Abstract

Marx's call for a materialism capable of engaging reality as ‘sensuous human activity’ opens a question about the role of representation in relation to data. Images have increasingly been seen as significant forms of data in the history of education. Derrida's theory of the spectre—a variation on the positions established in his earlier works on the trace, the supplement and differance—offers a way of rethinking visual images, their relations with existing discourses of knowledge and with positioned subjects who makes sense. Two early twentieth-century photographs are explored here in relation to ideas derived from Derrida as an exercise in the philosophy of representation.