f you look at enough photographs of disasters, you will see people posing with high water marks. It is a genre of photography onto itself: over and over, they will point to the mark, put their bodies in front of the mark, or photograph the high water line alone. This post explores the possible roles that the visual culture of post-disaster high water marks play, especially given the prevalence of the genre across disasters, geography, and time.
By Max Liboiron. As Samantha MacBride notes, modern waste–that is, postindustrial waste and particularly waste developed after 1945 when consumerism came into full swing in the United States– is synthetic, unpredictable, and heterogenous. Additionally, it has unique spatial and temporal characteristics compared to its predecessors. First, longevity: I’ve written elsewhere about the staggering longevity of plastics; […]
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