It is not so much a question of producing (a textured image). Rather, everything pivots on the part of disappearance. But nevertheless, this process of disappearing has to lead some kind of trace, the this this site at which the other, the world or the object appears. This is more over the only way in which the other can exist - on the basis of one's own a calculated disappearance (according to the rules of the game of disappearance). Whenever one brings into being in the domain of production will never be more than the image of oneself, an extension of the same. All the debt which comes from the domain of disappearance (for once disappearance), is truly other.
The stupefying power of the photograph is far superior to that of writing. It is rare that a text can offer the same instant Canadian, the same can't ability, the same magic, as a photographic object (shadow, light or material) - least of all the realist text, which place upon resemblance (the theology of the same), rather than upon the evidence (the unintelligible, dazzling, manifestation of the other open parentheses. Even photographs is seldom offer this magic tens ability. And yet one senses it in Napa called and Cobra effects. When there writing rediscovers the trees of primal disorder, the plastic vehemence of things without qualities, the erotic energy of a worthless universe.
Every photographed object is simply the trees left behind by the disappearance of everything else. It's almost a perfect crime, and almost total final solution, as it were, for world which projects will be legion of this without object, which the photograph and transforms - absent from the rest of the world, withdrawn from the rest of the world - into an unseasonable in the gulf. From the height of this enigmatic objects - which, as a radical exception, bears no resemblance is, and has no meetings - one has an unobstructed vision of the world.
Photography, then, is the art of eradicating everything that interpose itself between of one in the world - the absence of the world presented each detail, reinforced by each detail (it's the same thing for the face: it's the details of the face which render tangible the absence of the subject, this absence subjects, without which there can be no good photographs). But concern for fine sentiments in literature, considerations for resemblance or for expression in the major inconsequential.
This disconnection of detail can also be brought about by a kind of mental gymnastics, subtlety of thought. But in this case, the technique operates without encountering any resistance, it is perhaps some kind of trap. Insofar as it exists within the realm of concepts and discourse, the object is related to all things around it. An object, it is in on of in the it's so far as it is quite simply an object, it is an unidentifiable of music.
It's difficult to focus on people who are not psychologically " well focused ". The object is the land is slashed an object chief tremble. Thus it is that I have all we very rarely, and very unsuccessfully, focused a punishment be. Over above my personal in conditions, this is perhaps because any human being is the site of such a complex scenario - even the most simple - the site of such a complex construction, the instead transfigured and idealize ink and the image as the camera usually does, the land is this figures and designates its character. The human being is masked, and the most difficult subject capture is not so much the reality and resemblance, as the mask, or other words, the secret identity or of parity.
Once in the lead photograph in beings is clear proof of the manipulation of the photographic subjects by its object. One feels the same uneasiness would be in photograph oneself. And several occasions, I've experienced proof of the optics sovereign influence, of this secret influence or manipulation: having taken the entire role of images of woman would get a beach - to post reluctantly, not wishing to be photographed - of that appeared in the role felt was developed. Another similar occasion, the role filled mysteriously disappeared in the photographers apartment.
The only profound desire is the desire of the object, which is to say not for that which I lack (something trivial and conventional, and well worthy of the subject, which was listed the world of laughter), nor for she or she who lacks me (something still more subtle), but for he received does not lack me, for that which is perfectly capable of existing without me. Desire is a waste for this can afford perfection, and it the same time, perhaps, which is both the shattered and to demolish it. This perfection is the perfection of the object: it alone is truly other, and one only really euros for austerity, for something as perfection and impunity one wishes both to share and to shatter. Photography has obsessional, idiosyncratic, ecstatic and narcissistic quality.
