The New Topographics was a photography exhibition that took place in 1975 at the George Eastman House in Rochester, New York. The exhibition featured the work of a group of photographers who shared a common interest in depicting the built environment in a detached, objective manner. The photographers eschewed the traditional approach to landscape photography, which often emphasized the natural beauty of the landscape, in favor of focusing on man-made structures and the impact of humans on the environment. The New Topographics movement is seen as a reaction against the romanticism of traditional landscape photography and a reflection of the changing American landscape in the mid-20th century. The exhibition marked a significant shift in the field of photography and has had a lasting influence on contemporary photography.
What was the ‘New Topographics’ a reaction to?
The New Topographics was a reaction against the romanticism and idealization of the American landscape in traditional landscape photography. The movement emerged in the 1970s as a response to the prevailing aesthetics of landscape photography, which often depicted untouched, pristine natural landscapes in a nostalgic and romanticized manner. The New Topographics photographers, on the other hand, focused on the mundane and often overlooked aspects of the built environment, showcasing structures, urban sprawl, and everyday scenes devoid of sentimentality or grandeur. They sought to capture a more objective and unadorned view of the American landscape, reflecting the changing societal attitudes towards the environment and urban development. Ultimately, the New Topographics movement challenged traditional notions of landscape photography and emphasized a more critical and detached approach to representing the world around us.
What is rural landscape photography?
Rural landscapes photography is a genre of photography that focuses on capturing the natural beauty and features of rural areas, typically outside of urban or developed regions. Photographers who specialize in rural landscape photography seek to showcase the serenity, simplicity, and unique characteristics of countryside environments.
In rural landscape photography, photographers often explore and document a wide range of subjects, including vast agricultural fields, rolling hills, meadows, forests, rivers, lakes, farmhouses, barns, fences, and other elements that are commonly found in rural settings. These photographers may also pay attention to the changing seasons and natural light conditions to enhance the visual impact of their images.
Rural landscape photography can evoke a sense of nostalgia, tranquility, and connection to nature. It allows viewers to appreciate the beauty and authenticity of rural life and landscapes, providing a contrast to the fast-paced and often hectic pace of urban living.
Photographers may use various techniques and equipment to capture rural landscapes effectively, such as using wide-angle lenses to capture sweeping vistas, long-exposure techniques to create a sense of movement in water or clouds, and HDR (High Dynamic Range) processing to enhance details in high-contrast scenes.
Overall, rural landscape photography offers a unique and captivating way to showcase the natural beauty of rural areas and celebrate the charm and simplicity of countryside environments. It allows photographers to explore and appreciate the quiet beauty and unspoiled landscapes that can be found outside of bustling urban centers.
What is the difference between bucolic and pastoral?
The terms “bucolic” and “pastoral” are often used interchangeably to describe rural or countryside settings, but they have subtle differences in their meanings.
Bucolic typically refers to a picturesque or idealized representation of rural life, often emphasizing its simplicity, charm, and tranquility. It evokes a sense of pastoral beauty and serenity, portraying rustic scenes that are idyllic and peaceful. Bucolic scenes may feature lush meadows, rolling hills, grazing livestock, quaint farmhouses, and other elements that evoke a sense of pastoral harmony and contentment.
On the other hand, pastoral refers to a broader literary or artistic tradition that idealizes rural life and nature. It often incorporates themes of shepherds or rural characters living harmoniously with the natural world. Pastoral works may include themes of love, nature, and the human connection to the land, portraying an idealized vision of countryside life.
In essence, bucolic tends to focus more on the visual and aesthetic aspects of rural landscapes, emphasizing their beauty and tranquility. Pastoral, on the other hand, encompasses a broader artistic tradition that explores the deeper themes and philosophies associated with rural life and nature.
Overall, both bucolic and pastoral convey a sense of appreciation and reverence for the countryside, rural landscapes, and the simplicity and beauty of life outside of urban settings. They evoke a sense of nostalgia, tranquility, and connection to nature, celebrating the charm and allure of rural environments.
They aren’t identical but I got inspiration from Claude Cahun in general and these gave me inspiration for this photo I took specifically and others I have similar to it. They are similar and inspired because they are females doing masculine things, like poses or having a common mellow face without emotion.
