According to Gerald John (1992) photograph reflect a vision of the world but not the world itself (iv abstract). John (1992) claims that the creation and appearance of a photograph is a manifestation of its ideological function serving the interests of a particular power (9-10). And through the intentionality of the photographer the role of that photograph is to make that particular world available to the viewer (John 1992, 26); John (1992) claims this to be a controlled, representational process (41). Donald Brook (1986), an artist, art critic and theorist, who recognizes a photograph to be “an object of human creation and thus, an intentional construction” (282) (John 1992, 33-34). John (1992) claims that those who speak of the subjectivity of the photograph “emphasize the ultimate content of the photograph itself, its pictorial and expressive qualities, its production by human hands and for human purposes and the concomitant responsiveness of the medium to a multitude of manipulative practices” (39). Moreover, John (1992) refers to Vera L. Zolberg, a sociologist, who claims that in order to interpret a work properly, it is essential for the observer of the work to have a particular “sensitivity” (71) - the common language conveyed by the “artist/photographer” and that of the viewer. John (1992) raises the question of the existence of a “referential world which the artist and his audience share? (72).

To explain ideology in relation to a group in power, John (1992) alludes to the sociologist, John B. Thompson, in Ideology and Modern Culture (1990), who claims that the analysis of ideology is “concerned with the ways in which meaning is mobilized in the social world and serves thereby to bolster up individuals and groups who occupy positions of power (74).

This to say that according to Janet Wolff (1981), ideology is “mediated by the aesthetic code” (John 1992, 76). Wolff furthermore claims that the perspective of an “individual is not only biographically constructed, but also the personal mediation of a group consciousness (119)” (John 1992, 76). Moreover, John (1992) claims that “the critique of ideology emphasizes the primacy of political and economic structures in the generation of meaning” (77) -which according to John Tagg, a professor of Art History, reflect the interests of the particular institution (John 1992, 82).

“In his analyses of Russell Lee’s “Hidalgo County, Texas,” (1939) and Jack Delano’s “Union Point, Georgia” (1941), Tagg emphasizes the necessity of interpreting the image as a whole and the inter-relation of each element within it, a characteristic shared with an aesthetic approach. It is necessarily a part of any view of the photograph as in some sense a statement or a presentation of a point of view” (page 85).

“understanding (interpretation of a text) begins with a meaning based in our practical experience of the world and the pre-conceptions with which we approach a text. There is no separation here of understanding from the time and place within which we encounter it and the perception or “world view” with which constitutes the ground of our everyday experience” (page 161).

Next, the authors attempt to explain the reasons why the internet has become the favourite medium for terrorism in 21st century (Canadian Centre for Intelligence and Security Studies, The Norman Paterson School of International Affairs, and Carleton University 2006, 4). The first reason stated is the fact that these groups have they lack the physical geographic space to operate effectively, consequently, they have found their virtual territories in the cyber world (Canadian Centre for Intelligence and Security Studies, The Norman Paterson School of International Affairs, and Carleton University 2006, 5). Additionally, this cyberspace has provided a decentralized system consisting of a virtual community created to networking that is guided through the association of believes to vitalize operations of basing, planning, coordinating, and carrying out the groups’ agendas (Canadian Centre for Intelligence and Security Studies, The Norman Paterson School of International Affairs, and Carleton University 2006, 5, 8).