say goodbye, say hello

The number zero is the only true invention. The human, the inventor of the number zero, happens to be a creature (but is not necessarily the sole creature) that can understand the concept of the number zero and its most direct offspring: the ratio scale. With the advent of this remarkable invention, everything could be…

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All Dead Things

‘The photographic’ is the nothing. ‘The photographic’ is a metaphor. ‘The photographic’ is a metaphor for our love just as it is also a metaphor for the greenness of the trees. All ‘the photographic’ can teach us is that that’s how it is. Together we reached the door to the origin and now we must…

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Genealogy of ‘the photographic’

Prior to the modern movement in the visual arts, painting was an exercise in incomplete realism. Painters had already disavowed that which would interest Heidegger and that which Heidegger would go on to question. Their painterly exercises in incomplete realism, though, attest to the fact that painters, seemingly not interested in philosophy, had through the…

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Thrownness, thrown

As corroborated by the Book of Genesis, the notion of poverty came to be the day Dasein felt the need to manifest its realness to itself, that is to say that poverty defined itself as such on the very day Dasein appeared to itself as Dasein. First problem experienced: If Man exists, it’s his problem.…

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Atomised

It is common knowledge that the relationship analogue photography has with light is different from the relationship digital photography has with light. In the former case, the relationship with light is non-arbitrary; in the latter case, the relationship with light is arbitrary. Can we use this perceived relational difference these two types of photography have…

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Defining ‘the photographic’

Vermeer was a painter. He painted photographs. This is to say that ‘the photographic’ has been with us for a very long time, at least since the happy discovery of daubing paint on walls and stuff.  Paintings evince ‘the photographic’; but ‘the photographic’ could have only become known and identified as such with the invention…

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Curating the Archive

The prima materia of perception is not the world. The prima materia of perception is memory. As our eyes linger on the object of their gaze, the memory gives way to what is really being seen. The eyes do not travel; they travel with the body.  Charles Sanders Peirce established a trichotomy of signs, which Silverstein explains thus: “the…

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On pain and how to photograph it

Let us start by postulating that pain is staged. Such a postulation would make pain somewhat irreal, a game even. But we know that when we feel pain, we feel its pangs genuinely enough. In experiencing pain, we do not sense anything irreal about it, let alone do we consider that it might all be…

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A Proposition

Perception and semantics are way too obvious and boring; so we will skip those two levels and start our discussion straight from the level of memory. The etymological dictionary gives the following entry for the verb ‘remember’: “mid-14c., remembren, “keep (something or someone) in mind, retain in the memory,” from Old French remembrer “remember, recall,…

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Sustainable Prospects – Week 6

In this blog post, I would like to focus my attention on the work of a photographer I discovered recently and whose work I found highly pertinent to my writings about representation in photography. In her project, ‘Early American’, artist Sharon Core, carefully reproduced in real-life the subject matter contained in certain paintings by American…

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