Screen shot 13 02 08 at 02 07
A. KBRTESZ: TilP YlOUNISTS TUNŁ ARONY. HUNGARY, 1921
A detail overwhelms the entirety of my rcad-ing; it is an intensc mutarion of my interest, u fulgurarion. By thc mark of somełbing, the photograph is no longet "anything whatcvcr." This some-thing has tfiggered mc, has provoked a tiny shock, a satori, thc passagc of a void (it is of no importance that ics referent is insignifitant). A strange thing: rhc virtuous gesture which seizes upon "docile" photographs (those invcsted by a simple studium) is an idle gesture (to leaf through, to glance quickly and dcsultorily, to linger, rhen to hurry on); on thc contrary, rhc rcading of tlłe punctum (of the pricked photograph, so to s|xrak) is at once btief and active.|A trick of vocabulary: we say "to devclop a photograpłr; bur what thc Chemical action develops is undevelopablc, an cssence (of a wound), what cannor be transformed but only repcated under the instances of in-sistence (of the insistent gazo). This brings the Photograph (certain photographs) close to thc Haiku. For the notation of a haiku, too, is undcvclopable: everything is givcn, without provoking the desire for or even the pos-sibility of a rhetorical expansion. In both cascs we might (we must) speak of an intense irnmobility: linked to a detail (to a detonator), an cxplo$ion makes a lirtle star on the pane of the text or of rhc photograph: neither the Haiku nor the Photograph makes us '‘drcam.’’
In Orabredancs cxperiment, the blacks see on his
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