These photos to me give similar vibes with the masculine jawline and the way the head is facing and similar zipped clothing. They aren’t that similar and I did take some photos more similar and inspired by Claude Cahun using a mirror which didn’t plan out how I wanted and this one was just giving the same vibe.
This was my reference photo cindy sherman used a lot of similar vibes but this is what I was going off and I liked how it turned off. they are very similar due to both mouth and eye being cut out and placed on to a black and white face, the difference in my one though is that different people’s faces and not match it completely.
I tried to make mine similar but it didn’t plan out as well as I wanted I like the lip and pupil flower and think that worked and there are very clear similarities mine just doesn’t look as good, but i did like the way Claude Cahun had done this and that’s why i just really wanted to try and create the same vibe, i like the creepy twist and distorted heads and faces.
This is one of Claude Cahun’s most famous photos and I gave a vibe of replicating or creating a similar photo, it has the similarities of a dark background and two faces looking in different directions. In Claude Cahun’s photo, The pair appears locked in a fierce struggle, each head reflecting contrasting emotions. One face appears awake, tense, and empathetic, gazing beyond the frame, eager to engage with the world. The other face is turned inward, fixated on its twin, masking its sinister intentions behind a single hooded eye. When I think in my photo one face is locked in a fierce struggle as she looks desperately angry but also shameful or sadness tense and empathetic, because the other head is facing away, doesn’t have the dignity to look and it maybe trying to hide her true self covering in makeup.
This is one of my Outcomes laid out in a virtual gallery. I presented it like this because if it was a real gallery you would be able to walk through and see the story it tells, firstly you see a stereotypical masculine selection of photos and then a stereotypical feminine selection of photos. So the viewer can see the life we are presented with since we are children. After seeing those selections, there is a final selection of masculine and feminine photos presented by the opposite gender, to fight against gender norms and society’s thoughts.
I like all the selections, I prefer the masculine and feminine separate selections as they are all similar colours and work together when the mix between both they are a mix of colours looks more oddly placed, but in a way, it does work as there is no stereotypical colour to gender and it shows more you can be whoever you want and whatever you want, you don’t need to set and stay to societies standards of gender norms, but in a way, I find it quite annoying and uneven.
I like how I edited these photos and enjoyed putting them in a collage for this way of expressing photos but I do think more would look good separately and edited slightly differently which I want to try, other outcomes that I will make I believe they would all together fit in a massive gallery and collectively tell a story.
Outcome 2:
This is my second gallery which i actually really like because i have the pink tinted photo for a male who is sat in a common female pose, and then opposite is a female in a common male pose in a blue colouring, to show opposites and also how gender is seen but also how it can be presented. In the final photo the main one is in a yellow tint as it is gender neutral with both male and female sat in their poses, showing opposites as they look different ways, and it is taken in the same place.
These are the photos in large to be seen better, I like them because the setting and how they are sat in same place in each photo, I had to edit out some rubbish and things that was on the bottom because I think they took away from the photo, I didn’t edit them too much apart from changing exposure and lighting colour over them. I really like them but there is still room for improvement as in the third photo of them both together I don’t think they are full even and that bugs me but other then that they work out quite well and accurate.
Some photos I want to present just on there own in a gallery because I think they look good by themselves.
Final outcome 3
This photo i really like but I do find it’s a bit basic and not very exciting, the lighting wasn’t very good at first which I fixed but I feel like there is more I can add maybe make it brighter or add some colouring but I was a bit unsure on what I wanted to do with this photos and I still did like it as it clearly showed what I was looking for as they makes, yet they are doing make up and are helping each-other as girls would with each other.
Final outcome 4:
these two photos give similar vibes with the same lighting, I thought the grey and black worked better as it gave a more classically masculine and showed off the stereotypical features of a male like the muscles and Adam’s apple. I thought they looked quite cool actually and that was enough editing, these photos are also shown in my first final outcome, to show signs of masculinity, but also means that even though you can see these stereotypical masculine features does not mean that is all there is about these people and maybe even the lack of colour is showing them hiding their true self, and true colours and hiding behind things they think they should be.
Outcome 5
This is one of my favourite photos as I think the pink tint on that back works, I had to fix the exposure which again just looks better, I am very pleased with the outcome of this photo and upped the brightness just because I wanted to the pinky sparked of the perfume to come out more. I think it gives the vibes of a perfume advert you would see on tv, I especially like it because he committed very well to the photos I was taking and it not only clearly shows his jawline and Adam’s apple but also the perfume and glow from the makeup which just adds to the mixing of stereotypes, and he looks so confidence showing the viewer that he is confident in his gender that he decided and showing a feminine or masculine side to himself.
