10 planet of the arts / spring 1998 COVER Phil Borges, The Fourteenth Dalai Lama, Dharamsala, India demonstrate an intellectual and behavioural obsession. An artist or author working from an agenda of political concern does not of necessity turn out unmitigated propaganda. Besides the Golden Rule basics of hon- esty and respect for others, the values that promote the possibility of work having positive artistic or literary merit include: fairness, balance, depth, coherence, critical self-evaluation, accessibility, and relevance. How differently do these values play out in photographic images than they do in words? Superficially, the photographic image provides information more quickly than words do, hence the adage that contends a picture is worth one thousand words. Related to this attribute is the fact that the viewer can appreciate the photographic image in disregard of its sequential placement within a larger work without destroy- ing its meaning whereas getting the meaning of words depends heavily on the order in which they are assembled — glancing sporadically at pictures as you flip the pages of a book yields much more meaning than doing the same thing in regard to words. Therefore, in comparison to words the photographic image more quickly re-pre- n Tibet, because the ground is frozen for much of the year and because wood is extremely scarce, both internments and cremations are replaced by a novel ritual called sky-burials. This is a simple process of respectfully sectioning up the body into many pieces by a tomden, or yogin-butcher, who spreads these fragments over the hillside for vul- tures to pick clean. As the birds descend, the tom- den yells, “Shey! Shey!” or “Eat! Eat!” Often the bones are pulverized with a stone mallet and mixed with tsampa (roasted barley flour) and once more fed to the vultures. Sometimes the defleshed bones are collected by monks and used to fashion musical instruments from leg bones or bowls from human skulls. Somehow I think it would be a com- forting thought to realize that one’s mortal remains might be recycled into a Tibetan horn. Ganden’s sky-burial site is a place for pilgrims to roll on the ground and to rub away bad karma accumulated from past sins. A bit further down the lingkhor is the Gauge of Sin, to check if pil- grims have rubbed the ground hard enough. Squeezing through this narrow opening in the rocks, pilgrims can breath easy if they come out the other side. If they get stuck, they are too fat with sin. In a place like Ganden monastery, such seem- ingly bizarre and non-rational sites as a rock that generates supernatural visions, a section of ground that rubs off sins, and a narrow geological gauge for bad behaviour does not seem so far- fetched. Often in Tibet, I found I could suspend my empirical mind-set and open up a few dark cerebral channels into the Tibetan world of unex- plained wonderment and the existence of outright impossibilities. Magic is not a trick in Tibet; it is o truth. Poh Exclusive: Image and text selections from Art Perry’s forthcoming book The Tibetans: Photographs Nomad Family in their Tent, Chang Tang, Gertse, Tibet, 1997. The land of the nomads, the Chang Tang Plateau, makes up seventy percent of Tibet. It is a desolate place frozen for eight months of the year. As no crops can grow there, the nomads exist by raising herds of goats, sheep and yaks. This family lives near Gertse; a small one-street town set in the middle of high desert country. A relentless wind rushes down the main street - a street that begins at one end of town and ends at the other. There is no clear road leading into, or out of, Gertse Phil Borges, Kalime, 22, Algo, 3, Mutle Ethiopia, Karo tribe. sents chunks of reality to us. This ease or conve- nience might have to do with the partial autono- my from the photographer that characterizes the traces of reality registered on light sensitive film: there is no comparable passivity of the writer (or painter) — and no corresponding giving-over to the viewer of the opportunity for engagement with this sliver of autonomy — in the process of bringing forth descriptions of the world. And while the photographic image bears the marks of the individual who created it, words convey their author’s idiosyncrasies more steadily and in more detailed fashion. A consequence of this is that words are more prone to mannerisms that alienate the reader and put him or her off well before the author’s case has come into view. Images seem to be more accessible than words all around, however this is probably the only one of the criteria listed above in which they outperform words. Criteria in which photographic ; images hold their ground competently are balance (typically achieved by rep- resenting different and contrasting facets of the same subject matter); depth (typically achieved by presenting a sufficient quantity of worthy photo- graphic images), and; coherence (typi- cally achieved by demonstrating conti- nuities that thematically link one pho- tographic image to others in the mate- rial presented to viewers). Where the performance of photo- graphic images is weakest in relation to words is in demonstrating the qualities of fairness, relevance and the critical self-evaluation of their creator. The discrete, detailed and self-consciously ordered format of words within the expansive and consensus-based resources of written (and spoken) lan- guage allows an author to anticipate the understanding of his or her readers much more fully than is the case with the fluid (and hence relatively idiosyn- cratic, relatively random, and relatively uncontrolled) nature of the image. The greater degree of control avail- able through words allows