Thomas, Jennifer

On the first page of the much read, Camera Lucida, Roland Barthes reveals his motive: "I was overcome by an "ontological" desire: I wanted to learn at all costs what Photography was "in itself," by what essential feature it was to be distinguished from the community of images." The impetus of this thesis might be called a Barthesian desire to learn what distinguishes digital photographic images from all other photographic images. Throughout, I ask: what is a digital image? The first exploratory turn reflects upon photographs and touch. While photographs are objects that are both touched and touching, digital images are inscrutable data assemblages that resist

touch and are predisposed to speed. Digital images cannot be touched, yet are responsive to touch. Through the mediating magic of touch sensitive glass, we command digital images to move. Chapter two considers prevailing late twentieth century theory on the digital photograph that claims the eclipse of film by digital imaging will render [digital] photographs totally unreliable documents. The results have been surprising; although suspicion about digital image bodies has crept into the cultural psychological fabric, I argue that we still believe in the basic veracity of [digital] photographic images. Finally, I turn my attention to the objecthood of digital imageobjects in a discussion of the widely unacknowledged materiality of data. Digital image-objects—those speedy, untouchable, dubious, things—are heavy. The weight of their bodies moving in the vast—unseen—global technological infrastructure is the burden of my final reflection.

Author Keywords: death of film, digital materiality, digital photographic realism, ontology of the image, philosophy of photography, photography after photography