Camera Lucida
admin October 30th, 2009
5 Referentiality / Photography as technology
Reading: personal / cultural 18 –like/don’t
4 classification – trying to get outside of it / and then outside of meaning systems bound by reference
6 a photograph is always invisible
7 pleasure and emotion
8 being torn being two languages expressive and critical
9 I must see right away
10 photography is intersection of chemical and physical orders
once I am observed everything changes, I pose
11 posing in front of the lens, I do not risk much
I lend myself to the social game, I pose, I know I am posing (representation)
*13 in portrait – four image repertoires intersect
16 I see photographs everywhere
18 the inadequacy of I like/dislike
what to call this feeling? Fascination?
19 principle of adventure
20 an animation / photography is only contingency
21 affective intentionality
21 – affect steeped in nostalgia desire…as a wound / I see I feel I notice I observe I THINK
26 – studium/punctum
27 studium is I like/don’t like – it is always to understand
30 photography archives knowledge (what was it like then…history…) 30 – ghost of painting – the old defines the new (history?)
32 rhetoric of shock
33 defiance surprising
lucky find
34 “the anything whatever” = whatever as digital rhetoric
whatever as apathy (WHATEVER) but also as elusive (Nike commercial)s
whatever as the striking (the has been part of the photograph we hear about later)
the mask is the meaning
36 photography mistrusts pure meaning – it wants meaning surrounded by noise
38 photography is subversive when it is pensive (Flusser’s main claim was for leisure – thinking/theory)
38 – descriptions like tags – personal/multiple
39 fantasmatic
as opposed to
40 heimlich – feeling of home (Ulmer – unheimlich – uncanny)
unary – if a single series is generated by the base
41 – unity (unified meaning)
42 detail – it attracts me
43 the punctum shows no preference for morality or good taste
49 a detail overwhelms my reading – we might speak of intense immobility
51 I refuse to inherit anything from another eye than my own
the studium is always coded/the punctum is not
51 off details – “I dismiss all knowledge”
51 the incapacity to name is a good symptom of disturbance
53 punctum revealed after the fact
55 punctum is what I add and what is there
57 a blind field doubles our partial vision – once there is a punctum a blind field is created
59 – a subtle beyond
63 – back to classifying/sorting mother’s photos 66 classifying the mother (did not find her)
73 Labyrinth
a thread
cannot establish objectivity
77 I intentionalize reference
photography = what has been there 82 – reality in its past state
84 I am the reference of every photograph
why this persistent inclusion of the “I”
85 no writing can give the certainty of the photograph
85 the has been
87 it never lies about the thing
a certificate of presence– we have a resistance to believe in the past except for myth?
how does photography “put an end” to this resistance?
Seems to depend on certainty (this has been) but myth is also a certainty, no? In Mythologies, Barthes states that myths make our life simple (143)
Photography complicates
89 authentication exceeds representation
film flows, photo slows
91 photo is counter-memory / violent
92 Death – because? Movement? Time?
Relevance to Web/digital – the ability to change image/text?
Death b/c the time is dead? The “simple click “ (92) – the time gone “has been”
93 To no longer be able to conceive duration
-94 age of photo age of revolutions/assignations…impatience. Photo brings on impatience?
94-95 thought I could distinguish cultural interest from punctum – but there is another punctum than the detail – Time
96 this will be/ this has been – the lack of permanence we attribute to digital culture (Ong’s open text?)
removing referentiality (punctum) is the welcoming of death…no permanence…it is here/than has been
98 every photograph is reads as the private experience of its referent – explosion of private into the public –the publicity of the private
amateur is closer to Photography than profressional
99 – role of spectator over operator (reader vs producer)
100 resemblance is conformity to an identity
103 photograph reveals the fragment
truth of lineage
likeness leaves him unsatisfied…so it is a quest outside of resemblance (like the absent mother’s photo – or the color photo in front). A method outside of resemblance/identity
photograph looks like anyone except person it is meant to represent, for resemblance refers to identity
105 lineage reveals an identity stronger than legal status
106 mistake to associate photography w/dark passage (camera obscura) it is a camera lucida
*107 as soon as it is a matter of being, and no longer of a thing – the photograph’s evidence has an entirely different stake
the air
109 the air is a supplement of identity- when mask is listed (Virilio’s mask)
110 an overall feeling, energy (vitalism)
111 photograph separates attention from perception and yields up only the former
113 the true total photograph where affect is a guarantee of Being
115 photograph as shared hallucination
116 photography madness and the pangs of love
pity
117-8 to tame the photograph make it art or banalize it
119 advance societies
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