Barthes is attempting to get at the idea of Photography or the Photograph (capitalized whenever used in that sense), the Heideggerian thing-in-itself (a variant of the Kantian Ding an Sich). It is interesting that—at least in the first several sections of the text—there is dancing all around Heideggerian ideas, yet there is no mention of him. But the same could be said for the work of the Marxist critic Walter Benjamin; his seminal piece “The Work of Art in the Age of Mechanical Reproduction” is evoked (if not invoked) when Barthes notes:

The first thing I found was this. What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially. [4]

A photograph is and is not what it (re)presents: it is an opportunity to mistake the finger pointing at the moon for the moon itself, while the pointing finger and the moon are also experienced as one “event,” an inseperable lamination. One wonders if such difficulties arose in the use of other media to (re)produce images before the advent of photography; did such uncanny experiences—the disorder, dilemma, discomfort, dis-ease, defamiliarization—arise when viewing a painted portrait, for instance?

We are going to bring to our reading of Barthes the sensibilities and experiences of what he calls the Operator. We have both taken images as well as both having been taken (surprised, as Barthes has it) by images and having both been image-ed. How will this deeper perspective—Barthes is only approaching the Photograph from the aspects of Spectator and Spectrum—affect/effect our reading of his reading of the Photograph?

And speaking of reading photographs . . . let’s go back to the opening (and closing) of the embedded text of The Blind Assassin:

She retrieves the photograph when she’s alone, and lies it flat on the table and stares down into it. She examines every detail: his smoky fingers, the bleached folds of their clothing, the unripe apples hanging in the tree, the dying grass in the foreground. Her smiling face. [517]

This is the sort of experience of a photograph that Barthes is getting at in terms of his project being a working out from personal experience of a few images to some sort of general sense of the Photograph (pp. 8 and 9). I am sure that one of our topics of discussion will be whether he actually gets there.