![]() At the time, I was going into hospital for an operation on my hand and such revisions were impossible to undertake. ![]() ![]() ![]() While the text was accepted, the peer-reviewers wanted heavy revisions, including reordering the piece and editing out my personal stories. This text was written in 2017 for a special issue of the international magazine Text on the subject ‘Writing Trauma’. Signal Corps Photo General Anton Dostler, unconscious phenomenon, victim, Vita ad mortem, Walker Evans, Walker Evans Child's grave Hale County, Walker Evans unconscious phenomenon, Walter Benjamin, war photography Kennedy, Roland Barthes, Roland Barthes Camera Lucida, Shot at Dawn, spatio-temporality, stigmatum, Strange Fruit, Susan Sontag, Symbolic order, tableau vivant, technologies of the self, temporal hallucination, Thanatos, the dead are always dying, the dead other alive in me, the ghost (the soul) in the machine (the camera), The mark of photography, The real and trauma, the spatio-temporality of photographs, the traumatic trace of the photograph, the vertigo of time defeated, time and representation, Trauma, trauma and photography, trauma of death, U.S. Tags: Album of Paris Crime Scenes, Alexander Gardner, Alexander Gardner Lewis Paine, Alphonse Bertillon, Alphonse Bertillon Album of Paris Crime Scenes, Alphonse Bertillon Place where the corpse was found, ante-mortem, anterior future, art, Avebury Stone and Rennie Booher, Barthes anterior future, Barthes third space, Billie Holiday, Billie Holiday Strange Fruit, Camera Lucida, Child's grave Hale County, Chloe Dewe Mathews, Chloe Dewe Mathews Former Abattoir Mazingarbe, Chloe Dewe Mathews Shot at Dawn, citationality, continuity and resemblance, death, Death and the image, death in photography, death in the language of photography, death instinct, death photographs, death photography, death point, différance, differing and deferring, discontinuity and death, discontinuity and difference, displacement and deferral, Emmet Gowin, Emmet Gowin Avebury Stone and Rennie Booher, empathy, encountered sign, execution, Former Abattoir Mazingarbe, General Anton Dostler, ghost in the machine, hidden likeness, iterability, Jacob Bronowsi, Jacob Bronowsi hidden likeness, la petite mort, Lacan différance, Lacan Imaginary, Lacan Symbolic order, language of the photograph, Lewis Paine, life after death, life and death, liminal moment, little death, Loyalist Militiaman at the Moment of Death, Marcus Bunyan, Marcus Bunyan Death and the image, memento mori, memory, Michel Foucault, Michel Foucault Technologies of the Self, mise en scène, moment of death, neither here nor there, noeme, noumenal space, outside language, paradoxical state of loss, past present and future time, photography, photography and trauma, photography outside language, Place where the corpse was found, point of death, post-mortem, presence and absence, present but absent, punctum, punctum as trauma, real time and sensual time, representation, Robert Capa, Robert Capa Loyalist Militiaman at the Moment of Death, Robert F. Categories: Australian writing, black and white photography, cultural commentator, documentary photography, existence, intimacy, Marcus Bunyan, memory, photographic series, photography, portrait, psychological, quotation, reality, space, Susan Sontag, time, video and Walker Evans ![]()
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