the author to make subtle and complex references to existing literary works, i.e., it allows the written work to enter into a con- versation across historical and geo- graphic space. By comparison, the quotations and cross-referencing per- formed by visual artists is quite gener- ic, e.g., “In some overall sense, the pho- tographs of X share in some features that turn up in the photographs of Y.” The result of such generality and vagueness is the highly restricted avail- ability of meaning through intercon- nections with others’ photographs. Some photographers are more fair than others in how they handle repre- senting a given subject. But even in the exceedingly rare instances of having comparable, appropriate, specific aspects of the images created by others pointed out to us for comparison, avoidance of self-trivializing specula- tion by us about these works requires having access and making use of the image maker’s word- based explanations. ; These explanations might include statements about intention, strategy for achieving relevance, critique of others’ work, self-placement within contemporary cultural practices, and understand- ing of history and society. In many cases, such explanatory content is offered to us in the relative- ly clumsy, paradoxical form of the statement accompanying a visual art work and in the visual arts catalogue essay. Rather than flopping about as an awkward appendage, as in the case of visual art, in literature all this information is embedded within the work and so is as flowing and nuanced as the writerly imagination of the author will allow. Selling Progressive Alternatives From what has been outlined above, it would seem that text and image compilations produced out of concern for Tibet maximize their effective- ness if they interweave the accessibility provided by photographs with the fairness, relevance and self-critical spirit conveyed by text. Balance and depth would be needed from each of these com- ponents. Coherence also would be a requisite from each, as well as an integral aspect of their success- ful interweaving. But the effectiveness that is at issue in the case of books generated out of concern for the political prospects of Tibetans and their culture is more focused than adeptness in describing social reality. The goal of these books is political effectiveness — getting X to do such-and-such, and stopping Y from doing so-and-so. Political action revolves around resources and strategies. Political resources include money, peo- ple, organization, visibility, supportive public and media opinion, celebrity endorsements, and access to decision-makers. Strategies consist of systemat- ic attempts to realize attainable targets that bring closer an overall goal, such as the political emanci- pation of Tibet from Chinese occupation. A book through which the author explicitly and self-consciously promotes his or her political concerns very much is a book about an agenda. Selling the agenda of a politically “progressive” interest group is no easy thing to do, especially when it involves wanting a superpower half way around the world to withdraw from a sparsely- populated country which, in spite of its pacificism and neutrality, has immense geo-political impor- tance in contemporary international politics. What intermediate steps can be accomplished in pursuit of the distant goal of achieving freedom for Tibet? Publishing a compilation of photographs and text on the situation in Tibet is one such step. Such ss ® 4 OO se ® ® ar > ae oS ee 40 planet of the arts / spring 1998 COVER demonstrate an intel ‘An artist or author working from an agenda of political concern docs not of necesty turn out unmitigated propaganda, Hesids the Golden Rule basics of hon ‘ety and respect for others, the values that promote the possibilty of work having Pastv artic o literary merit include: sires, balance, depth, coherence cial and behavioural obsession, self-evaluation, accessibility, and relevance. How diferently do these values play ou in photographic images than they do in words? Superfly the photographic image provides information more quickly than words do, hence the adage that contends pictures wrth one thousand words ribut isthe fact that the viewer can appreciate the photographic image in disregard of its sequential placement within a larger work without destroy. ing is meaning wheres geting the meaning of words depends heavily on the order in which they are assembled glancing sporadically a pictures as ou lip the pages ‘of book yes much more meaning than doing the same thing in regard to words. “Therefore, in comparison to words the photographic image more quickly tere Relate to this ‘Tet, becouse the send ete for Inch af the yer aa because wood is ‘xtreme sate, both stemment on ‘reotions of repleced by one nial fale sy aril. 0 snple sf espettly sectioning op the bn toy pieces by 6 tender, or yogbatcher whe Sarat hse fagnets oe the hllde fr ve terest pick cle. athe ds den yl “Shep Shey ot “at Et Sent arpavertedth sane mallet end ied with tompeCoosted bey flu) nd ance mere Ted te the vale, Sometines the defies ‘ees re colected by moks ond sdf fess Isl nstrests ram buns o bes fram mon tl Somehow thnk it wold ee com fertag thought te Teakze thet t's wa ramos might be eyed ist Teton bare ede’ yur ite place fe pins tol on the goed ond to ob away bt karma scconloted fm pst sn 8 tft den the ingle i th Gage of Sim, to chek fp pins hove rubbed the ground hard nwa Stuceing ugh th oarow epning nthe aes, pins can beth cy they come eet the eberside IF they gt stack, they eff Ine place ike Geeden monetary, sch stem ing tere and narod itera rock thet seotater soperetural Wales, 6 section of {Found