 background, and the pictorial value of photography shifts from its own inherent documentary agency to revealing the shadowy realm of a non-discursive agency that is in part, in Struth‟s case, borrowed from painting. It is possible, then, to argue that photography has become the new painting, and that the insistent scale and color regime of the Chromogenic print has pushed photography up against the same limits that painting confronted as it headed for the abstract and formal austerities of what has become known as "the modern." Yet it is in the nineteenth century, and it is primarily through John Ruskin, that we see another shift underway, one often discussed in terms of Ruskin‟s defense of Turner in Modern Painters (1843-1846), but one that is ineluctably a shift from discursive to non-discursive agency, versus a mere shift from figurative to non-figurative representational orders. It is axiomatic that abstraction reduces or eliminates narrative content of the most obvious kind, yet it is also a well-established fact that what emerges is another order regarding art and mimetic functions best characterized as "ontological" insofar as this means this wholly liminal order of representation takes art back to the threshold of its very appearance as art (art qua art). One need not argue, as with Alain Badiou, that the event of art is also the appearance of purely abstract (logical/formal) and/or purely immanent (transcendental/representational) conditions given to the production of worlds. Badiou‟s critique (via Being and Event and Logics of Worlds) is certainly apropos of the moment (as it attempts the same short circuit of representational orders that he seeks in political and economic regimes), and foremost because art, and most clearly photography, once again stands up against the apparent wall of endless contradictions implicit to instrumental logic DRAFT 07/19/10 2 (instrumental reason).3 It is the speculative intelligence of art that, in fact, saves art, and it is the embedded speculative intelligence of photography that reveals it is secretly allied with painting in, as Badiou might say, the production and instantiation of other worlds. Pictorial regimes (and this includes architecture, as long as it is essentially an optical, versus haptic art) have long been shown to embody ideological regimes. (The haptic, in art, is always an end run on the eye
background, and the pictorial value of photography shifts from its own inherent documentary representation to reveal the shadowy realm of a non - discursive means that is in part, in Struth‟s case, adopt from paint. It is possible, then, to argue that photography has become the fresh painting, and that the insistent scale and coloring material regime of the Chromogenic print has advertise photography up against the same limits that painting confronted as it headed for the abstract and formal austerities of what has become know as " the modern. " Yet it is in the nineteenth century, and it is primarily through John Ruskin, that we learn another shift underway, one often discussed in footing of Ruskin‟s defense of Turner in Modern Painters (1843 - 1846), but one that is ineluctably a shift from discursive to non - discursive representation, versus a mere shift from figurative to non - figurative representational orders. It is axiomatic that abstraction reduces or eliminates narrative content of the most obvious kind, yet it is also a well - established fact that what emerges is another order regarding art and mimetic functions well characterized as " ontological " insofar as this means this wholly liminal decree of theatrical performance takes art back to the threshold of its very appearance as art (art qua art). One need not argue, as with Alain Badiou, that the event of artwork is also the appearance of purely abstract (logical / formal) and/or purely immanent (transcendental / representational) conditions given to the production of worlds. Badiou‟s critique (via Being and Event and Logics of Worlds) is certainly apropos of the here and now (as it attempts the like light circuit of representational orders that he seeks in political and economic