This singular, even expressly solitary activity. The photographic images instant and irreversible, on like that of pain, worth the text, or any other art for grounding continuity of expression, a resemblance are of meeting. It is irreversible, and thus to some extent fatal, given the instance may be of the shooting. Revocable, it offers tangible evidence of the world and a certain given moment. Any attempt to retake, or to artistically retouch the photograph, or indeed any kind of preliminaries geography, appears abominable aesthetic. The discontinuity of this subject in time in space, its solitude, and its distinction for the world, or zero quarreled of with the discontinuity of the object itself with its obsessional character. For the " good " object is distinguished by its obsessional character, but that which no longer needs the desire of the other. The best possible photographic subjects are those which foundered sense of form, their idiosyncratic identity, there narcissistic figuration. Those which of its objective impact and which the land size of 54 - with the face of the do set - will mobilize with all their objective impact.
The moment of the negative. Photograph is not me midget real time, it's not a virtual image, or numerical image, etc.. It is and logical, and retains the moment of the negative, the suspense of the negative, this site displacement which allows the but still existed its own right, in other words, as something different to the real objects; in other words, as a lesion - in other words, is the moment in which the world are the object vanishes into the bridge, which synthetic images cannot do because they no longer exist as images, strictly speaking. The photograph retains the momentous appearance, whereas in the synthetic image, whatever it is, the real is 30 disappeared. The slight displacement did the object the magic, discreet charm of the previous existence.
The objective magic of the photograph - quite different ascetic for to that of pink - price for the fact that the object to stock of the work. Of course, photographers ever did this, and indeed that any originality derives from their inspiration, and from the photographic interpretation of the world. It is for this reason that they take a bad (or excessively good) photographs, focusing the subjective " vision " of the world with a miraculous reflex action of photographic process.
It is not a question of the objective, it's a question of becoming an object. The photographic process it's not a question of considering the world as an object, acting as if it was already there is an object, but of making it be common object, in other words, of making it becomes older, of exhuming the of parity buried beneath its alleged reality, of making it appear as a kind of basic, the secretive strange attractor, to which every element, of holding this primitive strange attraction in its image.
It's commonly said: " even the most banal, the most insignificant persons always present one particular (photographically see civil) instant when their most singular, when they revealed a secret identity. " this is not accurate. Feeling interesting thing about a person, or face, is their radical of parity, and rather than seeking their identity behind appearances, we must try to detect the secret of parity behind their identity.
But another way, we must reveal the massacre the figure which holds a person, and withdrawal from their identity - the masks divinity which inhabits every one of this, even the most insignificant, for instance, one day or another.
In the case of objects, savages in primitives, this of parity is unambiguous, but this singularity is unambiguous (according to physics, the term singularity refers to an object, or micro universe, which escapes all of our cord and its). The same is true for animals. Likewise, the most insignificant of objects is always " other ". In the case of subjects, it is much more big U.S., however. For the subjects - and many will consider this to be the hallmark of its amenity - often succeeds, frequently at the cost of almost incalculable efforts, and annihilating the similarity, it existed on early within the limits of the loss of its identity. It is the hope that this success is never absolute, that this crime is never perfect.
Photography, among other forms of " estrangement ", can help to reveal this massacre, this processing by which the subjects terminates its old austerity - substance friend of. The process, and other words, by which once simultaneously expropriate to eradicate oneself.
He minutely, become a " the thing among things ", all strangers one to another, all familiar and enigmatic, read the the universe of subjects comedic in one to another, all transparent one to another.
The silence of photographs. Without really being able to explain why, this is one the most valuable the Minister of Regional qualities of the photographic image, as opposed to sit down, sulk television, etc., which one always tries to silence, albeit unsuccessfully.
The silence not only of the image which escapes, lutes, all discourse, commentary, in order to be perceived and read " inwardly " as it were - but also the silence into which the image plunges the objects of it ceases, wrenching them from the thunderous context of the real world. The respective of the violence, the speeder the noise of its surroundings, the photograph restores the object to the mobility the silence of the image.
In the very center of the city, in the very center of turbulence, the race center of visual and auditory stress, it recruits emptiness, it be creaks the desert, the equivalent of the desert - the equivalent also the sense of isolation, a phenomenal logical isolation, or rather, phenomenal logical in mobilization of appearances. The lacrosse cities in silence. The way across the world in silence.
His job but Riyadh, 1997