Imaging the City Concepts Exam
T F Michel de Certeau's distinction between "space" and "place" reverses the conventional use of these terms.
???????
What did Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction confront?
Both the photographer's aesthetic starting premise and the consideration of political issues resulting from its use. The loss of the "aura" of the unreproducible work of art (47)
37. What does NOT make a photo Iconic? (DAY 4) A. Widely recognized B. Historically significant C. Dogs in the photo D. Emotionally Resonant
C. Dogs in the photo
True/False: The mechanisms of metaphor and allegory functioning within the photograph do not refer to more extended ideas, so that isolated elements can stand in for, or come to symbolize, a much greater concept. (81)
False
What is the central significance of street photography?
The attitude of the photographer who can be motivated in different ways, such as seeking out instances of injustice, aesthetic congruence or entertainment. (95)
True/False: Photographs are never 'evidence' of history; they are themselves historical.
True
According to Michel Foucault, power relations are a: a) 'complex interplay' of actions that act upon and which modify other actions b) stable system of foundation and superstructure c) simple relationship in which one individual exerts power over another d) series of positions held by people, where explicit power is exercised over others
a) 'complex interplay' of actions that act upon and which modify other actions
What did Michel de Certeau look at and study in order to make a city's culture explicit? P. 18 a) Everyday practices b) Cultural myths and imaginings c) Organizational patterns in city planning d) The centrality (or not) of the "home" in urban life
a) Everyday practices
26. Which of the following is a challenge for photographers in the context of how they are able to demonstrate social practice of a certain city? (p. 92) a) How photographers can depict more ephemeral feelings b) How photographer's can maintain their balance c) How photographer's can keep their camera charged d) None of the above
a) How photographers can depict more ephemeral feelings
According to Mieke Bal, we can conceive of a photograph as a space of conceptual operation. In light of this, which is most accurate? a) Interpretation is open to multiple perspectives b) Interpretation is restricted to the perspective of the photographer c) Interpretation is restricted to the perspective of the audience d) Interpretation is impossible
a) Interpretation is open to multiple perspectives
Charles Sanders Peirce's model has three elements. Which element is also described as the photograph? (p. 35) a) Representatum b) Interpretant c) Object d) Referent
a) Representatum
44. Using the case study of City of Manchester in 1960's, which of the following was not a social shortcoming of structuring cities/neighborhoods by using the modernist, utopian theories of Le Corbusier? a) The estates became isolated communities b) The estates experienced an increased incidence in crime. c) The estates quickly became deteriorated and run down d) None: all of the above were social shortcomings
a) The estates became isolated communities
Soja's _______ perspective focuses on the concrete materiality of spatial forms. a) first space b) second space c) third space d) none of the above
a) first space
According to Roland Barthes, which of the following would be examples of denotation? a) identifying an image of a cup as a cup b) associating the color green in a restaurant advertisement with freshness c) recalling memories of your old home from a picture of a house
a) identifying an image of a cup as a cup
Complete the sentence: "Because photography has been described as a 'pencil of nature', its '________' persuades the viewer to ________ the process of signification." p. 57 a) natural realism; ignore b) natural realism; attend to c) artificiality; complete d) intentionality; dismantle
a) natural realism; ignore
9. What are the three elements in the three element model as proposed by Charles Sanders Peirce. (after figure 2.2, paragraph 9) a. Representatum, interpretant, object b. Representatum, city, object c. Space, object, audience d. None of the above
a. Representatum, interpretant, object
45. ____ refers to a causal relationship whereas ____ refers to a relationship that depends on resemblance. a) Icon and Index b) Index and Icon c) Denotation and Connotation d) Connotation and Denotation
b) Index and Icon
34. Which of the following is not a potential agent? a) City b) Lighting c) Photographer d) Audience
b) Lighting
What city does David Harvey characterize as the 'ultimate exemplar of modernity?' a) New York b) Paris c) London d) Rome
b) Paris
18. Postmodernism can be characterized by all of the following except: (Pg. 8) a) Demystification b) The exclusion of mass culture c) The significance of difference d) Critique
b) The exclusion of mass culture
