Screen shot 13 02 08 at 06 06
"How eon one have an inielligens <ur wisbout thinking of anytbing inSulligenS? . -19
A. Kertśsz. Piet Mondrian in His Studio. Pajjs, 1926
air without thinking about anyching intclligenc, just by looking into chis piece of black plastic? It is because thc look, eliding the vision, seems held back by something interior. That lowcr-class boy who holds a ncwborn puppy against his cheek (Kertćsz, 1928), looks into the lens with his sad, jealous, fearful cye$: what pitiable, laccrating pcnsivcncss! In fact, hc is looking ar nothing; he reiains wichin himself his love and his fear: that is the Look.
Now thc Look, if it insists <all the morc, if it lasts, if it traverscs, with the photograph, Time)—the Look is al-ways potentially crazy: it is at once the effect of truth and che effect of madness. In 1881, inspircd by a splcndid scicntific spirit and invc$tigating the physiognomy of the sick, Galton and Mohamed published cercain plates of faces . . . It was concludcd, of coursc, that no discasc could be read in them. But sińce all these patients still look at me, nearly a hundred years later, I havc thc con-verse notion: that whoever looks you straight in the cye is mad.
Such would be the Photograph’s "fate”: by leading me to believe (ic is true, one time out of how many?) that I have found whar Calvino calls "thc true total photograph,” it accomplishes thc unheard-of identification of reality (“thai-bai-been") with truth ("thcrc-shc-is!”); it bccomcs at once evidencial and cxciamative; it bcars thc effigy to that crazy point whcrc affect (love, com[>assion, grief, enthusiasm, desire) is a guarantec of Bcing. It then approaches, to all intents, madness; it joins what Kristeva calls "la vóńtć folie."
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