In an advertisement, the only intention that matters is to sell a product. All manner of decisions can and do saturate an advertising image, but these are subordinate to the purpose (Zweck) of selling the product. In a successful work of art, all kinds of decisions are subordinate to a larger intention as well; but that intention is analytically identical with the meaning (Zweckmäßigkeit) of the work, so it makes sense to speak of the work as a whole as saturated with intention. As we saw, art-commodities may well bear the marks of industrial processes. A work of art may, on the other hand, choose to exhibit them, which is a different matter altogether. We can tell the difference between bearing marks and exhibiting marks because works of art tell us how to tell the difference, each time.
Everyone involved in this discussion appears to live by the difference between art and life. To my knowledge, no one has suggested that Gone with the Wind is something other than a novel or that Tweeting Gone with the Wind is something other than a work of art. (No reader misrecognized it as a different kind of Twitter account – for example, a moment by moment record of the passing thoughts of Vanessa Place). Nor has anyone started a liberation movement to protect the rights or advance the interests of fictional persons.
Both these pieces betray a really naïve or underdeveloped understanding of electoral action, its costs and benefits, the unavoidable messiness of engaging in it. And, by the way, the same messiness applies to all efforts to build and maintain broad alliances, all of which require finding ways to navigate locating points of agreement and looking the other way at least temporarily at potentially serious differences and contradictions.
So one easy way to put it would be to say that for many people, photography perfectly embodied the theory and practice of the postmodern, whereas for some people, it created the possibility or felt necessity for a critique of postmodernism. Or, to put the point in terms of intentionality: for many people, the photograph embodies the critique of the intentional that we find in theorists as different as Barthes and Derrida, Crimp and Rancière; for others it embodies something like the opposite – the opportunity to re-imagine intentionality.