本文大致分為兩部分，第一部分從羅蘭・巴特談論照片的專書《明室》開始，以刺點與知面的兩種觀看為基礎，討論在刺點的觀看裡觀看者的內部變化，引入德勒茲將身體視為流變的存在的觀點，將羅蘭・巴特視為偶發事件的刺點與德勒茲的「事件」概念接軌，說明刺點的觀看中的無意義，以及觀看者在觀看中的流變。第二是關於刺點中我們同時感受到的純粹感覺，這部分以德勒茲談論繪畫時說到的直接於身體上作用的感覺為基礎，以及在影像上製造感覺形象的方法。並以攝影師荒木經惟的作品和創作方式為例，說明攝影具有拍攝感覺的優越性。並以此歸類出一條與一般紀錄社會共識和知識的攝影不同的，拍攝感覺和無意義的攝影路線。 / This thesis is mainly divided into two portions: The first one begins with the discussion of La Chambre Claire by Roland Barthes, in which he bases the two ways of seeing upon punctum and studium. While elaborating on the inner becoming of the spectator in Barthes’ notion of punctum, I complicate this idea with Gilles Deleuze’s concept of becoming. Deleuze stresses on the body as the event of the being of becoming, which can be connected to Barthes’ punctum as a contingent event. The combination of Barthes and Deleuze helps explicate on the nonsense inherent in punctum and the process of becoming inside the spectator. The second is concerned with the pure sensation integral to punctum. I appropriate Deleuze’s insight on how art affects directly on the body to produce sensation in order to discuss how photography can create the Figure. And we through the illustrations of Araki Nobuyoshi’s photo images and his creative method. In conclusion, I propose that photography is the superior form in capturing sensation, and suggest that, photography has another function, which different from the function of documenting social consensus and knowledge, it does function to capture sensations and nonsense.