But I never looked like that!’ – How do you know? What is the ‘you’ you might or might not look like? Where do you find it – by which morphological or expressive calibration? Where...

For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. Contemporary...

The pleasure of the text is that moment when my body pursues its own ideas—for my body does not have the same ideas as I do.

I cannot classify the other, for the other is, precisely, Unique, the singular Image which has miraculously come to correspond to the speciality of my desire. The other is the figure of my truth, and...

Language is neither reactionary nor progressive; it is quite simply fascist; for fascism does not prevent speech, it compels speech.

A paradox: the same century invented History and PHotography. But History is a memory fabricated according to positive formulas, a pure intellectual discourse which abolishes mythic Time; and the Photograph is a certain but fugitive...

…The editors of (i)Life(i) rejected Kerész’a photographs when he arrived in the United States in 1937 because, they said, his images ‘spoke too much’; they made us reflect, suggested a meaning — a different meaning...

One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. Consider the United Sates, where everything is transformed into images: only images exist and are produced and...

We don’t forget, but something vacant settles in us.

Don’t say mourning. It’s too psychoanalytic. I’m not mourning. I’m suffering.

slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.

In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The ‘anything whatever’ then becomes the sophisticated acme of value.

You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen...

The Photograph is violent: not because it shows violent tings, but because on each occasion (i)it fills the sight by force(i), and because in it nothing can be refused or transformed (that we can sometimes...

In 1850, August Salzmann photographed, near Jerusalem, the road to Beith-Lehem (as it was spelled at the time): nothing but stony ground, olive trees; but three tenses dizzy my consciousness: my present, the time of...

The incapacity to name is a good symptom of disturbance.

Engulfment is a moment of hypnosis.

purify” it.

For the photograph’s immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it...

Each of us has his own rhythm of suffering.

I have not a desire but a need for solitude.

The unary Photograph has every reason to be banal, ‘unity’ of composition being the first rule of vulgar (and notably, of academic) rhetoric: ‘The subject,’ says one handbook for amateur photographers, ‘must be simple, free...