This photo is also slightly linked to the one above as they go together with the side of femininity, with the piece of jewellery and the masculine Adam’s apple. If I was going to do anything to fix this photo I might make it a more pink tinted colouring or at least brighten it more to show the emotions through the image of happiness and joy and confidence instead of it looking a little dark and gloomy, other then that t portrays what I am looking for again and links with the one above and I think they would look good together in a gallery.
Outcome 6
these four photos I love, I think they all go together really well as well as they go with the second outcome, I edited the vibrance of them which went together better, but I just like the masculine posing and contrast with the women going into the men’s bathroom and a man picking a flower or they women manspreading, it is just really denying gender norms like how Claude Cahun did they just please me and just show exactly what I was looking for and I plan to put them in a virtual gallery. I think the first two especially the flower one could use a bit more brightness and vibrance to match the vibe of the other two as I would love for the flowers to pop out more and also have it genuinely not looking so dark.
Outcome 7
The first two very much work together as a man and woman using the same lipgloss, I like the third one and added it in with these as I like it and it was the same person and clearly showed feminity in a strong powerful woman way. Although in the first photo he is adding lipgloss he is still giving a powerful strong manly look which is also why I think it matches with the third one as they are both showing powerful sides of femininity and masculinity.
These are some of the final ones that I think were edited quite well and are mainly similar to my artist references and compare well with them, I love the lighting and poses in these photos and the second one did take some time to edit and I still think could be improved as there aren’t really enough misshapen faces and object around or not that you can fully see clearly.
These are some of my favourite photos before i edited them highlighted in green.
Examples of how I edited some of these photos
These photos were all edited on adobe Lightroom to mainly just alter exposure and experiment colour, I am now going to edit on adobe photoshop to finish my final outcomes.
While editing on my images for my final outcome I had no idea how I would present them, so was experimenting a lot on what seemed most like my inspiration and showed my pictures in there very best way.
I picked a final few from each of my photoshoots that I am going to use on photoshop and make my final outcomes and placed them separately and highlighted them purple
I went from 125 photos to 37, selecting the few I will actually present. These are also my first edits on these images, which isn’t much as I am generally just changing exposure in lots because they were too dark or I am changing colours of the photo either to black and grey or pink and blue to match into my theme.
Majority of my stereotypical feminine photos are edited with a pinkie purple overlay lighting as I think it shows the feminine side more, as that is the colour most assumed with females, I also had more shadows on the women’s faces as a way to indicate they might be hiding there true self or having to hide from the world as they are a woman.
Claude Cahun, born Lucy Schwob, was a French artist, photographer, and writer. She was born on October 25, 1894, in Nantes, France, and died on December 8, 1954. Cahun is best known for her self-portraits and photomontages, where she played with gender identity and explored themes of self-expression and identity. She was associated with the surrealist movement and was an activist, challenging traditional gender roles and societal norms through her art and writing. Cahun’s work gained recognition posthumously, and she is now considered an important figure in the history of queer and feminist art.
Cahun was raised in a wealthy and intellectual family, which exposed them to literature, art, and philosophy from an early age. They developed a love for writing and poetry and adapted the name Claude Cahun in their teenage years, intending to adopt a gender-neutral persona. Alongside their stepsister and lifelong collaborator Suzanne Malherbe, they created many of their renowned works.
Cahun’s work was often Avant-garde and politically charged, particularly during the rise of fascism in Europe. they actively resisted the Nazis during the German occupation of Jersey where they engaged in acts of nonviolent resistance and produced anti-Nazi propaganda. Unfortunately, they were eventually arrested and sentenced to death, although their sentence was commuted due to the liberation before it could be carried out.
Despite their significant contributions to art and the surrealist movement, Cahun’s work remained relatively unknown until much later. Only in the 1980s did their photographs gain recognition and appreciation, and they are now considered influential figures in both surrealism and gender-related art.