Where did the "ordinary practitioners of the city" live and how do they experience the city, according to de Certeau? a) They live 'deep within' and they experience the city by residing within it b) They live 'down below' and they experience the city by walking c) They live 'far outside' and they experience the city by walking d) They live 'down beneath' and they experience the city by buying commodified goods
b) They live 'down below' and they experience the city by walking
What point of view doesn't see photographs having any meaning beyond their reference to interesting subject matter? P. 31 a) Physicality b) Transparency c) Spatiality d) Temporality
b) Transparency
Tormey defines ______ as a self-referential concern for the formal qualities of the photograph. P.44 a) rhetoric b) aesthetic c) agency d) all of the above e) none of the above
b) aesthetic
27. Who says the photograph is a source of pleasure? (Page 99) a) Bourdieu b) De Certeau c) Flaneur d) Sparkowski
b) de certeau
Photography is described as... (p. 57) a) The marker of nature b) The pencil of nature c) The book of nature d) The glimpse of nature
b) the pencil of nature
Barthes attributes the poignancy of the photography to the way in which the image is haunted by p. 37 a) the signifier b) the referent c) the aesthetic d) mediation e) agency
b) the referent
10. A social analysis of a photograph would: a. Provide patterns of conformity b. Seek and explanation and understanding of the photographer as an agent of social force c. Focus on the formal qualities of the photo d. None of the above
b. Seek and explanation and understanding of the photographer as an agent of social force
50. Which of the following is not one of John Berger's three uses of photography? P. 32 a) Communication b) Documentation c) Political d) Scientific
b. documentation
What are the two methods of experiencing the city as addressed by de Certeau? (chapter 4, different orders of representation, paragraph 2) a. Observing and exploring b. Observing and walking c. Walking and exploring d. None of the above
b. observing and walking
23. Which of the following is not one of the two characteristics of modernity that Baudelaire says are of particular importance for the consideration of cities and photography? a. the relationship of the individual to the crowd in the metropolis b. the focus on a street-level perspective c. the veneration of the 'everyday'
b. the focus on a street-level perspective
31. Cities and Photography discusses the relationship between: a) People b) The city c) All of the above d) None of the above
c) All of the above
30. Which of the following is not characteristic of the flâneur? (p. 93, box 4.1) a) Being modern b) Being alone among others c) Distanced observation d) Experiencing the everyday
c) Distanced observation
39. What is not a tension of photography? a) Subject/Object b) Form/Content c) Formal/Sensible d) Symbolic/Material
c) Formal/Sensible
16. Which of the following is not a purpose of photographic societies like MAPS? (second to last paragraph in box 3.1) a) Record buildings prior to their demolition b) Record the business life c) Record how the bourgeoisie live d) Record habits of the people
c) Record how the bourgeoisie live
28. What does objectivism take away the agency from? (page 102) a) The city b) The camera c) The photographer d) The photograph
c) The photographer
36. Who said, "photography constructs and reconstructs as if by nature, all the major divisions within the social formation." (Page 78) a) Tagg b) Bourdieu c) Watney
c) Watney
Foucault's use of the term discourse references which of the following? a) language b) a particular text c) a particular context d) none of the above
c) a particular context ?
When an image of a happy, mixed race couple with a child represents the city as friendly and racially tolerant, this is an example of a photograph's _______ potential. a) revolutionary b) democratic c) aesthetic d) metonymic e) transparent
c) aesthetic
In semiology, the relationship between the signifier and signified is______. a) obvious b) eternal c) arbitrary d) none of the above
c) arbitrary
Jurgen Habermas describes aesthetic modernity as finding a common focus in the consciousness of the time, which is seen manifested in the drive to assert progress through a) a series of avant-gardes b) a playful re-appropriation of classical forms c) both a and b d) none of the above
c) both a and b
Photographic surveys of working conditions and street life in the 19th century were to a) provide documentary evidence for the purposes of social improvement b) preserve a record of city life for posterity c) both a and b d) none of the above
c) both a and b
According to Allan Sekula, the relationship between photographic culture and economic life serves to a) legitimize power relationships to justify authority b) provide a means of escape from the realities of life such as work or family c) both of the above d) none of the above
c) both of the above
According to John Berger, photographs are a) objective truths. b) deceptive lies. c) culture's constructions. d) none of the above.
c) culture's constructions.
