If for the sake of argument, I was a cabinet maker and had spent many years working with wood, creating beautiful furniture as works of art. Can you also apply this navel gazing Philosophy, devoid of practical experience and artistic merit and make it meaningful?David, in a word, "yes:"
THE TEXTURE AND STRUCTURE OF THE PHOTOGRAPH
Theoretically, one can assume that a certain number of photographs have no other purpose than to unintentionally capture light.
MAX KOZLOFF, Photography and Fascination, 1979.[...]
4. Isomorphic Imprints
Photographic photons, focalized by optical lenses according to relentlessly constant deviations, obey continuous equations. This regularity allows the rigorous positioning of their sources, and thus also a prospective spectacle, in accordance with spatial coordinates, as can be seen in geological and astronomical photographs. But simultaneously it subtracts from spectacle its local accentuation which would render it a true place. Besides being monocular (cyclopean), the photograph is also isomorphic. As it is rigorously spatial, it is always a non-place.
5. The Synchronous Imprint
Also, a photographic imprint can be dated close to a billionth of a second. Regardless of the time of exposure and the moment of impact of each specific photon, their appearance is ultimately datable by the arrival of the last of the photons. In case of a moving source and therefore also a possible spectacle, the succession of incoming photons can never give rise to what has always judiciously called movement. Thus, much in the same way the isomorphism of lenses and imprints evacuates the concrete place by replacing it with a purely localizable space, the alignment toward the passage of the last photon expels concrete duration, substituting it with a physical and exclusively datable time (tn).
8. Surcharged and Subcharged Imprints
In some respects, every photograph is disinformed. If we compare the visual singularities of the spectacle and what remains of it on the photographic imprint, the loss of information will be considerable, while colors (dozens instead of thousands) and lines become a sort of sharpened stains. But, conversely, even a mediocre photograph of the facades I pass every day in my street will reveal, thanks to its immobility and its accessibility to my sight, thousands of things that my perception, unstable and purposeful as it is, had never noticed there before. And this is yet another abstraction in relation to the concrete of everyday existence of these simultaneously filtered and superabundant representations.
Chapter IV - THE NON-SCENE:
ON THE OBSCENE IN STIMULI-SIGNS AND FIGURES
Surrealism lies at the heart of the photographic
SUSAN SONTAG, On Photography, 1973.
Before anything, the photograph unsettles the scene. Firstly, the scene is a specific and marked place that is at a good distance from our eye and body, neither too near nor too far so that we can embrace with our sight what is taking place there. Next, it are [sic] the objects, characters and actions that will manifest themselves in this place with the desired clarity. The scene cannot be found in every civilization, it is lacking in that of Africa for instance. However, the scene was so forcefully introduced over here by the Greeks, and then penetrated the entire western history so intensely that it attained a fortunate immortality within a beatific vision, so that, in the eyes of many, photography is seen as undoubtedly invented to stage things and present dramatic or touching scenes even better than in painting.
His concepts of 'index' and 'indice' are not such that one becomes another, but indexes are the projections that we make onto the world when we're photographing things, and when we're looking at photographs. I'd say that your thoughts are very parallel with his.