This particular photo resembles to me the challenging questioning of social norms of identity that Claude Cahun does. I find this one the most intriguing and meaningful, as Claude Cahun not only changed her name but also shaved her head to challenge gender roles and show her way of self-expression. In this photo Claude Cahun is presented in a very masculine way, the way the makeup or posture and positioning, make her look like a male but the stance and mirror and clothes add a sense of femininity to it as well, almost making the viewer look at it and wonder, if she is female or masculine, but either way it does not matter as she is comfortable and confident in her skin. Also With the mirror, Claude is looking directly into our eyes yet in the mirror looking another way, which could almost symbolize that she is confident in the way she looks and will act like that but inside she is scared, and many different parts and thoughts run through her mind.
In this iconic self-portrait, Claude Cahun showcases their distinctive androgynous appearance, coupled with their surrealist-inspired utilization of reflective surfaces. these elements encapsulate the essence of Cahun’s immense artistic significance. Whereas mirrors traditionally served to accentuate feminist beauty or narcissism in classical portraits, Cahun reimagines their symbolism to challenge and reject such simplistic portrayals of gender.
This photo is also very impressive as back then there was no Photoshop or editing so Claude Cahun had to get the film from her photos, and overlaid them together.
The photograph portrays a disturbing sight – a fusion of two heads forming conjoined twins, created by the camera. The pair appears locked in a fierce struggle, each head reflecting contrasting emotions. One face appears awake, tense, and empathetic, gazing beyond the frame, eager to engage with the world. The other face is turned inward, fixated on its twin, masking its sinister intentions behind a single hooded eye. The overall countenance seems drugged, detached, and reminiscent of a vampire. The shaved heads further enhance the eerie feeling, evoking abnormality and illness. It is as if we are glancing at an image found within the pages of an aged medical manual. This picture vividly portrays a self torn apart, with the “normal” woman on the left tormented, hunted, and somehow disciplined by her nocturnal doppelgänger.
Cindy Sherman
Who is Cindy Sherman?
Cindy Sherman is an American artist and photographer known for her conceptual self-portraits. Born in 1954 in Glen Ridge, New Jersey, Sherman rose to prominence in the 1970s by challenging traditional notions of identity and representation through her photographs. She often serves as both the model and the photographer in her work, donning various costumes, wigs, and makeup to create characters and explore themes such as gender, cultural stereotypes, and the portrayal of women in art and media. Sherman’s photographs have been exhibited internationally and have earned her critical acclaim as one of the most influential contemporary artists working today.
The photograph portrays a disturbing sight – a fusion of two heads forming conjoined twins, created by the camera. The pair appears locked in a fierce struggle, each head reflecting contrasting emotions. One face appears awake, tense, and empathetic, gazing beyond the frame, eager to engage with the world. The other face is turned inward, fixated on its twin, masking its sinister intentions behind a single hooded eye. The overall countenance seems drugged, detached, and reminiscent of a vampire. The shaved heads further enhance the eerie feeling, evoking abnormality and illness. It is as if we are glancing at an image found within the pages of an aged medical manual. This picture vividly portrays a self torn apart, with the “normal” woman on the left tormented, hunted, and somehow disciplined by her nocturnal doppelgänger.
Cindy Sherman is an American artist and photographer known for her conceptual self-portraits. Born in 1954 in Glen Ridge, New Jersey, Sherman rose to prominence in the 1970s by challenging traditional notions of identity and representation through her photographs. She often serves as both the model and the photographer in her work, donning various costumes, wigs, and makeup to create characters and explore themes such as gender, cultural stereotypes, and the portrayal of women in art and media. Sherman’s photographs have been exhibited internationally and have earned her critical acclaim as one of the most influential contemporary artists working today.
Cindy Sherman is widely regarded as one of the most important and influential artists of our time. She is best known for her groundbreaking series of conceptual self-portraits, which she began in the late 1970s. In these photographs, Sherman explores the construction of identity by assuming different roles and personas, often challenging societal norms and stereotypes. Sherman’s work is characterized by her ability to transform herself into diverse characters through the use of costumes, props, makeup, and settings. She meticulously constructs each image, paying attention to every detail, including facial expressions, gestures, and body language, creating convincing and thought-provoking narratives. By stepping into various fictional roles, Sherman not only challenges traditional notions of portraiture but also questions how women have been historically depicted and objectified in art and media. Throughout her career, Sherman has delved into various themes and genres. Her early works, such as the “Untitled Film Stills” series, explore the language and tropes of Hollywood and film noir. In these images, Sherman assumes the roles of women from different cinematic genres, raising questions about female representation in popular culture.
