The Theatricality of the <i>Punctum</i>: Re-Viewing <i>Camera Lucida</i>

Abstract

I first encountered Roland Barthes�s Camera Lucida�(1980) in 2012 when I was developing a performance on falling and photography. Since then I have re-encountered Barthes�s book annually as part of my practice-as-research PhD project on the relationships between performance and photography. This research project seeks to make performance work in response to Barthes�s book � to practice with Barthes in an exploration of theatricality, materiality and affect. This photo-essay weaves critical discourse with performance documentation to explore my relationship to Barthes�s book. Responding to Michael Fried�s claim that Barthes�s Camera Lucida is an exercise in �antitheatrical critical thought� (Fried 2008, 98) the essay seeks to re-view debates on theatricality and anti-theatricality in and around Camera Lucida. Specifically, by exploring Barthes�s conceptualisation of the pose I discuss how performance practice might re-theatricalise the punctum and challenge a supposed antitheatricalism in Barthes�s text. Additionally, I argue for Barthes�s book as an example of philosophy as performance and for my own work as an instance of performance philosophy.

Effective anti-biofouling enabled by surface electric disturbance from water wave-driven nanogenerator

“…and works as linking layer for further microbes growth settlement and nutrition supplies. [8][9][10][11][12] 8 Nowadays, prevailing anti-biofouling strategies are focusing on novel coating materials [13][14][15][16][17][18][19] and developing effective electrochemical sterilization procedures [20][21][22] . For example, nanostructured materials with super-hydrophobic self-cleaning surfaces, and hyper-branched polymer structures with hydrophilic-ended or activated foulant releasing groups are incorporated in most current coating techniques.…”