The subjective is subject to the Subject who as Subject stands in subjection to an other, namely the subject. The subjected action of subjection emanating from the subject acts upon me as Subject and subjects me. Intentions are knowable a posteriori. The subject subjected as Subject is hence object to the Other. The object is possessed and/or refuted. The subject subjected as Subject subjects to its objectification – as subject. Now having been subjected to objectification as subject, the Subject can only desire Nothing, that same Nothing that impresses itself flatly into a photograph. Hence desire desiring Nothing is infinite and unbounded it its essential desirelessness. Habited as desirelessness, desire brings forth Being into the world of the world – the world of the world that, as object, worlds objects.

Perception cannot be aestheticized. The aesthetic may be in correlation with beauty; the aesthetic, though, is born properly out of representations. Representations are representations of perception. Aesthetics can be beautiful. The aesthetic quality of an image comes about through the closure of that image brought about by the photographic. The photograph is another world – the world. The photographic does to the image the unspeakable. After having memorized the photograph, the photographer is spat out of the photograph by the photographic. In order to be itself, the photographic must carefully eliminate all traces of evidence that might potentially link the image to some genesis. The photographic is a construct/convention; the photographic is a transparent construct/convention; the photographic is itself. The only thing in itself is Time. The photographic toys with this absurdity, with this incapability of Time to be anything other than time, with the absurdity of Time, with Time as Absurdity – ultimately a self-mocking gesture. Memory is all Time. The photographic is the photograph; the photograph is color. 

We say words conjure up images. But that is not the same thing as saying that words are images. If I perceive two oranges on a table in front of me, I can say that in front of me lie two oranges on a table, this because I have learnt the rules of addition. Had I known nothing about the rules of addition, I would have had to say that there was one orange and one orange on a table in front of me. Because I know the rules of addition, though, I can add the two oranges up in my mind and say, “in front of me lie two oranges on a table.” But in reality that statement is false, because what really lies on the table in front of me is one orange and one orange. The representable world came to be the day Man uttered the word ‘color’.

Thus, the photograph can be the only evidence… the only evidence as long as one disregards that most evidentiary and transparent of constructs/conventions: the human body in the world. The task of corruption (read here, if you wish, ‘Photoshop’; the ethically-minded can here replace the word ‘corruption’ with the words ‘the truth’) is not so much that of destroying, disfiguring or concealing the truth, as attempting to destroy, disfigure, or at least conceal, itself, itself as a fractal-like malformation eternally pleading for the truth to be otherwise.

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