Il n'y a pas, il ne saurait y avoir d'images dans la conscience. Mais l'image est un certain type de conscience. L'image est un acte et non une chose. L'image est conscience de quelque chose."1
The medium of photography involves a paradoxical temporality. The act of creating images incorporates a prior to, a meanwhile, and a thereafter. Simultaneously, the reading of photography and these three "modes" combines to give the medium the possibility of dissolving its own boundaries. The concept of performance lends photography the potential to mark and name these thresholds and constraints.
"Photographs, therefore, are not just indexical because light happened to be recorded in an instant on a piece of photosensitive film, but because, first and foremost they were taken. The very act of photography, as a kind of performative gesture, which points to an event in the world, as a form of designation that draws reality into the image field, is thus itself a form of indexicality."2
This interpretation of the image –on the one hand through the viewer and on the other, through the gestures of the image– requires an understanding of actions and occurrence as act, which are articulated in the making. The performance of the image is an essential starting point of differing knowledge disciplines (linguistics, sociology, art history) employed in order to comprehend the self as a part of the reflections over the image. They open the image to imaginative space and vice versa. The supposed implication of photography that it has been is then shifted in favour of the subjunctive. With each new viewing / viewer, the motif is reactivated and generates the option of new image-functions.
The transgression of the image from the representation of an event to the event itself is one of the central coordinates of a both discursive and immanent image plane, which is the first issue of Streulicht – a magazine for photography and related matters.
1 J.-P. Sartre: L'Imagination, Paris, PUF, 1936, coll. Quadrige, P.182
2 David Green/ Joanna Lowry: From Presence to the Performative: Rethinking Photographic Indexicality, in : David Green (Hg.), Where ist the photograph? Brighton 2003, P. 2