In later series like “History Portraits” and “Clowns,” Sherman continues to challenge notions of beauty, aging, and the grotesque. She often utilizes prosthetics, masks, and distorted perspectives to subvert traditional expectations of appearance and identity. Sherman’s work has been widely exhibited in major galleries and museums around the world, and she has received numerous awards and recognition for her contributions to contemporary art. Through her provocative and highly influential photographs, Cindy Sherman has made significant contributions to the fields of photography, feminist art, and critical theory.
Cindy Sherman’s artistic talent extends beyond her meticulous planning and attention to detail in her compositions, props, and costumes. One of her remarkable abilities lies in her capacity to evoke and convey emotion in her photographs. Each image feels like a frozen moment of truth for the character portrayed. If her photographs were film stills, they would capture the exact moment when the protagonist experiences a profound revelation about their past and future.
Comprising of seventy black-and-white photographs, Cindy Sherman’s renowned series, “Untitled Film Stills,” features the artist assuming the roles of different archetypal female characters commonly seen in movies. Her portrayals encompass a range of personas, including the ingénue, working girl, vamp, and lonely housewife. The photographs are intentionally staged to resemble scenes from 1950s and ’60s Hollywood, film noir, B movies, and European art-house films. Notably, the images are printed in a format, scale, and quality reminiscent of the promotional stills used in the film industry. By photographing herself within these stereotypical roles, Sherman actively engages in a dialogue about the conventional portrayal of women in media. While it remains unclear if she released the camera’s shutter or employed technical assistance, Sherman is universally regarded as the mastermind behind these photographs, making her the author of the works. However, despite her evident presence in the images, the Untitled Film Stills series should not be interpreted as self-portraits.
One notable photograph by Cindy Sherman depicts a woman in a towel looking into a mirror. This photograph, like many of Sherman’s works, challenges traditional narratives surrounding female representation in art and media. With her signature focus on identity and performance, Sherman invites viewers to question the concept of the female gaze and the role of self-perception. In this particular image, Sherman presents a moment of vulnerability and introspection. The woman, draped in a towel, is caught in the act of examining herself in the mirror. By removing the external trappings of clothing, the focus shifts to the woman’s perception of herself, free from societal expectations or external influences. Sherman’s decision to include this moment in her repertoire speaks to the broader conversation on body image and self-reflection. Furthermore, Sherman’s use of a mirror introduces an element of self-awareness and self-reflexivity. By capturing the woman observing herself, the photograph raises questions about the construction and performance of identity. It prompts viewers to contemplate how one’s sense of self is shaped, influenced and sometimes distorted by external factors such as societal norms and media representations.
Through her photography, Cindy Sherman engages with complex themes of identity, gender, and self-perception. By presenting a woman in a vulnerable yet introspective state, she challenges viewers to critically examine traditional ideals and narratives surrounding women in the broader cultural landscape.
Identity politics refers to a political approach that prioritizes the interests and concerns of specific social identity groups, such as race, gender, sexuality, ethnicity, religion, or disability. It recognizes that individuals’ social identities play a significant role in shaping their experiences, perspectives, and political interests. Proponents of identity politics argue that addressing the unique challenges faced by marginalized groups is necessary to achieve social justice and equality.
They believe that due to historical disadvantages and systemic inequalities, these groups require targeted policies and activism to address their specific needs and achieve equal representation and treatment. Critics of identity politics contend that it can foster division and fragmentation within society, as it emphasizes group identities rather than a shared sense of national or universal solidarity.
They argue that it can lead to a focus on individual grievances and personal differences, potentially undermining broader common goals. Critics also suggest that identity politics may contribute to the neglect of economic and class-based issues, diverting attention from socioeconomic inequalities.
What are culture wars?
Culture wars refer to societal conflicts and debates that revolve around opposing ideas and values related to social, cultural, and moral issues. These conflicts often occur within a specific society or between different societal groups who hold differing beliefs and perspectives on topics such as religion, sexuality, gender roles, family values, education, and national identity. Culture wars can arise when there are deep divisions and disagreements over what is considered acceptable or moral within a society.
These conflicts often manifest in public discussions, political debates, legal battles, and media portrayals. They can be seen as a clash between more traditional or conservative viewpoints and more progressive or liberal perspectives.
