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Attempting to establish – while acknowledging the paradox of – an eidetic science of (P)hotography, Barthes recounts an “ontological desire” that informs his critical framework (3, my emphasis). That is to say, Barthes introduces affect into structural modes of analysis. Camera Lucida reconciles historical, philosophical criticism with a subjective, experiential phenomenology. Barthes details the difficulty … Continue reading
On the nature of the studium: In his subjective examination of multiple photographs, Barthes describes the duality created by the “co-presence” of the studium and the punctum. The studium is coded, and can be understood as the rhetorical meaning of the photograph. On the nature of the punctum The punctum is a sudden ‘prick’ when … Continue reading
Rhetoric of the Digital Image 