From Camera Lucida: Roland Barthes
The ﬁrst, obviously, is an extent, it has the extension of a ﬁeld, which I perceive quite familiarly as a consequence of my knowledge, my culture; this ﬁeld can be more or less stylized, more or less successful, depending on the photographer’s skill or luck, but it always refers to a classical body of information: rebellion, Nicaragua, and all the signs of both: wretched un-uniformed soldiers, ruined streets, corpses, grief, the sun, and the heavy-lidded Indian eyes. Thousands of photographs consist of this ﬁeld, and in these photographs I can, of course, take a kind of general interest, one that is even stirred sometimes, but in regard to them my emotion requires the rational intermediary of an ethical and political culture. What I feel about these photographs derives from an average aﬀect, almost from a certain training. I did not know a French word which might account for this kind of human interest, but I believe this word exists in Latin: it is studium, which doesn’t mean, at least not immediately, “study,” but application to a thing, taste for someone, a kind of general, enthusiastic commitment, of course, but without special acuity. It is by studium that I am interested in so many photographs, whether I receive them as political testimony or enjoy them as good historical scenes: for it is culturally (this connotation is present in studium) that I participate in the ﬁgures, the faces, the gestures, the settings, the actions.