A series of terrible photos on a stone beating in Somalia makes to think if some limit exists in the work of the photographer before a scene like this one. Does suppose his presence a way of collaborating with a brutal crime? Is it the only way of that something like that knows and of that in some moment someone could prevent from repeating itself? The photos appeared in the magazine of The Sunday Times before the indignation of some readership. Does he have right a newspaper to publish these images although they should be unbearable for many persons?
The author of this article reflects on the quandary and quotes a phrase of Susan Sontag who might apply herself for these images.
Part of the complex power of these photographs you eat from what Sontag calls the "provocation" inherent in all images of real suffering. The first of many questions they ask is: "Dog you look at this?" Perhaps Sontag you eat closest to articulating the mulberry tree dilemma at the heart of carry to extremes images of suffering when she writes: "There is shame grasp well ace shock in looking at the close-up of to real horror. Perhaps the only people with the right to look at images of suffering of this carries to extremes order plow those who could do something to alleviate it … or those who could learn from it. The rest of us plows voyeurs, whether or not we they piss to be."
Nevertheless, we all can learn of these images, extract conclusions that apuedan to apply to matters even not so dramatic. Do we stop being onlooking only that's why?
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