[摘要] Barbarous Taste p.77~p.84

In every way the opposite of a pure aesthetic, the popular "aesthetic" expressed in photographs and in the judgements passed on photographs follows on logically from the social functions conferred upon photography, and from the fact that it is always given a social function. // Because it presupposes the uniqueness and coherence of a system of norms, such an aesthetic is never better fulfilled than it is in the village community.(80)

Here as elsewhere, the "natural" os a cultural ideal which must be created before it can be captured.(81)

The conventionality of attitudes towards photography appears to refer to the style of social relations favoured by a society.(83)

In which social exchanges, strictly regulated by consecrated conventions, are carried out under the watchful eye of opinion, ready to condemn in the name of norms which are unquestionable and unquestioned, and always dominated by the need to give the best image of oneself, the image most in keeping with the ideal of dignity and honour.(83)

They are never entirely unaware of the aesthetic intentions of the social groups most distant from their own, or the disdainful image which those groups have of their practice. Unlike the aesthetic of the simple man, unproblematic attachment to one coherent system of norms, the "popular aesthetic" is defined and manifested (at least partially) in opposition to scholarly aesthetics. // Unable either to ignore the existence of a scholarly aesthetic which challenges their own aesthetic, or to abandon their socially conditioned inclinations, not to speak of asserting and legitimating them, thy escape this contradiction by establishing, sometimes quite explicitly, a dual scale of judgement.(84)