Deborra: Conclusion The art of still photography cannot enable us to understand the world. █████ ████ █████████████ ██████ ████ ████████ ██ ██████ ███ █████ ██ ██ █████ ███ █████████ ████ ███ ███████ ████████ ███ ███ ███████ ██ ███ █████ ██ ███ ██ ███ ██████ ███ ██ ███ ██████████ ███████████ █████ █████ ██ ████ ███ ████ ██ █████████ ██ █████ ████ ████ █████ ████████ ███ ██████ ██ ██ ███████████
The author concludes that still photography cannot enable us to understand the world. She states that understanding the world requires looking at the world’s reality, which requires focusing on it’s functions, which can only be explained in time. She uses these to reach the intermediate conclusion that only things that are narrative can allow us to understand the world. This in turn is used to support the conclusion that still photography cannot enable us to understand the world.
A big assumption is that still photography cannot be narrative. The stimulus tells us that only narrative things can allow us to understand the world, but doesn’t give us information about what is considered narrative. If someone put 10 still photos together to tell a story, is that narrative? For the argument to be valid, we need to know that it isn’t.
Which one of the following ██ ██ ██████████ ██ █████ █████████ ████████ ████████
Artists who take █████ ███████████ ██ ███ ███████ ██ ██████████ ███ ██████
The functioning of ███ █████ ██████ ██ ████████ ██ █████
The art of █████ ███████████ ██ ███ ██████████
A complete understanding ██ ███ █████ ██ ███ ██████████ ███████ ████
Images cannot be ████████ ██████████