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|Photography||Gabriele Röttger-Denker Barthes zur Einführung Hamburg 1997
Photography/Barthes: through its absolutely analogical nature and the paradox of a "message without code", photography enhances the utopian character of denotation. Depoliticization and "denunciation".
Photography/Barthes: eidolon: eidolon is that what is photographed, i.e. the referent, the target of photography.
Photography/Sartre: photography is meaningless in magazines, since the persons were captured, but without existential creation. Sartre: "We have consciousness, in some way, to revive the photo, to give it its life, to make a picture of it."
Barthes: he did not deepen this question of the "pathetic" in the photo. Instead: I see, so look, so watch, so I think.
Photography/Barthes: Adventure of the image: good photography is like a classical sonata: two themes: study and punctum. Studies: »To like, not to love« (half-hearted desire). "Punctum": emerges from the scene, not from the viewer. A wound is inflicted on me. For example, in the photograph »Portrait de la famille« a shock is triggered by the woman's buckle shoes. Paradox: even only a detail fulfills the whole photography.
"Third sense" (troisieme sens): the third sense is a signifier without signified. (The films of Eisenstein).
Photography/Barthes: despite the chemical development: the non-developable, also the note writing of a haiku cannot be further developed, deepened. Everything is already given.
Photography/Barthes: "What I see is not a memory, no imagination, no part of the Maya, how art has enchanted them, it is the reality in the past state. In one the past and the real. This aspect of the photo makes me wonder: how come I live here and now?
Photography/Barthes: in contrast to the fictionality of language, it does not invent anything.
Photography/Barthes: due to the force of the evidence the photo cannot be deepened, cannot be pierced through. Looking at it is safe - unlike the text.
Photography/Barthes: Not art, but magic, emanation of the past. The power of photography does not refer to the object, but to the time. The pathos and melancholy of photography lies in being without a future. Time halts. The time of the picture, the object and the viewer are bundled. The simultaneity prevents a wandering of the thoughts, a dreaming.
Mythologies: The Complete Edition, in a New Translation New York 2013