Abstract

This article takes as its focus the concept of the ‘afterimage’ and its relationship to memory, the synaesthetic experience of perception and the multisensory turn within the study of photographic images. Afterimages have consistently been described as phenomena of visual persistence where, optically, a recorded moment of the past leaks into the present and remains visible before us on our retinas. By recasting this originary understanding of an afterimage as simply a ghostly, optical occurrence and insisting that the phenomenon exceeds the visual and is rather an intersensorial occurrence, I seek to present how encounters with images stay with us in powerful ways and across many senses at once. As an intervention within the field of image theory and photography studies that builds upon the relatively recent turn away from prioritizing visuality and instead shifting towards multisensoriality – what we might also term as the ‘more-than visual’ – this piece proposes that if images exceed the visual and carry with them physical, haptic, sonic and affective qualities, then perhaps the afterimage is not something that we merely see but also what we can feel and hear and move-with. Perhaps the afterimage carries an intensity and an afterlife which lingers in our minds and can take hold of our entire body and our senses, composing and recomposing them over time. By pairing such inquiries alongside the narrative, literary and poetic works of Dionne Brand and Nathaniel Mackey – both of whom write of the intersensorial quality of photographs and afterimages with a particular kind of lively openness – I am hoping to intervene into the ongoing ‘more-than visual’ turn within the field of image theory by infusing it with a narrative-oriented synaesthetic vocabulary.