Daguerreotypes are an early form of photographs. Paris street scenes, as they appear in those daguerreotypes, have an unreal quality about them. There are no people. Did the photographer wait until everybody was ( 1 )? Did he or she snap the picture at dawn before anyone was up?

It took many minutes for these early cameras to take a picture, and during that time people would have come and gone, leaving not even a trace in the final print. What remained was only the solid motionless part of the city. It probably did not strike these early photographers as strange that only permanent things appeared in the photograph; for them only the permanent was "real". Perhaps they would have found a modern photograph of a street scene unreal, with people caught n the middle of taking a step, or a child jumping rope miraculously suspended in the air, never to touch the ground again. On the other hand, it is equally possible that the modern photograph might have looked more real to them than their own, because even in their own time painters included people walking, and children playing, in their street scenes. But whatever they might have felt, the "reality" of an image appears to be a matter of ( 3 ). The story is told about a man who approach Picasso after seeing Les Demoiselles d'Avignon and asked the artist, "(4)Why don't you paint people the way they really look? "Well," said Picasso, "how do they really look?" The man then took a photograph of his wife from his wallet. "Like this," he said. Picasso looked at the picture; then, handing it back, he said, "(5)She is small, isn't she? And flat." Often we do not realize just how much information our brain has to add to picture to make it a recognizable scene. The canvas by the American painter Mark Tansey,entitled The Innocent Eye Test, portrays a cow being shown a life-size painting of cows. A group of scientists is standing by, ready to record the cow's reaction. There doesn't seem to be any. The cow could be looking at a blank wall. Neither the painting--the one that is hanging in the Metropolitan Museum of Art in New York--nor the painting within the painting is in full color. Instead, they are both the color of old photographs. This is to emphasize, no doubt, the fact that the "real" cow, the one being shown the image, is itself a painting, as flat and lifeless as the others. They are all painted, same size, same style, but we see one as a real cow, the others as a ( 8 ) of cows. The first cow is unimpressed. It has no concept of art, therefore it can't understand the painting.