ABSTRACT
This chapter takes as its point of departure the observation that the ability of photography to picture something is usually connected with representational schemas and ocular regimes of visibility on the one hand and with stillness and linearity in relation to time on the other. By re-configuring the archive as apparatus Foucault is concerned to point out that the purpose of the archive is not to be a placeholder of memories, a copy or a replica. Following Foucault and Heidegger it becomes possible to argue that photography is not a form of representational knowledge, it cannot be grounded in light, logic or vision as these are pre-determined through specific historical narratives. The time of the photographic event is opposed to the linear chronological time of the photographic image which presupposes cohesiveness and uninterrupted continuity.