Culture wars can have significant implications for public policy, as they shape the way society addresses and legislates issues related to marriage equality, abortion, sex education, immigration, religious freedom, and other societal matters. They can also influence political campaigns and electoral choices, as candidates align themselves with particular cultural stances to garner support from their base.
The term “culture war” gained prominence in the United States during the late 20th century to describe the ongoing divisions and debates on various social issues. However, culture wars can occur in other countries as well, as societies grapple with changing values, norms, and ideologies.
How does it impact society?
Culture wars can have significant impacts on society in various ways:
1. Polarization and Division: Culture wars can deepen societal divisions, creating us-versus-them mentalities and fueling animosity between different groups. This polarization can lead to social fragmentation, hindering constructive dialogue and collaboration.
2. Political Gridlock: Culture wars often spill into the political arena, with parties and politicians aligning themselves with specific cultural positions to attract support. This can lead to political gridlock and hinder the ability to address pressing social and economic issues effectively.
3. Policy Making: Culture wars shape the development and implementation of public policies. Conflicting cultural values can lead to contentious debates and the formulation of policies that reflect the dominant ideology or compromise between divergent perspectives.
4. Legal Battles: Cultural conflicts often find their way into courts, leading to legal battles and landmark rulings that shape societal norms and practices. Supreme Court decisions on issues like abortion rights, same-sex marriage, and religious freedom often stem from culture war debates.
5. Social Change: Culture wars are linked to social change and progress. They can give impetus to social movements and activism, spurring new ideas, demands for equality, and promoting societal transformations. Culture wars can pave the way for greater acceptance and inclusion of marginalized groups.
6. Media Influence: Media plays a crucial role in culture wars, as it can shape public opinion and perpetuate or challenge cultural divisions. Media outlets often cater to specific audiences with particular cultural leanings, reinforcing existing biases and narratives.
7. Public Discourse: Culture wars influence public discourse by determining which topics dominate public conversations and how they are framed. This can impact public awareness, understanding, and the ability to engage in constructive discussions on important societal issues.
Ultimately, the impacts of culture wars on society depend on the intensity and duration of conflicts, the receptiveness of societal institutions to change, and the ability of individuals and groups to find common ground and foster dialogue.
How does Identity politics impact society?
Identity politics refers to political movements and ideas that are primarily concerned with the interests and perspectives of specific social groups based on their shared identity, such as race, gender, sexuality, religion, or nationality. The impact of identity politics on society is multifaceted and can be both positive and negative:
1. Empowerment and Representation: Identity politics can empower marginalized communities by giving them a voice and platform to express their unique experiences, challenges, and demands. It highlights the importance of representation and can lead to increased diversity in political leadership, media, and other influential spheres.
2. Social Justice and Equality: Identity politics aims to address historical and ongoing injustices by advocating for the rights and equality of marginalized groups. It brings attention to systemic discrimination and calls for policies and reforms to address these inequalities.
3. Fragmentation and Polarization: Critics argue that the emphasis on identity can lead to fragmentation and polarization within society. Instead of fostering dialogue and understanding, identity politics can sometimes contribute to heightened divisions and a sense of “us-versus-them” mentality.
4. Lack of Universalism: Another criticism is that identity politics can sometimes prioritize specific group interests over broader social or universal concerns. This can lead to a lack of focus on issues that affect society as a whole or result in exclusionary practices that undermine cooperation and inclusivity.
5. Intersectionality: Identity politics has played a crucial role in developing the concept of intersectionality, which recognizes that individuals hold multiple identities that intersect and interact with one another. This framework promotes an understanding of the complexities and overlapping forms of oppression and discrimination faced by individuals with multiple marginalized identities.
6. Backlash and Divisiveness: Identity politics has drawn criticism from those who see it as a source of division and a trigger for backlash. Some argue that it can exacerbate identity-based tensions and hinder efforts to foster national or collective unity.
7. Identity Salience: Identity politics can result in the increased salience of identity categories, wherein individuals may prioritize and define themselves primarily in terms of their group identities. This can have implications for intergroup relations and can hinder genuine dialogue, empathy, and cooperation between different social groups.
As with any socio-political concept, the impact of identity politics on society is nuanced and depends on how it is practiced, articulated, and understood. It can be a powerful tool for social change and justice, but it also poses challenges in terms of fostering unity and addressing societal divisions.