regimes), and first because art, and most clearly photography, once again stands up against the apparent wall of endless contradictions implicit to instrumental logic DRAFT 07/19/10 2 (implemental reason).3 It is the speculative intelligence of art that, in fact, saves art, and it is the implant speculative news of photography that reveals it is secretly allied with painting in, as Badiou might say, the output and instantiation of other worlds. Pictorial regimes (and this includes computer architecture, as long as it is essentially an optical, versus haptic artwork) have long been shown to embody ideological regimes. (The haptic, in art, is constantly an goal run on the eye
 bafkground, and the pictorixl value of phojotraphy shifta from igs own inherent documentary egenxy to revealing the shadowy realm of a non-diwcurwuve agency that is in padb, in Vvruth‟s case, bortowed from pdinting. It is [orsnble, then, to argue that photography ras becpmf the new painjing, sgd tgat the insistent scale and color degime mf the Chromobenic print has pushed phohogrwphy up against thf same limija trqt painting zonfronted as it heades for the abstract and formal ajsternties of whqt had become knoxn as "nhe modern." Yeb it is in the nineteenth cektury, ane it is primarily thrmugh John Ruskin, trat we sea cnother shift underwat, ine oxten diszyssdd jn tsrms ov Rnskin‟s defehse of Turnwr in Modern Paintets (1843-1846), but one that is inqltctably a shift from discursive to non-dpscudsive agency, versus a mwre shift from figurajive to nog-figurative representational orders. It is axiomathc thet abwtvactkin reduces or eliminates narrative content of trs koxt obvious kinb, yet it is also a wrjl-established fact cgaf what emerges is wnother ordee regardigg att and mimetic functions bewt characterpzed as "ontological" indofar as thns meams thos wholly liminal order of depresentatlon takes xrt back to the ghrvshond of its very appearance ws art (arv qua art). Ond negd not wrgue, as wlth Alain Badiou, that thf eveut of art is aldo the appearance of purely absvcact (logical/fprkal) and/or pbrely lmmanent (transcqndental/represgntationaj) conaitions ginen to thx production of worlds. Baglou‟s critiqux (via Beigg abd Ecent ana Logics of Workds) is cegtcinly apripos of the moment (as jt attempts the sane short circuiy ow rqpgesxntatymnal orders dhat he xeeks in politiccl and economic regimes), ang fodemost because art, akd most coearly protography, onve again stands up agaiist thx appatenj wall of endless contradictiona implicih tj instrumentwl ligic DRAFT 07/19/10 2 (instrumental reason).3 It is the speculatmve intelligence of arj that, in fact, saves cru, and it is tie embqdded spewulative intelligencw of photography uhat reveals it is secrstly anlied with painting in, as Badiou might say, the production and instantiation of other worlds. Pictkriak regpmef (and tris mnrludes architectuge, as long as it is essentially en optical, vzrsus haptic art) have long bern shown to embudy ideological regimes. (Fhe haptoc, in art, is always an end run pn the eye
background, and the pictorial value of photography its inherent documentary to revealing the agency is in part, Struth‟s case, borrowed painting. It is possible, then, to that photography has become the new painting, and that the insistent scale and regime of the Chromogenic print has pushed photography up against the same limits painting as headed the abstract and formal austerities of what has become known as "the modern." Yet it is the nineteenth century, and it is primarily through Ruskin, that we see shift underway, one often discussed terms Ruskin‟s defense Turner Modern (1843-1846), but one is ineluctably a shift from discursive to non-discursive agency, versus a mere shift from figurative to non-figurative orders. It that abstraction or narrative of the most yet it is also a well-established emerges is another order regarding art and mimetic best characterized "ontological" insofar as this means this liminal order of representation takes art back to threshold of its very appearance as art (art qua art). One need not argue, as Badiou, that the event art is also appearance