The rhetorical operation that allows members of the audience to feel a strong and personal connection with (even placing themselves in the position of) a subject depicted in a photograph is called: a) topos b) iconicity c) identification d) affect e) none of the above
c) identification
According to Tormey, photography ___ the city assumes commercial, social, political, and cultural roles. Photography ___ the city is used to document the urban life and history of the city. Photography ___ the city shows that there exists an application of photography besides and in addition to the fabric of the city. P. 58 a) of, in, and b) and, in, of c) in, of, and d) all of the above e) none of the above
c) in, of, and
John Tagg applies Foucault's concept of power relations to photography in order to a) justify the role of photographs in representing history. b) deny the role of photographs in representing history. c) question the role of photographs in representing history. d) all of the above e) none of the above
c) question the role of photographs in representing history.
Peirce classifies a(n) ______ as a sign that is conventionally or culturally recognizable. a) icon b) index c) symbol d) connotation e) none of the above
c) symbol
24. What did Friedrich Engels find noteworthy about the structure of the city of Manchester? (Box 3.1) a. It had a well-connected sewage system that kept the city clean for all inhabitants regardless of class status. b. It was built radiating outward from one central location where wealth was centralized and contained, away from the poor. c. It was built in such a way that the wealthy citizens had the shortest and cleanest routes to their places of work, so that they might never have to see poverty.
c. It was built in such a way that the wealthy citizens had the shortest and cleanest routes to their places of work, so that they might never have to see poverty.
35. Which of the following is not a component to framing a photo? a. The camera b. Existing frames in the scene c. The photographer's glasses d. The larger context
c. The photographer's glasses
Which space combines the real and the imagined on equal terms? (p. 20) a. First space b. Second space c. Third space d. None of the above
c. third space
25. Which of the following is not one of John Tagg's considerations of how institutions use photographs for power? (Kindle Locations 1491-1492) a. to record b. to control c. to create d. to observe behavior e. to assess blame
c. to create
41. Which is not a term introduced by Charles Saunders Pierce? a) Icon b) Index c) Symbol d) 'Everyday' life
d) 'Everyday' life
40. What does the meaning of a photograph depend on? a) Context b) Intention c) Knowledge d) All The Above
d) All The Above
46. Which of the following are NOT central issues Michel Foucault outlined as significant in reading photographs? a) The implicit meaning b) The changing condition of what is photographed c) The economic conditions of the image's production d) All are central issues he raises
d) All are central issues he raises
Which of the following is not a perspective from which you can view a photograph? a) The framing of a photograph and the facts it presents b) The context and perspective with which we view and approach interpretation c) The choice, purpose and context of the selected frame d) All are perspectives for viewing photographs
d) All are perspectives for viewing photographs
32. What are the fields of study within Urban Photography? a) Urban Studies b) Visual Rhetoric c) Photography d) All the Above
d) All the Above
Which of the following theorists claimed that: 1) the relationship of the individual to the crowd in the city and 2) the veneration of the "everyday" are two important characteristics of modernity? p4 a) Henri Lefebvre b) Edward Soja c) Michel de Certeau d) Charles Baudelaire
d) Charles Baudelaire
48. Edward Said's term ______ refers to a style of thought characteristic of European colonialism that continues to distinguish between "East" and "West" in ways that exoticize difference and affirm European dominance and authority. a) Globalization b) Eurocentrism c) Imperialism d) Orientalism
d) Orientalism
29. Which of the following is not used to define habitus? (103) a) Attempting to understand the process of change in social practices b) To move beyond opposition between an objective position and wholly subjective one c) It is interiorized and unconscious d) Presuming to 'know' a society by observing
d) Presuming to 'know' a society by observing
What results from the disappearance of "natural space," as described by Lefebvre? a) There are more "places" than "spaces," so experiences are more artificial b) Social spaces are becoming more digital, so experiences are more artificial c) Space is passive and organically constructed d) Space is less passive and is deliberately constructed
d) Space is less passive and is deliberately constructed
33. According to Foucault, which of the following is not a way in which photography works as an instrument of power? (p. 64) a) To record b) To control c) To observe behavior and assess blame d) To expose corruption in the state's institutions
d) To expose corruption in the state's institutions
11. What are the different ways in which the city can be presented photographically? Page 26 a. Geographically b. Anthropologically c. Sociologically d. All of the above
d) all of the above
12. The way we look at and talk about photography is driven by? Page 38 a. Cultural Context b. Ideology c. Language we use d. All of the above
d) all of the above
13. Photographs are mediated by their mode of production and can be understood as being entirely instrumental - as agents for: Page 64 a. Social control b. The promotion of consumerism. c. Style. d. All of the above.
