Max Caulfield
Jul. 24th, 2020 10:01 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
In the corner of one of the couches, over by the fireplace, someone is telling a story. It's an odd story, more about concepts and symbolism, technology and history than about a coherent narrative, but the cats hardly seem to mind. Max is content to be pinned in her place on the couch by the small collection of cats that have gathered while she catches up on her assigned reading for photography class.
They aren't a bad audience. Well, the big one is certainly asleep, the tabby is imperiously insisting on ear scritches, but at least the white one seems content to just exist nearby.
She figures that counts as listening. Good enough, anyway.
"'The inventory started in 1839,'" she reads, her left hand rubbing the ears of the nearest cat, "'and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.'"
They aren't a bad audience. Well, the big one is certainly asleep, the tabby is imperiously insisting on ear scritches, but at least the white one seems content to just exist nearby.
She figures that counts as listening. Good enough, anyway.
"'The inventory started in 1839,'" she reads, her left hand rubbing the ears of the nearest cat, "'and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.'"