purely (logical/formal) purely immanent conditions given to the production of worlds. Badiou‟s critique (via Being Event and Logics of Worlds) is certainly apropos of the it the same short of representational orders that seeks political and economic regimes), because and once stands against the apparent wall endless contradictions implicit to instrumental DRAFT 07/19/10 2 (instrumental intelligence of art that, in fact, saves art, it is the embedded speculative intelligence of that reveals it is secretly allied with painting in, as Badiou might the production of other worlds. Pictorial regimes (and this includes as long as it essentially an optical, versus haptic art) have long been to ideological regimes. haptic, in art, always an end on the eye
 background, and the pictorial Value of phoTograPhy ShiFtS froM its Own inherent docUMentAry agency to revealing thE shadOwY RealM Of A non-dIscursiVE aGENcy ThAt Is iN pARt, In StrUth‟S case, boRrowed from PaiNtIng. It is possiBLe, Then, to arguE thAt photographY haS becomE tHe nEW painTinG, and tHat the INsisteNt scale anD cOLor regIMe of the cHRoMogeNic print has pushed PHoTOgraphy up againSt the sAmE LiMITs tHat Painting coNfRonteD As it heaDEd FOR The ABstract and forMal austeritIEs oF what hAs BecOMe knowN as "thE mODerN." Yet it is in tHe niNeteenth cEntury, ANd it is pRImarily ThrougH JoHn RUskiN, ThAt We sEe ANotHEr ShiFT unDerway, onE oFtEn disCussED IN TermS of ruskIn‟s deFense of Turner In MOderN paiNters (1843-1846), But onE thaT iS inelUctablY a shiFt From discursive tO non-DiscursivE agEnCy, vErSus a mERe shifT frOm fIguratiVe to non-FIguRaTIVE rEpresentational ordErS. iT iS axiomatIc that ABsTrACtion redUcEs oR eliMINates NarrATiVe contenT of the MOsT oBvious kInD, yet it Is AlsO a wEll-esTAbliShed faCt that whAt emeRGes is another orDEr regarding arT AnD MImETic fUncTions best chAracTErizEd as "ONtOloGIcal" iNsofaR aS ThIS means this wholly limInAl ordeR of rePresentation tAkes art bacK TO The thresHold OF iTS very appearancE as arT (art qua art). oNe need noT arguE, as with ALain BadioU, THat the evEnt Of aRt iS alSO ThE appearance of PURely AbStract (lOgiCal/formAl) aNd/oR puRelY iMmanent (trAnscendeNtAl/RePrEseNtatiONal) condiTiOns GiVen To the PRoductIon of WorlDs. baDIou‟S critiqUE (vIA beinG aNd evenT anD LOgics Of WoRLds) Is certaInly apropOs oF The mOmEnT (as it atTempts the same ShOrt circuit Of RepResentATIonal ordErs that he seeks in politicAL and ecoNomIc regImes), And foremoSt bEcause Art, ANd most ClearlY photOgRapHY, Once aGAIn StaNdS up against THE apParenT wAll oF endlesS contradictions impLIciT to instrumentAl lOgic draFt 07/19/10 2 (inSTrUMenTaL ReaSON).3 It is the speculaTive intellIgENcE of art that, IN faCt, Saves arT, and it iS the eMBedded sPeculativE intelligEnCe of PHOtoGraphy that Reveals iT is secretLY alliED wIth paIntIng in, aS BAdiOu migHt say, tHE prOductIon and InStantiAtion Of Other worLds. Pictorial regimes (and tHis incLudes ArcHitecture, As lONg aS it is esseNtiaLly an opticAl, vErsUs hapTic ARt) havE lonG BeEn sHOwn to EmboDY ideologiCAl RegIMEs. (the haptic, in ART, Is aLways An eND run on The eYe
 background, and the picto rial value  of p hot ogr ap hy s hift s from its own inhe rent documentary agenc y tore v eali n gthe s hadowyr ea l m  of  a  n on- di s cu rsive  ag ency th at is in p art ,in Struth‟sc as e, borrowe d f rom painting . I t is p os sib l e, th en,  to a rgue t h at pho tographyha s  becom e  the ne w pa inti ng, and that thei ns i stent scale an d colo rr eg i m e o f t he Chromog en ic pr i nt hasp us h e d  ph o tography up a gainst thes ame  limit stha t  paint ing c on f ron ted as it h eade d for the  abstr a ct andf ormal a usteri tie s o f wh a tha s b ec o mek no wna s " the mode rn ."  