traffic, private rooms, house pets, rain, construction sites in space, Loch Ness, and many more.» The arrangements of the image and video sequences have been copyrighted; they are not captioned because «in Ohio, the main focus lies in trusting the image itself.» That sounds like applied image science: In 1995, the year the first issue of Ohio was published, the professor of English and art history W.J.T. Mitchell demanded that with regard to visual culture, art historians should no longer ask «What do images mean?» but «What do images really want?» [26] In his anthropologization of the image he strives to remove images from the clutch of a text-oriented, semantic orientation and make them available for an analysis of emotions, perceptions, desire and remembrance. Interpretations do not appeal to Ohio either: «Image captions, which originally provided the viewer with a guide for interpretation, will not be used in Ohio.» But would it not have been enriching to include word or text elements in the «twenty-one uncommented sequences from the video archive of the Stiftung Warentest Berlin» (Ohio, no. 9) in order to understand the function or even the non-function of the

recordings for the testing of consumer goods? Or the other way around: What emotions do the image sequences produce other than an ironic, knowing grin?

Peter Piller is aware of the significance of captions. He orders his comprehensive archive of newspaper photographs both according to keywords he has formulated himself, which for the most part designate peripheral objects in the image or provide rudimentary descriptions—for example, «turning the first sod,» «people standing in line,» «arrows,» «people standing in front of their house,» «touching a car.» Or the found subtitles themselves are used as ordering categories—«bone of contention,» «the idyll is deceptive.» What the limitation to newspapers as excavation sites and the specific interest in the regional sections produces is collections of images revolving around the distribution of property, social recognition and communal clean-up operations— collections which can never be complete. What can also not be brought completed is the number of categories Pillar draws up [27] without them being entirely arbitrary, as the artist includes, so to speak, his own attentiveness in the everyday photographs