“Ultimately,” he writes, “Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.”. It becomes an important part of how we look at the photograph and resonates with the viewer so that we might think further about the image, even beyond it.

The punctum is described by Barthes as ‘a sting, speck, cut, little hole’ which immediately presents itself to the viewer. In his Camera Lucida, Roland Barthes introduces the notions of studium and punctum to help us think about photographs. The photograph in the 21st century is a somewhat over-used commodity and Barthes’ theory of the studium prevails in most of the pictures in which I could look to find a punctum. But what was unique to the photograph, according to Barthes, was its punctum, which he defined as the sensory, intensely subjective effect of a photograph on the viewer: ‘The punctum of a photograph is that accident which pricks me (but also bruises me, is poignant to me).’ In 'Camera Lucida', Barthes suggests that there are two elements to every photograph. Barthes described the photograph as ‘the living image of a dead thing.’ This was something that it shared in common with the painting, which had originated – as documented by ancient Egyptian funerary objects – in portraits of the dead. In simple terms, the studium is all the information which can be gleaned from a photograph which derives from the cultural context in which it exists. He was raised in Bayonne until his family relocated to Paris nine years later. ‘Duane Michals has photographed Andy Warhol: a provocative portrait, since Warhol hides his face behind both hands. The punctum breaks the banal nature of the studium and brings what the author describes as a ‘punctuality’ to a scene.

This encapsulated the problem of the exhibition: paradoxically many of the photo­graphs would in Barthes’ terms belong to the category of studium – documentary photographs selected out of intellectual considerations. There is no doubt that subjectivity is crucial to both the studium and the punctum but I think that we can assume that it would be very rare for somebody to find a punctum in examples such as the ‘Elle’ magazine cover. Such a reversal necessarily raises the ethical question: not that the image is immoral, irreligious, or diabolic (as some have declared it, upon the advent of the Photograph), but because, when generalized, it completely de-realizes the human world of conflicts and desires, under cover of illustrating it.”, “The unary Photograph has every reason to be banal, 'unity', “The Winter Photograph was my Ariadne, not because it would help me discover a secret thing (monster or treasure), but because it would tell me what constituted that thread which drew me toward Photography. Unlike the studium, the punctum is almost accidental. Today, images like this are edited and dumbed-down so that we don’t notice a blemish or a patch of sweat under one of her arms (or something to that effect). Please purchase tickets online, where you will find information about free time slots.
How does the studium and the punctum operate for you, consider The photograph was taken in 1973 in Vietnam by Nick Ut as a napalm attack hits the ground. The photography theorist Doina Popescu selected a black and white abstract image of an radiating shape photographed by the artist Spring Hurlbut (Deuil II: James #5, 2008), depicting the ashes of Hurlbut’s dead father. He begins a search for a ‘third form’ of writing in lieu of his mourning and he would attempt to forget everything he knew about literature. In too few cases was a sensory relationship to the photograph evident. My language trembles with desire. La foto de Sarmiento que sigue a continuación, por ejemplo,… This photograph, for Barthes, fits in the category of studium. It is as if I had words instead of fingers, or fingers at the tip of my words. The first is a photograph of rebellion in Nicaragua in 1979 taken by Koen Wessing. The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? The spectrum, which is the referent in the photograph, comprises two elements: studium, or the cultural knowledge that allows the spectator to understand what is captured in the photograph, and punctum, which in Latin means ‘a wound, a mark left by a pointed instrument’ and which ‘breaks the studium’. It stands out in this image and fulfils everything I would expect it to, having applied my interpretation of this photograph to what I have learnt from ‘Camera Lucida’. In choosing an example to represent how I might have laid out my own version of the studium, I decided to operate how Barthes might have when choosing his. Barthes describes how the punctum operates in relation to the studium: ‘The second element will break (or punctuate) the studium. Perhaps there are elements which do rise from the surface of this image; which ‘prick’ me. Barthes outlines that his punctum in this photograph is not the Queen herself but the scotsman who stands next to the horse. I believe this is key in understanding Barthes’ book. Heautoscopy was compared with an hallucinosis; for centuries this was a great mythic theme.”, “I imagine that the essential gesture of the Operator is to surprise something or someone (through the little hole in the camera), and that this gesture is therefore perfect when it is performed unbeknownst to the subject being photographed.

Moyra Davey, Bella, c. 1996-2014, Collage. What I feel about these photographs derives from an average affect, almost from a certain training. In his Camera Lucida, Roland Barthes introduces the notions of studium and punctum to help us think about photographs. Discourse combines signs which have referents, of course, but these referents can be and are most often 'chimeras.”, “One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. My stories are a way of shutting my eyes.”, “What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.”, “For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.”, “When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies.”, “It is said that mourning, by its gradual labour, slowly erases pain; I could not, I cannot believe this; because for me, Time eliminates the emotion of loss (I do note weep), that is all. This time it is not I who seek it out... it is this element which rises from the scene, shoots out of it like an arrow, and pierces me. Change ), You are commenting using your Google account. ‘Love’ is a key word in this quote and what I think is vital and pivotal in how the studium operates is being able to relate to a photograph. The punctum is described by Barthes as ‘a sting, speck, cut, little hole’ which immediately presents itself to the viewer. Barthes later refines his description by writing of the unary photograph i.e. Maybe a lagoon scene where the water source is a culvert. Barthes explored diverse cultural spheres as semiotic systems and studied the relationship between language and authority. The bastard form of mass culture is humiliated repetition... always new books, new programs, new films, news items, but always the same meaning.


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