Bourdieu提出了一個問題：攝影為什麼有一種普遍同意的社會功能？他的答案是，攝影的社會用途與社會定義彼此定義。這組問與答只是Bourdieu這篇的次要論點，他更要說明的是，問這個問題何以是正當的，或謂，這個問題的正當性來源是什麼。如果以一種宣稱普遍性的美學當作正當性的來源，Bourdieu認為是有問題的，因為這種普遍性有其社會條件，這也是康德的美學未言明的預設。Bourdieu將說明，就各種美學而言，社會上存在正當性的階序。
第一小節"Ars simia naturae"指模仿自然的技藝（或藝術），攝影向來被認為是自然的忠實轉錄，Bourdieu要指出攝影之所以能忠實轉錄「自然」，只是因為攝影的社會定義是如此定義它的。
第二小節「模仿藝術的技藝（或藝術）」分析攝影「是什麼」。攝影是「以觀點的法則表現空間的約定成俗的體系」，而且「其諸多社會用途自始就被指為『寫實的』且『客觀的』」，是一種「自然的語言」。但Bourdieu認為，看似任意決定的觀點，其實有脈絡可循。（74）至少在通俗攝影中，攝影師框取世界的範疇與優劣判準，來自過往的藝術；不依循這些正典的攝影作品，往往不被欣賞甚至直接被拒斥。（75）
然而通俗攝影的時間面向中含有更深刻的矛盾：就Benjamin的觀點言，攝影捕捉了事物因稍縱即逝而不得察知的各方面（aspect），具有鎔銷實在的堅實性的能力；但通俗攝影卻消除了攝影中的意外及其消解實在的能力，因為通俗攝影將其自身「定格」／世俗化（temporalizing），只拍攝莊嚴的、不變的事物，將之固定在平面上。這種作法正使攝影對象的社會意義顯得永恆。（76）
是故，在一種素樸的寫實主義看來，攝影這種模仿自然的技藝其實模仿著藝術，藝術使攝影「自然地」模仿自然。「使攝影約定成俗地成為現實主義的保證之際，社會只是以套套邏輯式的確定性確認自身：一幅出自實在的、真實再現客觀性的影像的確是客觀的。」（77）
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2008年5月8日 星期四
[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)
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)
The Hierarchy of Legitimacies
The Hierarchy of Legitimacies
“Barbarous taste” is never entirely free of all reference to ‘good taste’,… in their eyes, of forming the basis of an adequate judgment, and which can only be acquired by a specific or broad education.…Within the field of consecrated culture they feel measured according to objective norms, and forced to adopt a dedicated, ceremonial and ritualized attitude.…The various systems of expression are objectively organized according to a hierarchy independent of individual opinions, which defines cultural legitimacy and its gradations.(95) The meaning that fall within the sphere of legitimacy all share the fact that they are organized according to a particular type of system, developed and inculcated by the school, an institution specifically responsible for communicating knowledge, organized into hierarchy, through a methodological organization of training and practice.(96)The existence of consecrated works and the whole system of rules defining the sacramental approach presuppose an institution whose function is not only one of communication and distribution but also legitimation. The position of photography within the hierarchy of legitimacy, half-way between vulgar practice and sphere of legitimacy, …(97)unlike a legitimate practice, a practice in the process of legitimation poses and imposes the question of its own legitimacy. For working class and middle class ,the aesthetic expressed as much in photographic practice as in judgments on photography ,appears as a dimension of the ethos, so that the aesthetic of the great mass of photographic works may be legitimately reduced, without being reductive, to the sociology of the groups that produce them, the functions which they assign to them and the meanings which they confer upon them, both explicitly and, more particularly, implicitly.(98)
“Barbarous taste” is never entirely free of all reference to ‘good taste’,… in their eyes, of forming the basis of an adequate judgment, and which can only be acquired by a specific or broad education.…Within the field of consecrated culture they feel measured according to objective norms, and forced to adopt a dedicated, ceremonial and ritualized attitude.…The various systems of expression are objectively organized according to a hierarchy independent of individual opinions, which defines cultural legitimacy and its gradations.(95) The meaning that fall within the sphere of legitimacy all share the fact that they are organized according to a particular type of system, developed and inculcated by the school, an institution specifically responsible for communicating knowledge, organized into hierarchy, through a methodological organization of training and practice.(96)The existence of consecrated works and the whole system of rules defining the sacramental approach presuppose an institution whose function is not only one of communication and distribution but also legitimation. The position of photography within the hierarchy of legitimacy, half-way between vulgar practice and sphere of legitimacy, …(97)unlike a legitimate practice, a practice in the process of legitimation poses and imposes the question of its own legitimacy. For working class and middle class ,the aesthetic expressed as much in photographic practice as in judgments on photography ,appears as a dimension of the ethos, so that the aesthetic of the great mass of photographic works may be legitimately reduced, without being reductive, to the sociology of the groups that produce them, the functions which they assign to them and the meanings which they confer upon them, both explicitly and, more particularly, implicitly.(98)
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