Abstract Thinking with the current return to camera-less photography and specifically the use of the photogram in the context of Capitalocene crisis as scene of compounded death I call the Necrocene, this article unfolds a set of propositions on photography’s pressing relation to death. In thanatographic praxis, death materializes not as the documented and shown or “death-as-image.” Rather, this thanatophotographic praxis works with the process of dying as medium in the vulnerable materiality of the bare exposure as something other and more than a matter of mourning. This new ars moriendi does not just contest but also potentially offers an ethico-aesthetic tactics for transforming—at the scale of the micro—the macro and even hyper-conditions in which we are living our dying in capital’s Necrocene. Focusing particularly on what artist Joy Episalla terms the foldtogram, this article unfolds thanatographic practice as not merely a creative refusal of the extractive and surveilling terms of compulsory visualization but also as the tactical exercise of a kind of melancholy joy that works the folds of photography’s wild performativity. Neither limited to the effects of analogue nor merely functioning analogically, photography’s wild performativity expands the processual scene of making to affect more than its referent.

中文翻译：

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Thanatography：在Capital的Necrocene中发挥摄影狂野表演的褶皱

摘要 考虑到目前无相机摄影的回归，特别是在资本世危机的背景下使用摄影作为复合死亡的场景，我称之为死灵，本文展开了一组关于摄影与死亡的紧迫关系的命题。在死亡图实践中，死亡并不像记录和展示的那样或“死亡作为图像”具体化。相反，这种非摄影实践与作为媒介的死亡过程一起，在裸露的脆弱物质性中作为一种其他的东西，而不仅仅是一种哀悼。这种新的ars moriendi 不仅是竞赛，而且还潜在地提供了一种伦理美学策略，用于在微观层面上转变我们在首都死灵世中垂死的宏观甚至是超条件。本文特别关注艺术家乔伊·埃皮萨拉 (Joy Episalla) 所称的折线图，揭示了死亡摄影实践不仅是对强制性可视化的提取和监视条款的创造性拒绝，而且是一种对摄影狂野褶皱起作用的忧郁喜悦的战术练习表演性。既不限于模拟的效果，也不只是模拟功能，摄影的狂野表演扩展了制作过程的场景，以影响其所指的对象。