Screen shot 13 02 08 at 02 41
-Qu*en Vietoriś, tmirtly mnesthettc .. (Virgioia Woolf)
G. W. Wilson: Qoeen Victoria. i86j
who cmerges from it continues living: a '‘blind field" con-stantly doubles our partial vision. No w, confronting mil-lions of phocographs, including thosc which have a good studium, I sense no blind field: everything which happens within the frame dies absolutely once this frame is passed beyond. When we define the Photograph as a motionless image, this docs noc mean only that the ńgures it repre-sents do not movc; it means tliat they do not emtrge, do not leave: they arc anesthetized and fasrened down, like butterflies. Yet once there is a pnnetum, a blind field i$ creatcd (is divincd): on accoum“óf~ReF necklace, the black woman in her Sunday best has had, for me, a whole lifc external to her portrait; Robert Wilson, endowed with an unlocatable punclum, is somcone I want to niect. Herc is Queen Victoria phocographed in 1863 by George W. Wilson; she is on horscback, her skirt suitably draping the entire animal (this is the hiscorical interest, the studium)-, but beside her, attracdng my eyes, a kilted groom holds the horse’s bridle: this is the punctum\ for cven if I do not know just what the social status of this Scocsman may be (servant? equerry?), I can see his function clearly: to supervise tlie horsc's behavior: what if the horse suddcnly began to rcar? Wliat would happen to the quccn's skirt, i.e., to her^Mfesi$2Thc punctum fanrastically "brings out” the/Victorian natu?e (what elsc can one caTTit.;) oT tPic~pHÓcbgraptTr it endows this photograph with a blind field.
lAatuYTe
The presence (the dynamics) of this blind field is, I belicve, what distinguishes the erotic photograph from the pornographic photograph. Pornography ordinarily repre-
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