through technology, science and nationalism.

The concepts of gaze and spectatorship remain important cornerstones of visual studies because they provide a set of terms and methods through which to consider some aspects of looking practices that the concepts of the viewer does not really allow us to consider in depth. These are:
1) the roles of the unconscious and desire in viewing practices
2) the role of looking in the formation of the human subject as such; and
3) the way that looking is always a relational activity and not simply a mental activity engaged in by someone who forms internal mental representations that stand for a passive image object ‘out there.’

One of my favorite sections of the entire chapter was definitely the idea of power and discourse. As I mentioned back in chapter one, many of the theories reminded me of the ideas of Foucault and Panopticism. Luckily for me this topic came up again later.

Panopticism is the idea that the onlooker can assert power on the subjects they are looking/gazing upon without having to directly interact. There is a power struggle and imbalance this way between the commanding figure (viewer) and lesser figure (viewee).

The concept of Panopticism can often be best described in the idea of a prison. In the middle the high tower looks down upon the cells. There is a bright spotlight that shines towards the inmates cells as well. The cells themselves are of a concave nature, making it difficult to see and interact with the cell next to you. The inmates then are under constant surveillance. Or so they think, anyway. In reality, the inmates are lead to believe that because the panopticon (the tower in the center of the room) is constantly present, they are constantly under watch. In reality, however, the inmates have no idea when they are actually being watched, since they cannot see or interact with others.

This gives the power to the viewer.

Topics for Discussion:

1. What is the best way, in your mind, to view art and other images? If the setting plays a difference in the way viewers see images, should the setting be tailored to the type of art viewed, or should everything be viewed in isolation?

2. What other modern day examples of Foucault’s theory of Panopticism can you think of? How does this assert power between the viewer and viewee and how could the roles be changed or reversed?