Screen shot 13 02 08 at 01 23

Yet the mask is the diflicult region of Phorography. Society, ii sccms, misrrusts purc mcaning: It wants mcan-ing, hut at the same timc it wants this mcaning to be surroundcd by a noise (as is said in cyhernetics) which will make it less acute. Hence the photograph whosc meaning (I am not saying ics eflect, but its meaning) is too impressive is quickly dcflected; we consume it aesthet-ically, not politically. The Photograph of the Mask is in fact critical enough to disturb (in 1934, the Nazis cen-sored Sander because his "faces of ihe period" did not corrcspond to the Nazi archetype of che race), but it is also 100 discrcet (or too "distinguished”) 10 constitute an authentie and effectivc social critique, at least according to the exigencics of militantism: what commirted science would acknowledge rhc interest of Physiognomy? Is not the very capacity to perceive the political or morał mcan-tng of a face a class dcviation? And even this is too much to say: Sander s Nocary is suffused with self-importancc and stiffness, his Usher with asscrtivencss and brutaliry; bur no notary, no usher could ever havc read such signs. As distancc, social observation here assumes the neces-sary intermediary role in a dclicatc aesrhctic, which ren-ders it futile: no critiquc except among thosc who arc already capable of cricicism. This impasse is something Iike Brccht's: hc was hostilc to Photography because (hc said) of the wcakncss of its critical power; but his own theater has nevcr bccn able to bc politically effcctive on account of ics subdery and its aestheticquality.

If wc except the rcalm of Advcrcising, where the mcaning must be elear and distinct only by reason of its mer-

''The    censored Sandrr

because his 'facet of the period’ did not correspond to the aesthetic of the Tiazi race."

Sander Notary

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