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Susan Sontag, a controversial political activist and philosopher, interrogated ways of seeing photographs, taking photographs and depicting the pain of others. Her system of thoughts teaches how to ask relevant questions before and during any fieldwork where an anthropologist examines configurations of realities and meaning-making processes around visual mediums. She uses them to examine operations of representations without limiting images to either frames or contents. Furthermore, she pushes the definition of frame beyond the limits of the rectangular borders around each photograph or image. Therefore, this chapter explores Tehran, the Iranian capital and visual representations of the Iran-Iraq war (1980–1988) along Susan Sontag to locate and unpack the universe of meanings which is produced by Iranian propaganda machinery and received in various ways by Iranians. The main argument stresses a photograph can represent at best if only its photographer does not try to report or to transfer assumptions about reality but instead allows a photographic composition to emerge from the encounter with others. This chapter follows such encounters through ethnographic stories and fieldworks in Iran and demonstrates what Susan Sontag calls a mystic receptivity between viewers and visual representations turns photographs into the beginning of fieldwork rather than its end.

A methodological follow-up to Arts of Living on a Damaged Planet.Answering methodological challenges posed by the Anthropocene, this collection retools the empirical study of the socioecological chaos of the contemporary moment across the arts, human science, and natural science. The methodological companion to Arts of Living on a Damaged Planet, it provides empirical studies of the multispecies messiness of contemporary life that investigate some of the critical questions of our time.