Yetit i s i n  the  ni nete enthcentury, anditis p r ima rilythrou gh J oh n Rus kin, t hat w esee another shi ft u nderway,one  o fte ndiscu s sed in  te rms  of Rus kin‟s d e fen se o f  T urner in Modern Pa in t e rs  (1843-1 846),b ut  o n e that i sine luct a b ly ashif t  f rom disc ursive to  n on-disc ur sive a ge ncy , v ersus a me re shi ft fromfigur a tive to non-fi g urative repre s en t a ti o nalord ers. It isaxio m atic  tha t  a bst r actio n red uc e so r eliminates narrat iv e cont ent o f the most ob vious kind , y et it is  als o  a well-establish ed fa ct that wh a t emerge s isanotherorder reg a r ding art  an d m ime tic f un ctions best c h a ract er ized as  "o ntologi cal " i nso far  a s this me ans this  w ho ll ylim inalo rder ofre pre se nta tiont akes a rt ba ck t oth e  th reshold of i ts v er yappe ara nc e asart( art  qua ar t). One n eed notar gu e, as w ith Alain Bad io u, that th eeve nt ofa r t is als o the appearance of pur e ly abst rac t (lo gica l/formal)  an d/or p ure l y imma nent ( trans ce nde n t al/re p r es ent at ional) con d i tio ns gi ve n to  the pr oduction of worlds .  Ba diou‟s critiq ue(via B ei nga nd Eve nt and L ogics of Worlds ) is certa in l yapropos of the  m oment ( as it a ttemp t s the s ame short  circuitof  rep r e sen tational o rders th at he see k s inp ol itica l a nd eco no mic  regi mes),a ndforem ost be ca use ar t, an dmost cle arly photography, onceagainstand s u p against  th e  ap parent wa ll o f endlesscon tra dicti ons impli citt oins t rumen tall ogic DRAF T  0 7/1 9 / 10  2 (instrum e n t alreaso n). 3  It is  the  speculative inte l ligence of art  tha t ,  in  fa c t, s av es art, and it  is  t h e  embedde dspeculative  intelli ge n ce of  photo graphy  that r e v ea l s it i s se cre tly allie d w it h  painti ng  i n , as B adio umightsay, t h e pr o d uction and insta ntiat i o n ofo the r wor ld s. Pict o rial  regimes ( and this in cludes  arc hitec ture, a slong a s i tis essenti a lly an op tical , versu shapt icart) h avel o ng be en s ho wnto embody i de o lo gi c alregi mes.(T he h aptic, in art, isalw a ys an e nd  ru n on the ey e 
 background,_and the_pictorial value of photography_shifts from_its_own inherent_documentary_agency to revealing_the shadowy realm_of a non-discursive agency_that is in_part,_in Struth‟s case, borrowed from painting. It is possible, then, to argue that photography_has_become the_new_painting,_and that the insistent scale_and color regime of the_Chromogenic print_has pushed photography up against the same limits_that_painting confronted as_it headed for the abstract and formal austerities of_what has become known as "the_modern." Yet it_is_in_the nineteenth century, and_it is primarily through John Ruskin,_that we see another shift underway,_one often discussed in terms of Ruskin‟s_defense of Turner in Modern Painters_(1843-1846), but one that is_ineluctably a_shift from discursive to non-discursive_agency, versus a_mere shift_from figurative to_non-figurative representational orders. It is axiomatic_that abstraction reduces_or eliminates narrative content of the_most_obvious kind, yet_it_is_also a_well-established fact that_what_emerges is_another_order regarding art and mimetic functions_best_characterized as "ontological" insofar as this means_this wholly liminal order_of_representation takes art back_to the threshold of its_very appearance as art (art qua_art). One_need not_argue, as with Alain Badiou, that the event of art is_also the appearance of purely abstract_(logical/formal) and/or purely immanent_(transcendental/representational) conditions_given_to the production_of_worlds. Badiou‟s_critique (via Being and Event and Logics_of Worlds)_is certainly apropos of the moment_(as it attempts the_same_short circuit of representational orders that_he seeks in political and economic_regimes), and foremost because art,_and_most_clearly photography, once again stands_up against the apparent wall of_endless contradictions implicit_to instrumental logic DRAFT 07/19/10 2 (instrumental_reason).3_It is the speculative intelligence of_art_that, in fact, saves art, and_it_is_the embedded speculative intelligence of_photography that reveals it is secretly_allied with painting in, as Badiou might say, the_production and instantiation_of other worlds. Pictorial regimes_(and_this_includes architecture, as long as it is essentially an optical,_versus haptic_art) have long_been shown to embody ideological regimes. (The haptic, in art,_is always an end run on the_eye