Barbarous taste (P.89-94)

Because the picture is always judged with reference to the function that it fulfils for the person who looks at it or the function which that viewer thinks it could fulfil fo r another person, aesthetic judgement most often takes the form of a hypothetical judgement relying explicitly on the recognition of ‘genres’, whose ’perfection’ and range of application are conceptually defined.(P.89)
對於照片的美學判斷，大部分常先假設性的依賴於類別、種類(genres)的歸類或分類，如這是比賽的照片，或是這是實驗室的照片，然後再根據種類概念的定義來判斷。

It is not surprising that the ‘barbarous taste’ which bases appreciation on informative, tangible or moral interest most strongly rejects images of the meaning less (insignificant), or , which amounts to the same thing in terms of this logic, the meaninglessness of the image.(P.90)
野蠻的品味奠基於有訊息的、可知的或是道德旨趣的欣賞，而不是沒有意義的影像。

The taking and contemplation of the family photography presuppose the suspension of all aesthetic judgement, because the sacred character of the object and the sacralizing relationship between the photographer and the picture are enough unconditionally to justify the existence of a picture which only really seeks to express the glorification of its object, and which realizes its perfection in the perfect fulfillment of that function.(P.90)
家庭攝影預先假定一個美學判斷的懸置，因為客體的神聖特質及攝影者和照片之間神聖化的關係正當化了照片的存在，似乎照片只是展現對客體的崇拜。

The value of a photography is measured above all by the clarity and the interest of the information that it is capable of communicating as a symbol, or, preferably, as an allegory. (P.91)
有能力溝通的訊息的旨趣，如符號或寓意，能衡量攝影的價值。

This is why photographic practice, a ritual of solemnization and consecration of the group and the world, perfectly fulfils the deeper intentions of the ‘popular aesthetic’, the festive aesthetic, that is, the aesthetic of communication with others and communion with the world.(P.94)
群體和世界的莊嚴和獻祭的一個儀式，這就是為什麼攝影的實作完全的充斥著大眾美學的意圖，一種節慶的美學，也就是和他者溝通及和世界相容的美學。(攝影的大眾美學建立於能有所溝通上，是想要和已被建置化的(學術體制的)美學區分，卻也一直的模仿後者神聖化、正當化的過程，也就是建立自己的論述)

Glossary：

Taste
最早的意涵為觸摸的感覺(the sense of touch)或是感覺(feel)，之後的用法也有等同於鑑別力(discrimination)的意思。而華茲華斯最早觀察到taste需要透過某些習慣或規範才能獲得，也就是taste失去了身體主動的涵義，而轉為一種隱喻意涵。布赫迪厄則以taste作為階級區分一個重要的正當性手段，如透過複雜建制化的論述使品味的高低的正當化。

Aesthetic
鮑姆加登(Alexander Baumgarten)強調美是經由主體感官(sense)來理解，康德則反對鮑姆加登的用法，認為美學應是無利益(disinterestedness)的純粹審美判斷。但布赫迪厄則反對康德的說法，而認為美學沒有完全中立或是脫離社會狀態而單獨獨立，不同的群體有對美學不同的論述及建制。

參考書目：
Raymond Williams著，劉建基譯(2005)。北京：三聯書店。