thet abs fis, odo nro galas Sroge fr tod behovur dnes nt seems fr Fetched often net, I Yosef cel suspend fy epics minke ood open op few Gr Creal chanel ints the Teton wel ne ag nto tckin Tet: ts uth, PoA Exclusive: image and text selections from Ret Perrys forthcoming book The Tibetans: Photographs Soesptmontuolthe yr A copcan go hee ‘he mamas et by e609 he of 9 hey ‘Ths dyes Ge lesen et he mee of Mh det ty Aes ind ‘aes down be mane =a sie tbe oe sents chunks of reality tous. This ease or conve rience might have todo with the partis autono my from the photographer that characterizes the traces of reality registered on light sensitive fm (oF painter) ~ and no corresponding givng-over the viewer of the opportunity for engagement with this liver of autonomy = in the proces of bringing forth descriptions ofthe word ‘And while the photographic image beats the marks of the individual who crested it, words convey ther author's idiosyncrasies more steadily and in more deuiled fashion. A consequence of there ino comparable passivity of the we this is that words are more prone to mannerisms that alienate the reader and put him or her off ell before the author's case has come Images seem to be more accesible ‘than words ll around, however this is probably the only one of the criteria listed above in which they outperform words Criteria in which photographic ‘mages hold their ground competently ae balance (typically achieved by rep- resenting. diffrent and contrasting facets of the same subject mate) dept (typically achieved by presenting sufficient quantity of worthy photo sraphic images), and coherence (typi cally chieved by demonstrating conti: utes that thematically link one pho- tographic image to others in the mate: il presented to viewers) ‘Where the performance of photo raph images i weakest in relition to wor isin demonstrating the qualities of faines, relevance and the cial self-evaluation of their creator. The Aiscrete deviled and self consciously ordered format of words within the expansive and consensus-based resource of written (and spoken) lan guage allows an au oF to anticipate the understanding of his or he readers ‘much more lly than is the ease with the uid (and hence relatively idosyn tltvely random, and relatively uncontrolled) ature ofthe image. “The greater degree of contro able through words allows the author to make subtle and complex ferences to existing literary works, i, it allows the writen work to enter into a con: version across historic! and geo sraphic space. By comparison, the quotations and cros-eferencng per formed by visual artists is quite gener ‘ese."In some overall sense the pho tographs of X share in some features that tuen wp in the photographs of ¥> The result of such generality and ‘vaguenessis the highly restricted avail: ability of meaning through intercon nections with others’ photographs Some photographers are more fur than others in how they handle repre: Seating given subject. But even in the ercedingly rare instances of having comparable, appropriate, specific aspects of the images created by others pointed out to us for ‘comparison avoidance of self rvializing specula tion by us about these works requires having ‘access and making use of the image maker’ word based explanations ‘These explanations might include statements ahout intention, strategy for achieving relevance, critique of others! work, selfplacement within ‘contemporary cultural practices and understand. ing of history and society. In many cass, such explanatory contents ofered to usin the relative ly clumsy, paradoxical form of the statement accompanying a visual at work and inthe visual arts catalogue essay Rather than flopping about as an awkward appendage, asin the ease of visual arin iterate all this information is embedded within the work and s0 isa lowing and nuanced as the writerly imagination of the author wl alow. Selling Progressive Alternatives From what has been outlined above, it would scem that text and image compilations produced ‘out of concern for Tibet maximize ther effective es if they interweave the accessibility provided by photographs with the fairness, relevance and self-critical sprit conveyed by text. Balance and depth would be needed from each of these com nents. Coherence alto would bea requisite from ‘ach, a5 well as an integral aspect oftheir succes fa interweaving. But the effectiveness that iat sue inthe case of books generated out of concern fr the pois prospects of Tibetans and thei culture is more focused than adepies in describing socal realy, Te goal ofthese books is political effectiveness — sgtting X to do such-and-such, and topping Y from doing so-and-so. Political action revolves around resoures and strateges. Political resources inclade money, peo ple, organization, visibility supportive public and ‘media opinion, celebrity endorseme and acess to decision-makers. Strategies consis of estemat ieatempts to realize attainable targets that bring ‘loser an overall goal, such asthe political emanci pation of Tibet from Chinese occupation ‘A book through which the author explicitly and self-consciously promotes his or her poitial concerns very much isa book about an agenda Salling the iterest group is no easy thing to do, especially agenda of a politically “progesive™ when it involves wanting a superpower half way around the world to withdraw from a sparsely: Populated country which in spite ofits pacific and neutrality, has immense geo-political impor emporaty international politics, What intermediate steps can be accomplished in pursuit of the distant goal of achieving freedom for Tibet Publishing a compilation of photographs and situation in Tibet sone such step. Such :