he language of technological innovation is tinged with anxiety and awe. Its vision recasts us as beneficiaries of a more connected humanity—somehow both more human, which proclaimed the death of the photographic portrait, Vince Aletti writes in the pages of ’s Winter 2004 issue: “Even before photography’s documentary credibility was deliberately and irrevocably eroded from within, pictures of our fellow humans had been stripped of virtually all pretense to revelation, insight, or any but the most superficial emotional content.”
