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"in which a location has morphed into what can now be seen"

This quote and image are trying to say that locations are always changing and nothing is ever permanent. Human and environmental factors change landscapes. What we see is the present it always changing and when it changes what we saw is in the past and are now seeing the new present

This image is showing a snow landscape being altered by human activity. It shows humans have effects on all landscapes and the world is everchanging. Photos like these show a story and make you ask questions. Who's are these footprints? Where were they going? You get all these ideas just by looking at the image and not having any other context to it.

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"depiction of sites not as they once were, but in terms of their appearance now"

this quote suggests that we can't always dwell on how something used to look, we need to to look past it to what it is now and find something in it that it can stand for or be known for.

my images are of an old building in Racton that has been left to defend on its own against the elements and people. it has been vandalised in many different ways from spray paint to Broken bottles everywhere.

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4. Learning to love yourself again 2 jpg

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“to be a woman is to have become a woman, to compel the body to conform to an historical idea of 'woman,' to induce the body to become a cultural sign, to materialize oneself in obedience to an historically delimited possibility, and to do this as a sustained and repeated corporeal project.”

Butler, J. (1988) ‘Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory’, Theatre Journal, 40(4), pp. 519–531.

This quote suggests that being a woman is representing the history they carry and have created. Women are powerful and hold lots of historical and cultural value.

My image links to the quote because it represents the beauty and nature of women. Having the women's body covered in flowers suggests that the body is natural and comes from nature. Connotes women's beauty and femininity.  More ideas of the woman's body being sacred and precious.

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“Gender is not passively scripted on the body, and neither is it determined by nature, language, the symbolic, or the overwhelming history of patriarchy.” - Performative Acts and Gender Constitution by Judith Butler

I chose this quote as it is a good summary of Butler’s essay about gender, and it being a construct. I chose this image because shaving is a social norm and role typically associated with being a woman (shaving legs and armpits, etc), women must be hairless whilst men are allowed to grow as much hair as they like without it being frowned upon. However, today people see shaving, and what they shave, as a personal choice, and the razor is a sort of metaphor for how gender varies. Shaving is a beauty norm and it coincides with certain gender norms.

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"Sites of events whose significance wanes over time, but that nonetheless represent historical turning points of greater or lesser significance" - Most historical places aren't used for their intended design anymore and are more tourist places to represents a monument that had some form of significance on the modern society and changed society in the era it was built.

My image of Stonehenge I thought linked quite well with this quote as although lots of people go to see this monument it's significance in today society is minimal and more a talking point than anything. However it was a key turning point as it started a time of transformation when landscaping was being monumentalised in new ways as part of communities changing relationship with the land.

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"War is endemic to history, as are hidden histories and forgotten narratives. Stories are often invisible"

What I feel this quote is trying to say is War and violence have a long history of hiding stories. It's crucial to uncover and preserve different perspectives.

the quote reminded me of an overgrown structure that I found, it was hidden due to time passing from when it was in function and is now covered by nature

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"Vistas may be enigmatic. As John Berger suggests, landscapes may veil the struggles of those who once lived or fought there."

"Yet specific sites may give little away; histories are not necessarily manifested visually. The methodological and aesthetic challenge for photographers is to transcend the limitations of the literalness of the camera, to find ways of alluding to that which has occurred through depiction of sites not as they once were, but in terms of their appearance now"

The landscape photographer serves as the bridge between past and present. The camera itself can only observe so much, it's up to the photographer to allude to and suggest the events that have previously occurred. My example is perhaps too obvious, but the skid marks suggest an accident or high speed collision, or the most used route on this particular road.

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“The archive is opened to the threat of memory: the memory of its exclusions.” p.129

“A history of history has emerged, but this critical history seizes upon memory and its sites, assiduously collecting the remains, testimonies, documents, images, speeches and any visible and tangible signs that have been left behind.” p.131

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"intended to unearth and, more
particularly, convey hidden histories relating to battles or sites of execution."

This quote is saying how histories a lot of the time are hidden and kept from the public so we need to "unearth" this. This photograph that I have chosen to pair with this quote was taken at a place called Slapton, this is one location where practices for the D-day landings took place. However, in this specific location, there was an incident on the trial day. This led to over 500 soldiers dying, and the government took a while to release this information and still there today is not direct information about this event.

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'The body becomes its gender through a series of acts which are renewed, revised, and consolidated through time'

This quote begins to reflect on my image as this photograph resembles a women's body placed into a black bath, this concept symbolises the reality and daily struggles that women condone due to their gender being sexualised and abused due to being a women. This quote suggests how the body becomes the gender through acts, which this photograph reflects upon the body of a women beginning to relate to this text.

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When the camera was a weapon of Imperialism. 

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When the camera was a weapon of Imperialism. 

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The first paragraphs of the text are talking about the colonisation in Africa by the British and the French in the 1800s. In the 1960s during the French war against Algeria, the French built internment camps in North Algeria. Marc Garanger was asked to photograph the prisoners to keep a record of the detained people. The female prisoners were compelled to take off their veil even if they didn’t want to. Garanger’s only alternative than accepting the job was to be in prison for refusing the orders.

Just like back then where people had no privacy, refugees in Moria, Athens, Berlin and Belgrade have no measure of privacy. Teju in his last paragraph in the text notes  he has a hope that an ethic of self-determination can be restored and that the refugees will gain privacy and that the women of Kalybia will return to themselves as they wish to be.

Photography doesn’t only have to do with showing and exposing people and situations. Photography has also to do with obscure, unseen and dark. We have to ask ourselves not how these things happened but how we allowed them to happen.

The note from the text that inspired my picture is talking about Garanger’s alternative of getting in prison if he refused to take the pictures of the prisoners. We see a person pretending to be Garanger who is looking at a high rank officer of the military with disgrace because he is ordering him to take the picture of a female prisoner who is taking her veil off by force.  With this image I want to recreate the quote of the text and show how brutal and horrific this time was.

The note: “Garanger’s photographs both record an injustice and occasion it. His alternative, not an easy one, would have been to refuse the order and go to prison. His pictures show us what we ought not to see: Young and old women, their hair free flowing or plaited, one face after the other, in the hundreds. They collectively emanate refusal. The women of Kabylia look through the photographer, certainly not considering him an ally. Their gazes rise from the surface of the photograph, palpably furious.”