to the image as a permanent referent to presence, it is not only a media-economic assertion to declare a postphotographic age. And this not— or at least not only—based on the digital devices and technologies as such, but on the cultural practices that are tied to them and often embrace them in unforeseen ways. The altered photographic gestures and practices indicate, as Barthes wrote as early as 1979, that «the astonishment of ‹that-has-been› will also disappear. It has already disappeared. I am, I don't know why, one of its last witnesses (a witness of the Inactual) …» [37]