Tim Stephens

This article elaborates a theory of rhythm in relation to photography and, in particular, argues for the importance of rhythm in the theorization of photographic temporality. The approach taken breaks with a number of significant strands in contemporary photography theory, namely, Aristotelian-influenced modes of formalist criticism, dualistic formulations of representation and definitions of photographic temporality based on its difference to cinema. Through an interrogation of definitions of rhythm, the article examines, first, a formalist heritage from Aristotle to Lessing and evident in Greenberg that assumes a naturalistic definition of rhythm based on linearity, regularity and anthropomorphic essentialism. The second strand is described through Frye's anticipation of a different rhythm, lyricism, that problematically compounds the subject as an entity defined in a dualistic paradigm. Against this background the article elaborates the possibilities inherent in Deleuze's notion of crystal time a rhythm of energetic intensity not dependent on linear temporality or subjectivism as a further, more credible, theorization of rhythmic temporality-as-texture.

The article focuses on radiation dosimetry, which made use of the photographic film known as Type 2 Monitoring Film (Kodak) to detect and measure harmful ionizing radiation. It explores the implications of the demise of this technology in relation to Henri Van Lier's critique of photographic indexicality in his paper "Towards a Philosophy Instigated by Photography". It notes that the demise of indexical theories of photographic film can be aligned to the demise of the personal monitoring film. It states that dosimetry reveals the limitation of energetic effects in a superabundant field.