A rigorous new thinking of the photograph in its relation to science, philosophy, and art, so as to discover an essence of photography that precedes its historical, technological, and aesthetic conditions.

If philosophy has always understood its relation to the world according to the model of the instantaneous flash of a photographic shot, how can there be a “philosophy of photography” that is not viciously self-reflexive?

Challenging the assumptions made by any theory of photography that leaves its own “onto-photo-logical” conditions uninterrogated, Laruelle thinks the photograph non-philosophically, so as to discover an essence of photography that precedes its historical, technological and aesthetic conditions.

The Concept of Non-Photography develops a rigorous new thinking of the photograph in its relation to science, philosophy, and art, and introduces the reader to all of the key concepts of Laruelle's “non-philosophy.”

What excites Laruelle is that photography incarnates a decisionless move from original to copy. Hence, contrary to the whole modern history of photography theory that assumes a wholly specular relationship between photography and its referents, photography is, in itself, a fundamentally anti-specular mechanism.—John Roberts, Philosophy of Photography—