d) all of the above
14. Photographs of "things" represent much bigger things such as: Page 105 a Ideologies b Values c Economies d All of the above
d) all of the above
17. What is the function of photography in the context of state operations? (Pg. 66) a) As physical evidence b) As ideological justification c) As legal proof or identification d) All of the above
d) all of the above
43. Which of the following are aspects central to urban studies that can be associated with Henri Lefebvre's conception of the construction of social space? P. 15 a) an interdisciplinary approach b) a response to Marxist analysis and the impact of globalization c) an emphasis on the significance of "living" over the manufacture of space d) all of the above e) none of the above
d) all of the above
49. For Barthes, the photograph's rhetoric is related to its a) treatment b) genre c) aesthetic frame d) all of the above e) none of the above
d) all of the above
6. Which of the following are concerned with the study of humankind and the behaviors and ideologies that distinguish different people and groups? (p. 14) a. Sociology B. geography C. human geography D. anthropology
d) anthropology
20. To what aspects of photographs do we react to? a. Formal Qualities b. Physical properties c. Subject matter d. All of the above
d. All of the above
38. What different academic fields bring emphases to understanding the city? (Page 24) a. Geography b. Advertising c. Social Sciences d. All of the above
d. All of the above
22. Which of the following statements is true? a. Lefebvre believes that doubts that photographs can expose the real problems that are represented by the appearance of specific spaces b. He says illusion already resides in the photographer's eye, gaze and lens c. He says it is impossible for the photographer to transcend the "limits of image" d. a and b, but not c e. all of the above
d. a and b, but not c
47. Which of the following statements reflect Gen Doy's views of Eugene Appert's photographs of the Communards of Paris? a) They were obviously faked and propagandist b) Viewers of the photos wanted to believe what they saw was a realistic representation. c) They accurately portrayed the views of the bourgeoisie during the Paris Commune. d) All of the above e) Options 'a' and 'b' only
e) Options 'a' and 'b' only
20th century urban study was influenced by p. 14 a) sociology b) geography c) human geography d) anthropology e) all of the above
e) all of the above
Physical properties of photographs include: a) size b) condition c) placement d) presentation e) all of the above f) a, b, and c only
e) all of the above
42. Which of the following tropes does Frederic Jameson associate with postmodern art and architecture? P. 8 a) paradox b) irony c) hybridity d) self-referential appropriation e) all of the above.
e) all of the above.
21. Which of the following statements is true about photography, social agency and power? a. Its status as a technology varies with the power relations which invest it. b. Its nature as a practice depends on the institutions and agents which define it and set it to work. c. Its products are meaningful and legible only within the particular currencies they have d. The camera is never neutral e. All of the above statements are correct
e. All of the above statements are correct
(page 24) Which academic fields are important when trying to understand a city? a. Geography b. Social Sciences c. Feminism d. Post-colonialism e. All of the above
e. all of the above
15. Which of the following areas contribute to our conception of space and city? (p. 21, second paragraph in The city as model - theoretical frame) a) Sociology b) Geography c) Anthropology d) Feminism e) All of the above
e. all of the above
19. Urban theory attempts to understand the following increase of: a. automobile b. mass consumption and consumerism c. increasing segregation and mass urbanization d. rapid growth of the middle class e. all of the above f. None of the above
e. all of the above
In what way(s) does Tormey describe the "everyday" in our book? a) It contains the unconscious: the mundane, fleeting, and/or hidden b) It is a metaphor for the aspiration of the modern individual to transcend physical existence c) It is a process of continual identity affirmation and policing through interpellatory states d) All of the above e) Only A and B are true f) Only B and C are true
f) Only B and C are true
19th century urban study focused on p. 14 a) poverty b) pollution c) crime d) homelessness e) social change f) all of the above g) none of the above
f) all of the above
61. True or False: The punctum does not amplify the photography's power of metonymy. (p. 37)
false
65. True or False: Art photography cannot document everyday life (93)
false
68. True or False? The 'everyday,' as a central idea of post-modernity and a recurring theme in the history of photography, develops several associated elements. (central idea of modernity) Page 51
false
84. True or False. Both Jameson and Harvey endorse postmodern culture. (8)
false
85. True or False: Only exterior light can impact a photo
false
86. True or False: A photo can become instantaneously iconic. (Day 4)
false
88. True or False: The photographer is in control of the punctum (37).
false
T F According to Roland Barthes, photographs are value free and their meaning is transparent.
