ABSTRACT
Beyond its physical presence as an exceptional representational document, does a Becher photograph have the power to aect? The notion of affect here relates to Roland Barthes’ use of the term as derived by him from psychology and phenomenology.2 Although suggesting a response steeped in emotion, as Barthes acknowledged, the notion of aect at least determines that the photograph is active. The idea of Becher photographs being active is in itself interesting to consider, given their distant and passive demeanour. The search for aect is pursued in this essay via a direct visual encounter with a Becher photograph. I view, experience and describe this photograph from my personal and individual point of view. This acknowledged subjectivity seems relevant if only as a counter to the aura of objectivity that surrounds the Bechers’ work. The photograph chosen for this study is published in the book Bernd and Hilla Becher: Life and Work, and depicts a blast furnace (Figure 15.1).3
