The real, the actual, the existent – that which is – these are all based on ontology. But roping in the argument of ontology to describe that which is only leads to circular reasoning, as evinced within the pages of Heidegger’s ‘Being and Time’. The real, the actual, the existent – that which is – these are all conventions, just like Johannes’ paint does in doing on the canvas, or as the doing done does by doing its done doing within a photograph. Ontology never was and never will be the measure of anything. Ontology is simply the perceived measure by which we measure the quality of a representation – any representation.
Time is only for the benefit of Doubt. If there is nothing then there is no deception. There is no association between image and text (to say that they are indistinguishable is not the same thing as saying that they are the same). Text opens up perception to all possibilities. In fact, photography’s objectivity happens to be just wry humour.
Quantitative data is obtained using measures which are all relative not absolute, relative to the absolute I, which is relative in and to itself. Qualitative data forsakes its most basic ethos, which is the indubitable relativity of the absolute I in and to itself.
Contrary to Scruton’s argument, photography is radically intentional. In the act of photography, intention is deployed in the world; and from then on, every point in the photograph corresponds to an exact point in the world. The only other form that matches this total, pervasive intentionality is composition, literary and musical. Machines and programmes are Man’s intention in its totality.
The future is the essential virtuality of the present.
The image reads itself. Language must first be read. Language is grounded in temporality. Changes in one’s viewpoint, termed linguistically, are henceforth to be defined as metaphors.
Everything is in the end. Life is of two things.
And isn’t it wonderful holding on to fear!
How is it in being?
Heidegger and Levinas have been summoned here as non-photographic witnesses. They did not discuss photography; but all roads ultimately lead to ‘the photographic’. The act of photography, the photographic act, being in essence an ethical act, an act in ethics, is a journey of self-discovery through (or within) ethics. Photography is not the subject; ‘the photographic’ can never occupy centre stage. But it is through the act of photography, through the moment of ‘the photographic’, that we witness in the now all that is not now. Ultimately, Time is our confessor.
And all shall be well and
All manner of thing shall be well
T. S. Eliot, ‘Four Quartets: Little Gidding V’ (ELIOT 2004: 198)
Photography is a language, producing images with no syntax. Simply put, anything viewed true the lens of illusion is a morality tale.
Nothing exists outside of mind. Our sole task in life is evolution.
What we give up to the past is ourselves. And everyone does it.
After the photograph there is movement.
What is most characteristic about knowledge is the unknown. God is slightly older than Man.
No truth is ever too farfetched
Featured Image:
By Jebulon – Own work, stitching of archives of Service Regional d’Identité Judiciaire, Préfecture de Police, Paris., CC0, LinkReferences:
ELIOT, T. S. 2004. The Complete Poems & Plays. London: Faber & Faber.