NOSTALGIA

Nostalgia made me remember. The trace is already a memory. This was communicated by the disjunction between the narrative and the destruction of the photograph that was the wrong image. The non sync between image and narrative deferred or deleted our memory of the image proper. Film over ran the still photographic image. But the film itself provides an opportunity for the infinite revival and viewing of the destroyed photographs. Again and again we can watch their materialization and destruction, but the disjuncture of sound and image reveals the disconnect of a remembered representation of reality as a falsity. ALSO

The still photograph we see briefly before it is destroyed should be considered as an, “isolated frame taken out of the infinite cinema” (Frampton, 111). The still photograph, lying motionless on the burner, suddenly is brought to life by the consuming flame. The destruction of the sacred image brings about movement; the movement brings about new forms. The frame of the image is destroyed, its legibility is obscured as the frame of the circular border imposes upon it and “steals” its image. The destruction of the image creates motion, it marks its ironic transition onto the medium of film. The photographic image itself and its destruction are captured and recorded; the moment becomes infinite. We are left with time to contemplate the charred photograph in silence when all we hear is the mechanical whirring of the camera rolling, even as the image appears to be motionless we are reminded of its capture and transformation into the infinite.