Repro camera for re-photographing
personal elements to be used in collages (6)

“Photographs are but one link in a potentially endless chain of reduplication; thenselves duplicates (of both their objects and, in a sense, their negatives), they are also subject to further duplication, either through the procedures of printing or as objects of still other photographs…
What does it mean to take a photograph of a photograph?…

Does [photographic reduplication], as in language and myth, signify the existence of an underlying intention to signify through the image, and thus to the possibility of a photographic language? Might it not indicate, like the reduplicated syllable in the vocable /papa/, that the photograph itself was already a sign? Might it not also contest any reading of photographs according to their subject matter or captions, the reality presented by the photograph being no longer the object of the image, but an instrument of signification?”

—Craig Owens
“Photographyen abyme,” 1978

“The function of language, according to Cassirer, ‘is not to copy reality but to symbolize it.’ In this connection his ‘law’ of language becomes of first importance. The development of language proceeds through three stages. They are (a) the mimetic or copy stage, (b) the analogical and (c) the symbolic. …Reduplication (which is common in primitive languages) marks the beginning of analogical representation, which is a step on the way to the symbolic.… ”

— W. Urban

“Cassirer’s Philosophy of Language,” 1949

“Picasso took the photograph in his small hands. He held it horizontally in front of him, carefully, as though it were a valuable bowl. After assuring himself that we were watching him attentively, he ever-so-attentively, and with a concentrated expression of his face, turned it backward, downward, until the picture’s upper edge touched the surface of the table. After a glance at us, he raised it again and bent it till it became warjped. Finally, he slowly rolled up. ‘Did you see?’ he asked. ‘There’s so much one can do. And how little’s actually been done so far! Wherever you look, there’re univestigated and unexploited things. Even this photograph — which, although it might seem final, can be reused in the most varying ways — can be re-photographed and yield the most unexpected effects. Every photograph can be the sstarting point for a whole series of new photographs, and every one of those can then be used in a similar way… When one works that way, there’s no end at all’.”

—G. Jedicka

Begegnungen mit Künstlern der Gegenwart,
Quoted in “The Transoformations of Photography,” Tusen och en bild, Moderna Museet, Stockholm, 1979, incident described occurred in the early 1940’s

With the help of its materiality, its physicality — its “heavy language” — the mental stubbornness and emotional resistance expressed by patients when confronted with the therapeutic need to make personal change are, in some measure, absorbed into the inertial mass of the clinical setting itself. The procedure’s own inertia may then be subtracted from the surplus resistance generated in conventional approaches. By providing a holding environment that more adequately supports signification — for clinical “resistance is always resistance to signification”: resistance to forging the new symbolic links, thresholds and discriminations that comprise the fine-grained structure of personal change — the method carries its own formative weight, a weight off the collage maker’s mind.