The aim of this paper is to consider the temporality of the photographic frame. The paradoxical nature of the photograph lies in a unique instant-moment when the image is transcribed onto the photographic frame. In order to open up this temporality, we must also situate the photographic act in its surrounding. Opening up the temporality of the photographic frame leads me to consider the meaning of pasearse. The nature of this instant is that at one moment, it belongs to a (...) plane of immanence or the temporality of duree. Pasearse is a self-reflexive active verb that opens up a temporality where immanence and being coincide. Pasearse can help to define the photographic instant, if instant is described as transference. It is a temporality that enfolds and incorporates the past whilst remaining open towards the present. (shrink)

Roland Barthes’ last series of lectures, published in English under the title of “The Neutral” are like a set of impossible exercises: to resist the importance of meaning, of signification. At the heart of this attempt lies the desire for a neither/or, a philosophy of ninisme. By looking at examples from a wide range of art practices, as well as by exploring the motives of my own photographic practice, I will attempt to posit the “figures” as a working methodology.

Unver and Taylor have explored digitally a methodology that has interested makers and observers for decades. In the 1930’s Walter Benjamin in his seminal discussion of Art in the Age of Mechanical Reproduction worried about the destruction of authenticity and aura that reproductions of the real created for the viewer, whilst acknowledging that this reproduction allowed artefacts to be dislocated from their original ritual purposes and therefore making the once scared more accessible. In 1977 Roland Barthes liberated the emphasis of (...) construction and understanding of knowledge from the makers to the spectator by proposing that the author was no longer the ‘god’ that should be sought out to explain the works on offer. In fact, once the understanding of a text is placed with the viewer he suggested that to try to impose a final reading of an object is ineffective. Baudrillard believed that when a reader seeks out an image of the real the more vast the schism between a lived experience. Unver and Taylor, have helped to reinstate an immersive experience through the Stonehenge Virtual Reconstruction research. Up for debate is whether their output really is another example of ‘technological inertia’ or whether, because digital life and real life are now so closely intertwined they have enabled new spectators to be perceptually closer to the stones and the surrounding site. [1] Roland Barthes. Image Music Text [1978] [2] Jean Buadrillard. The Consumer Society. (shrink)

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