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My post-structuralist reading of photography draws on Japanese poetics. Structural techniques reach their limit when I try to express the subjective force of epiphany. Beyond the schematic, I need a method that can approach these moments of satori.
A process that brings semiotic visual analysis into contact with Japanese poetics. A methodology positioned as a barre oblique (/) between the two, preferring neither.1
In drift.
Ryan Bishop and Sunil Manghani use the barre oblique, or slash, to frame the relation between Roland Barthes and Victor Burgin. See Ryan Bishop and Sunil Manghani, ‘Barthes, Burgin, Barre oblique’, in Barthes/Burgin, ed. by Ryan Bishop and Sunil Manghani (Edinburgh: Edinburgh University Press, 2016), pp. 11–24.↩