![]() ![]() Thus, the digital images that operate within a postmodern system of representation no longer depend on the sense of nostalgia that owes its existence to the referent, but rather nostalgia for the “modern” for forms tinged with naïvety that have thus retained their meaning in a world whose language is a set of semiotic signs-for things that don’t actually “mean” anything innately, but stand as signifiers of something else, of the “other.” The aesthetic of digital images confirm the existence of this new “mode” of nostalgia: while the digital images marry perfection and tactlessness with a desire to behold everything possible, they, somewhat paradoxically, operate mainly through “texture” and “defect” to generate analog-like images. This article rests on the assumption that photography operates inherently through a notion of nostalgia, which in turn depends on what Roland Barthes calls the “adherence of the referent.” The author focuses on the ontology of digital images with respect to their relation to the “referent” and claims that the nostalgia once immanent to the photograph has been fundamentally changed by the so-called digital turn in photography. ![]()
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