Against a backdrop of an ever-increasing glut of images whose qual- itative properties are progressively being replaced by quantitative ones, it is pressing to undertake an analysis of the anthropological and cultural structures on which it is sustained. With this goal in mind, FOTONOVIEMBRE takes its title from the word kenosis, etymo- logically derived from the Greek κενό, -empty- but based on the use Jacques Derrida made of it. The philosopher used the term to speak about the archive and photography as cenotaphs of something that has happened and that no longer exists. Inasmuch as the preservation of something lost, the image is presented through an act of emptying that can divest itself of the very apparatus on which it is sustained.