false
T F Describing something as "performative" works to emphasize its passivity.
false
T F Foucault theorized power as a static and definite force which one actor exerts over another.
false
T F Lefebvre uniquely points out that space exists innocently and naturally. P. 18
false
T F Lefebvre would argue that the everyday is trivial.
false
T F Simon Watney said that a photograph's meaning is entirely separated from context, time, and location.
false
T F The City ->Camera -> Photographer section of our urban photography graphic is another version of the Sender - Message - Receiver model of communication.
false
T F The term punctum can be used interchangeable with focal point when discussing photographic images.
false
T F Walter Benjamin saw little political potential in the modern medium of photography.
false
True or False: Words placed next to a photograph that are used to describe it do not affect our reading of the photo. (Last paragraph in box 2.3)
false
T F Postmodernism is characterized by the desire to create utopian-like societies and a commitment to radical change
false (modernism is)
T F Modernism is characterized by critique, demystification, and the significance of difference.
false (postmodernism)
T F An important distinction between David Harvey and Henri Lefebvre is that Harvey asserts that urbanism can modify industrial society, while Lefebvre focuses on the power of capitalism to shape urbanism.
false, opposite is true
True or False. Photos are always natural and transparent representations of reality.
false: John Berger's analysis exposes the "naturalness and transparency" as a myth Bottom of page 32 (below Box 2.1)
T F Each chapter of Cities and Photography is driven by the analysis of photography and the medium of photography used as commentary and analysis of cites, histories, attitudes, and ideas.
false?
(page 51) True/False: The 'everyday', is a central idea of modernity and a recurring theme in the history of photography.
true
60. True or False: Photographs that are used for more public purposes are the most likely to serve as instruments of power and social order (p. 64)
true
62. True or False: Tormey says it is important to think of a photograph as a provocation rather than a presentation of facts.
true
63. True or False. Increasing urbanization and consumption results in higher development of mass marketing, advertising, and modes of communication and transportation. (chapter 1, modernity/postmodernity, paragraph 1)
true
64. True or False. Photographs can be both a source of abbreviation of visual information as well as a source of focus or concentration to force us to look at certain elements. (chapter 4, different orders of representation, paragraph 1)
true
66. True or False? In the nineteenth century, urban study focused on a consideration of social conditions - poverty, pollution, crime, and homelessness with a view to improving them. Page 14
true
67. True or False? At its birth, photography was thought to show the truth by providing us with the empirical evidence of our own eyes and therefore replacing the subjectivity of painting. Page 32
true
69. True or False? Photography as such, has no identity. Page 63
true
70. True or False: The photograph transforms the transitory and accidental into permanent record, making it appear normal or even typical or essential. Page 9
true
76. True or false: the photograph can be used to represent aspects of psychological life
true
77. True or False: Spectatorship assumes the camera as a phenomenological extension to our eyes.(Page 99)DAf
true
78. True or False: Photographs are not transparent and do not access 'truth' in any reliable way. (p. 57, first paragraph in chapter 3)
true
79. True/False: The following are different appeals: memory/participation, politics/aesthetics, psychological/political, and distanced observation/subjective vision.
true
80. T/F: The city has been used as a locus for cultural debate within sociological, anthropological, and geographical contexts.
true
81. True or False. Social space is not a 'thing' but subsumes not only things, but the relationships between them. (page 18, just before box 1.3)
true
82. True or False: Bordieu established the principle that our understanding depends on established conventions.
true
83. True or False: The city has a relationship with the camera.
true
87. True of False: Photographs are not merely passive instruments for contemplation but can be actively put to use to evoke emotion and to motivate political change.
true
89. True or False: All-encompassing terms such as postmodernism are problematic and tend to be oversimplified and reduced to a few features.
true
90. True or False: A photograph's meaning cannot be separated from its discourse or its spatial or temporal context. (pg. 32)
true
91. True or False: Photographs are used to promote cities, their industries and infrastructure, and to control their operations. (page 58)
true
92. True or False: The 'street' is a site of social encounter and display. (page 91)
true
93. True or False: Most observations of people lie somewhere between objective and subjective positions. (page 101)
true
T F According to Mitchell, spectacle is the ideological form of pictorial power; surveillance is its bureaucratic, managerial, and disciplinary form.
true
T F According to Naef, architectural photography depends almost exclusively on the use of perspective to locate mass in its spatial context and to structure the composition.
