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All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death. This is the way in which our time assumes Death: with the denying alibi of the distractedly "alive," of which the Photographer is in a sense the professional. For Photography must have some historical relation with what Edgar Morin calls the "crisis of
death" beginning in the second half of the nineteenth century; for my part I should prefer that instead of constantly relocating the advent of Photography in its social and economic context, we should also inquire as to the anthropological place of Death and of the new image. For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. Contemporary with the withdrawal of rites, Photography may correspond to the intrusion, in our modern society, of an asymbolic Death, outside of religion, outside of ritual, a kind of abrupt dive into literal Death. Life / Death: the paradigm is reduced to a simple click, the one separating the initial pose from the final print. One day, leaving one of my classes, someone said to me with disdain: "You talk about Death very flatly." -As if the horror of Death were not precisely its platitude!
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Camera Lucida, Barthes R.