Citation: Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang. 1980. Print.
Summary: The photograph touches, has an effect, when it is withdrawn from its usual context of composition talk – technique, art, reality, etc.- to allow it to rise on its own accord into affective consciousness (55).
- camera obscura
Passages to Keep:
“I may know better a photograph I remember than a photograph I am looking at, as if direct vision oriented its language wrongly, engaging it in an effort of description which will always miss its point of effect” (53).
“What I feel about these photographs derives an average affect, almost from a certain training. I did not know a French word which might account for this kind of human interest, but I believe the word exists in Latin: it is studium, which doesn’t mean, at least not immediately, “study”, but application to a thing, taste for someone, a kind of general, enthusiastic commitment, of course, but without special acuity” (26).
“The second element will break (or punctuate) the studium. This time it is not I who seek it out (as I invest the field of the studium with my sovereign consciousness), it is this element which rises from the scene, shoots out of it like an arrow, and pierces me. A Latin word exists to designate this wound, this prick, this mark made by a pointed instrument: the word suits me all the better in that it also refers to the notion of punctuation, and because the photographs I am speaking of are in effect punctuated, sometimes even speckled with these sensitive points; precisely, these marks, these wounds are so many points. This second element that will disturb the studium I shall therefore call punctum; for punctum is also: sting, speck, cut, little hole – and also a cast of the dice. A photograph’s punctum is the accident which pricks me (but also bruises me, is poignant to me)” (26-27).
“Last thing about punctum: whether or not it is triggered, it is an addition: it is what I add to the photograph and what is nonetheless already there” (55).
Claim of Some Doubt:
“Since every photograph is contingent (and thereby outside of meaning), Photography cannot signify (aim at a generality) except by assuming a mask…the mask is the meaning insofar as it is absolutely pure (as it was in ancient theater)” (34) (and the intermediary is by way of Death 31).
3 Sources to Aid with Reading:
Not sure of which texts, but Barthes references Nietzsche, Brecht (weakness of critical power of photography) , and Sartre (posture of existence)Post-class (Re)Focus: