Screen shot 13 02 08 at 06 15
The nocme of Photography i$ simplc, banał; no depth: "that has bcen.” 1 know our critics: Whac! a whole book (even a short one) to
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discover somcthing I know at first flance? Yes, but such evidence can be a sibling of madness. The Photograph is an extended, loadcd evidence—as if it caricaturcd nor the figurę of what it represenrs (quite the converse) but its very existencc. The image, says phenomenology, is an objcct-as-nothing. Now, in the Photograph, what I posit is not only rhe absencc of the object; ir is aJso, by one and rhe same movement, on equal terms, the fact thar this object has indeed existed and that it has bccn rhere where I see it. Herc is where the madness is, for until this day no represenration could assure me of rhe past of a thing cx-cept by intermediaries; but with rhe Photogtaph, my cer-rainty is immediate: no one in the world can undcceivc me. The Photograph then becomes a bizarre medium, a new form of hallucination: falsc on the level of perecp-tion, true on the lcvel of time: a temporal hallucination, so to speak, a modest, shared hallucination (on the one hand "it is not dicre," on the other "but it has indeed bccn"): a mad image, chafcd by reality.
I am trying to render the spccial quality of this halluci-narion, and 1 find this: the same evcning of a day I had again becn looking at photographs of my mother, I went to see Fellinis Casanova with some friends; 1 was sad, the
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