In this week’s readings we looked at an excerpt from The Emancipated Spector by Jacques Rancière, a chapter From voice to influence titled, “undocumented, unafraid, and unapologetic” by Cristina Beltrán and Chapter three of The Civil contract of Photography, “the spectator is called to take part” by Ariella Azoulay. Each of this week’s readings addressed the role or the participation of the spectator in a certain setting. Rancière presents how an image can move from one perspective to another, the image can portray reality or the reality that a specific person is looking at. He states that, “this shift from the intolerable in the image to the intolerability of the image has found itself at the heart of tensions affecting political art” (p. 84). Many of these images can evoke a sense of guilt and puts the image displayed into questioning. Through many examples of different images that would be deemed harsh to view, the author addresses the political aspect of displaying such images and the potentiality of portraying these images. On the other hand, Beltrán discusses the different way politics is being discussed in new and innovative ways. The development of different outlets for creating political spaces for discussing issues dealing with immigration and undocumented immigrants. For many of these young activists, going out and protesting posed a risk to them, therefore creating an online space to create a political was a better way of getting their concerns and messages across, while speaking directly to the political systems. Thus, they are able to become visible in a political climate where they were made to be and feel invisible. Lastly, Ariella Azoulay points of the fact that through photography one can obtain some type of political agency. She states in this chapter that, “photographs are present in our world as objects, products of work, even though photography ontologically resembles action more than work” (p. 129). The images tell more than what meets the eye, though the object is shown through the lens of the photographer, there is still something to made visible in the same photograph, leaving room for a spectator’s participation.