(right) Lady Godiva –

John Collier, 1898

(UP) Camera trap damaged by elephants in Pakke Tiger Reserve, India

Video of oral argument before the Ninth Circuit from 12 July 2017

Naruto, a Crested Macaque, by and through his Next Friends, People for the Ethical Treatment of Animals, Inc., Plaintiff-Appellant, v. David John Slater; Blurb, Inc., a Delaware corporation; Wildlife Personalities, LTD., a United Kingdom private limited company, Defendants-Appellees.

(right) nikolay shabunin, 1906, MEZEN, Arkhangelsk Governorate.

(left) FROM: Can a photograph steal your soul? Steve Mansfield-Devine

Кража цифровой личности. Мошенники могут скопировать ваши фотографии из социальных сетей, чтобы создать фальшивый аккаунт для обмана ваших близких. Защититься от этого помогает ограничение видимости профиля.

Нарушение приватности. Публикация чужих снимков без разрешения незаконна. Например, в России это регулируется статьей 152.1 Гражданского кодекса РФ, которая защищает изображение гражданина.

Поиск данных по лицу. С помощью современных технологий вроде Google Объектива или нейросетей любой человек может найти ваши профили в соцсетях по одной случайной фотографии.

Aboriginal Australians. 1992, Elizabeth Edwards:

“The prohibition against naming the dead prompted Aboriginal people to vigorously oppose the photographic representation of individuals who had died.”

EB Tylor. ‘Primitive Culture’ (1871, as quoted in JG Frazer’s ‘The Golden Bough’):

“The Tepehuane Indians of Mexico refused to have their portraits taken because it would cause their death, and confessed that they went away and hid themselves when they learned the white man was about to visit them with a camera.”

‘King Tāwhiao’s Photograph’ (published in ‘Circulation and Control’), Jill Haley writes: “For Māori, losing control of their image had deeper concerns. In Māori culture, the head is tapu (sacred) and its treatment follows strict cultural protocols. For some, seeing Queen Victoria’s head minted on coins was a dangerous practice, and having their own photograph taken for distribution was equally distressing… Reconciling traditional attitudes with the advantages of photography had been a gradual but inevitable process for Māori during the nineteenth century.”

фотокамера, которая «сделала видимым и приемлемым разрушение мира империй, но и легитимизировала построение мира в империалистских терминах»

«Такое представление о фотографиях как об отдельных объектах, которые могут принадлежать одному человеку или учреждению, собственно, и является частью империалистского режима, который заставляет нас верить, что фотография запечатлевает ушедший момент, по отношению к которому мы уже опоздавшие».

(up) Banksy, 2004

Michael Taussig, in ‘Mimesis and Alterity’, argues that many indigenous peoples were concerned not about ‘soul theft’ specifically, but about the power of possessing someone’s likeness, the improper circulation of one’s image and the violation of taboos related to representation.

“Among some communities in Papua New Guinea today, photography remains restricted during certain rituals,” wrote Andrew Strathern and Pamela Stewart. “The concern isn’t that the soul is ‘stolen’ but that sacred knowledge is inappropriately documented and circulated.”

Susan Sontag wrote: “To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge — and therefore, power. Photography turns people into objects that can be symbolically possessed.”

(up & left) Зачем Александр Родченко снимал строительство Беломорканала. Текст Олега Климова

(up & right) Невозможно деколонизировать музей, не деколонизировав мир: интервью с Ариэллой Аишей Азулай

(UP) Gustaf Hallström, 1910, Kola, Arkhangelsk Governorate.