Abstract

Presented in the form of an acrostic, the text offers six entries ( Nagori, Amateur, Genshiken, Obtuse, Rhythm, and Interstice). It begins with the Japanese term nagori, the etymology of which is in nami-nokori, ‘remains of the waves’, to refer to the ephemeral imprints left by the waves as they withdraw from the beach. The modern word nagori carries a more general sense of resignation, of a destiny that cannot be changed, of things that pass. The opening entry, for example, refers to our present time as the nagori of photography – as being ‘everywhere’ even before being shattered and scattered by the internet, by social media and cameras in mobile phones. Underlying the six entries is specific reference to the work of Roland Barthes, notably as a form of writing with Barthes, not about him. As such, and as the final contribution to a special issue of Theory, Culture & Society, ‘Neutral Life/Late Barthes’, this opens up for the ‘reader’ a specific practice and politics of writing.