ABSTRACT
In this chapter F.W. Nietzsche, Douglas Crimp, Andre Malraux, Robert Rauschenberg, and Walter Benjamin are called on to help equate, relativise, and offer alternative models for art works and their relationship with history. Eugene Atget, Walter Ruttman, Louis Daguerre, Andre Breton, Roland Barthes and Giorgio Agamben also contribute to understanding a special encounter with the historicised photographic and cinematic image. As Part 2 of a two-part essay, the chapter finally returns to its earlier issues of innocence and naivety as values we might tend to suppress in the past, but which might play a role in a livelier and less corrupted sense of the present.
