A Note on Photography and the Simulacral by Rosalind Krauss

By Rosalind Krauss

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Sample text

I started several times from my seat to approach it, but all eyes were instantly upon me, and every mouth in the assembly sent forth a hush—sh—! which brought me back to my seat again; and I at length quieted my stifled curiosity as well as I could, upon learning the fact, that so sacred was that object, and so important its secrets or mysteries, that not / alone, but even the young men, who were passing the ordeal, and all the village, save the conductor of the mysteries, were stopped from approaching it, or knowing what it was.

O n c e w h e n C a t l i n g o t u p to take a c l o s e r l o o k at w h a t h e calls the central m y s t e r y o f t h e r i t e — "the sanctissimus sanctorum, f r o m w h i c h s e e m e d to e m a n a t e all the sanctity o f t h e i r p r o c e e d i n g s " — h e was sent back to his seat. ( 1 8 4 6 ) c a l l e d t h e m terrifying, m y s t e r i o u s — o f his I n d i a n p a i n t i n g s . ' T h e y r i n g t r u e n e i t h e r to his p r e s u m e d e x p e r i e n c e o f the e v e n t n o r to t h a t o f t h e M a n d a n participants.

H e resents the literary critic's assertion that t h e r e is n e v e r a final r e a d i n g . H e simply has n o t g o t to it yet. The e t h n o g r a p h e r d o e s n o t r e c o g n i z e the p r o v i s i o n a l n a t u r e o f his p r e s e n t a t i o n s . T h e y are definitive. H e d o e s n o t a c c e p t as a p a r a ­ d o x that his " p r o v i s i o n a l interpretations" s u p p o r t his "definitive 52 VINCENT CRAPANZANO p r e s e n t a t i o n s . " (It is p e r h a p s for this r e a s o n that h e insists o n a final r e a d i n g .

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