true
T F According to Tagg, photography functions as a mode of cultural production that is tied to definite conditions of existence, and its products are meaningful and legible only with the particular currencies they have.
true
T F According to Tormey, Jameson draws an ideological, rather than historical, distinction between modernism and postmodernism.
true
T F According to Tormey, all photographs are deceptively persuasive in that they force the viewer into some position.
true
T F According to Walter Benjamin, the 'everyday' can be both practical and romantic.
true
T F According to de Certeau, Foucault is interested in what practices produce, whereas Bourdieu is interested in what produces practices.
true
T F An allegorical function in photographs makes it possible to present another set of ideas beyond the objects/events depicted.
true
T F Atget's simple and straightforward style is consistently cited as an example of pure straight photography, which became the norm and a model for later photographers, like Walker Evans.
true
T F Barthes' concept studium describes culturally recognizable signs in an image. p. 37
true
T F Bourdieu's describes the social uses of photography as circulatory because it defines and is defined by its social meaning.
true
T F Cameras are always invested with some authority or power of surveillance, but photographs can be actively put to use to evoke emotion and to motivate political change.
true
T F Charles Sanders Peirce's model of semiotics has three elements: representatum (the photograph) interpretant (the sense or meaning in the photograph) and object (what is referred to in the real world - referent).
true
T F David Harvey argues that the increased use of electronic communication has contributed to time-space compression.
true
T F Elizabeth Edwards argues that photographs are "social objects" and "social actors" that display information regarding the social norms and culture rather than "evidence of history."
true
T F Eugene Atget's description of his photographs assumes that documenting the world is a simple, transparent act.
true
T F Ferdidand de Saussure's model of signs indicates that the production of meaning is dependent on locality and the cultural context in which it appears.
true
T F Ferdinand de Saussure's model of semiology has two elements, the signifier and the signified, which together constitute the sign. P. 35
true
T F Foucault describes the panopticon as the visual mechanism that automizes and disindividualizes power.
true
T F Jameson interprets modernism and postmodernism as radically different and completely unrelated approaches.
true
T F Jane Tormey uses the term "reading" to describe engagement with photographs to cast it as a more active process than looking passively.
true
T F John Tagg argues that images are culturally dependent and can be explained by history and the specific context of a photograph.
true
T F Jurgen Habermas suggests that postmodernism is the most recent version of modernism and just another 'abstract opposition between tradition and the present.'
true
T F Lefebvre uses the phrase 'production of space' to describe how space is deliberately constructed.
true
T F Lefebvre's term "urban problematic" is an irrepressible force that moves in the direction of "the complete urbanization of the world" p. 17
true
T F Linda McDowell's discussion of the "social construction of meaning and subjectivity" concerns the home.
true
T F Lyotard's notion of the postmodern condition is conceived as a dynamic that interrupts tradition - that prefaces modernism - in a cycle of tradition and anti-tradition.
true
T F Paris arcades are to modernism as Los Angeles shopping malls are to postmodernism.
true
T F Photography is analogical rather than structural because it resembles the world, and yet its meaning is always ambiguous.
true
T F The "everyday" is a central idea of modernity and a recurring theme in the history of photography.
true
T F The role of the camera is to imitate the human eye. P. 45
true
T F Watney encourages analysis of the photograph's rhetoric—its communicative power in terms of desire, fantasy, and metaphoric meaning.
true
T F When looking at a photo of a bowl of fruit on a table, a modernist would be likely to declare that the fruit has agency.
true
T/F: Flânerie requires immersion in the experience; voyeurship requires distance. (Kindle Locations 1943-1944).
true
True or False. Modern and Postmodern are not separated by a clear timeframe, rather they are distinct from one another by differing ideologies. - Top of page 5, middle of page 8
true
True or False: Allegory depends on absence to give force to its ideas (Pg. 81,Pg. 85)
true
True or False: Because photographs fragment space, they are more likely to reinforce illusion than reveal underlying practical realities. (p. 91, first paragraph in Different orders of representation)
true
True or False: The 'Street' is a metaphor for the everyday. Kindle 1985
true
True/False: Photographs are not transparent and do not access truth in any reliable (True)
true
True/False: Photographs can be used to evoke emotions and to motivate political change. (p. 69)
true
True/False: The camera is the one that looks - metaphorically (p.82)
true
True/False: The term "modernity" is used to differentiate between the "modern" and "ancient" times. (p. 1)
true
