ABSTRACT
SG/JH: Your work is of tremendous interest for this book for one obvious reason: In many different ways it again and again deals with the echoes and effects of the form of capital on the technologies of visual representation, reading visual culture with Capital. Long-time exposure and time-lapse photography are, for instance, discussed as visual means of making labour invisible—much in line with the logics of commodity fetishism, which conceals the social relations in the commodity. In this attempt it can be located in the theoretical transitions from Lukács’s analysis of reification to Debord’s critique of spectacle, a continuity that is often neglected. How has this tradition become important for your work? And would you characterize this continuity yourself? Where would you see the most interesting discontinuities and how do you relate to them?
