Screen shot 13 02 08 at 00 46
them, to approve or disapprove of them, but always to underscand them, to argue them within myself, for culture (from which thc studium dcrivc$) is a contract arrived at between creators and consumcrs. The studium is a kind of education (knowledge and dvility, "politeness'') which allows me to discover the Operator, to expcricncc thc in-tcnrions which cstablish and animatc his practices, but to expericnce them "in revcrse,” according to my will as a Speetator. It is rather as if I had to read the Photogra-phcrs myths in thc Photograph, fraternizing with them but not quite believing in them. These myths obviously aim (this is what myth is for) at rcconciling thc Photograph with society (is this necessaty? —Yes, indeed: the Photograph is dangcrous) by cndowing ic with functions, which arc, for thc Photographcr, so many alibis. These functions are: to inform, to represent, to surprise, to cause to signify, to provoke dcsire. And I, the Speetator, I rc-cognizc them with morc or less plcasurc: I invest them with my studium (which is never my delight or my pain).
Since the Photograph is pure c 1
can bc nothing clsc (it is always so met bing that is represented)—contrary to the text
which, by thc sudden aaion of a single word, can Shift a sentcnce from dcscription to rcflcction—jt__irnmcdiatcly_ yiclds up rhose ' details'’ which constinite the. veiy_raw _ materia! of cthnological knowlcdgc. W hen William Klein
"Tbc photogr&pber teocbes me botif the 7{usrians dtess: l notę a bo^s big clcth cap, anolbtfs necktie,
vvv.« . BEWW l* 1 ......rrrr**
Wii.uam Kletn: Matday, Moscow. iyyj
an old toomanfs scarf around ber head, a youttfs haircut..
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