PART ONE
1. Specialty of the Photograph
Barthes decided he liked Photography in opposition to the Cinema, from which he nonetheless failed to separate it.
"ontological" desire: Photography was "in itself"--was to be distinguished from the community of images (technology and usage)
Barthes wasn't sure that Photography existed, that it had a "genius" of its own.
2. The Photograph Unclassifiable
We impose upon: empirical (Professionals/Amateurs), or rhetorical (Landscapes/Objects/Portraits/Nudes), or else aesthetic (Realism/Pictorialism)
However, these classifications might only applied to older forms of representation because without relation to the essence of object--Photography is unclassifiable
The Photograph mechanically repeats what could never be repeated existentially
"the Photograph always leads the corpus I need back to the body I see" ; "it is the absolute Particular, the sovereign Contingency, matte and somehow stupid......"
Lacan: Tuche, the Occasion, the Encounter, the Real, in its indefatigable expression
http://en.wikipedia.org/wiki/%C5%9A%C5%ABnyat%C4%81
a photograph cannot be transformed (spoken) philosophically, it is wholly ballasted by the contingency of which it is the weightless, transparent envelope
It is licit to speak of a photograph, it seemed to Barthes just as improbable to speak of the Photograph
It is not impossible to perceive the photographic signifier (certain professionals do so), but it requires a secondary action of knowledge or of reflection
The Photograph has sth tautological about it: a pipe, here is always and intractably a pipe
Barthes:"I didn't yet know that this stubbornness of the Referent is always being there would produce the essence I was looking for"
Photography is unclassifiable because there is no reason to mark this or that of its occurrences
deprived of a principle of marking, photographs are signs which don't take, which turn, as milk does.
"looking at certain photographs, I wanted to be a primitive, without culture."
3. Emotion as Departure
Barthes was bearing witness to the only sure thing that was in him(however naive it might be): a desperate resistance to any reductive system
To make his protestation of singularity into a virtue -- to try making what Nietzsche called the "ego's ancient sovereignty" into an heuristic principle.
Starting from a few personal impulses, he would try to formulate the fundamental feature, the universal without which there would be no Photography.
4. OPERATOR, SPECTRUM and SPECTATOR
Barthes observed that a photograph can be the object of three practices ( or of three emotions, or of three intentions): to do, to undergo, to look.
Operator is the Photographer, Spectator is ourselves ; and the person/thing photographed is the target, the referent, a kind of little simulacrum, any eidolon emitted by the object, which Barhtes should like to call the Spectrum of the Photograph ( a relation to "spectacle" and adds to it that rather terrible thing which is there in every photograph: the return of the dead.)
Operator's emotion had some relation to the "little hole" (stenope)
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