The above specular and shadow image of me, is by my Father.

	I am neither subject nor object but a subject who feels he is becoming an object: I then experience a micro-version of death (of parenthesis):I am truly becoming a specter. (1)

Photography is the eye which is removed from the scene – god the father – sees without being seen. The model falls from her high heels - legs akimbo and the camera is at exactly the right angel to penetrate right up to the crotch of her panties. But then models are objects for the assaultive lens. To be made blemish free with the healing brush to be thinned with a liquidifying mesh. Rearrange the pixels – this anti aging virtual reality.(2) This plasticisation of human flesh.(3) Preserve it for all eternity.

	nothing is lost but it changes from the old watch new time the new not new the new not new the new not new the new not new the new not new (4)

What is preserved and what fits squarely in the frame? If the terror of photography is the frozen slice of time - that is also its joy - it is the moment between events. And if the finger is the organ of the photographer – then all photographers are lesbians. (5) Well that’s queer…

	In ‘"The Shadow of the object"’ I argue that technological changes have stimulated a degreee of uncertainty and anxiety about the nature of photography and the status of our traditional investments in photorealism. Yet this anxiety may be useful in formulating a new concept of the medium and a new relationship to the real/mother nature/origin with which it has a special connection. Electronic and digital images, like the photographs with which they are in many ways continuous, may therefore serve as what Bollas calls ‘transformational objects’ – enabling us to think differently about the realm of the self/other which for Bollas is ‘thinking the unthought known’ (Bollas 1987: 13-29, 277-83). Images may be(come) structured by a register of knowledge which is based on love (Barthes 1980) and not on domination and the hierarchical division of the subject and object. All this may sound utopian and to an extent it is. But it is also based on a reading of one way (if not the dominant way) in which we have already related to photography and to others through photography. (6)

In 1976 Robert Mapplethorpe took a photograph of Philip Glass and Robert Wilson…(7)