Screen shot 13 02 08 at 02 32

R. MAPPLETKORP*: PlflL Gl-ASS AND BOB WILSON

™Bob Wilson hołds me, but l c<innoi say why ..

silcot (thcrc are blustering photographs, and I dont like thcm): this is nor a qucstion of discretion, buc of musie. Absolute subjectiviry is achievcd only in a stacc, an effort, of silence (shuccing your eyes is to make the image speak in silcncc). The photograph couches me if I withdraw it from ics usual blah-blah: "Techniquc,” "Realiry," "Rc-portage,” "Art," etc.: to say norhing, to shut my eyes, to alJow the detail to rise of its own accord into affective consciousncss.

Last thing about the punctum: whether or nor it is triggered, it is an addition: it is what I add co the photograph and what is nonetheiess

already tbere. To Lewis Hinc’s retarded chiidren, I add

nothing wirh regard to the dcgcneresccnce of the profile:

the codę espresses this before I do, takes my place, docs not allow me to speak; what I add—and whac, of course, is already in the image—is the collar, the bandage. Do I add to the images in movies? I don’t think so; I don’t have

time: in front of the screen, 1 am not frec to shuc my eyes;

otherwise, opening them again, I would not discover the same image; I am constrained to a continuous voracity; a

host of other qualirics, but not pensiveness\ whence the

iacerest, for me, of the photogram.

Yct the cinema has a power which at first glance the Photograph docs not have: the screen (as Bazin has re-marked) is not a frame but a hideout; the man or woman

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