The Gesture Of The Amorous Embrace Seems

The Photograph Is An Extended, Loaded Evidence — As If It Caricatured Not The Figure Of What It Represents (quite The Converse) But Its Very Existence ... The Photograph Then Becomes A Bizarre (i)medium(i), A New Form Of Hallucination: False On The Level Of Perception, True On The Level Of Time: A Temporal Hallucination, So To Speak, A Modest (o)shared(i) Hallucination (on The One Hand 'it Is Not There,' On The Other 'but It Has Indeed Been'): A Mad Image, Chafed By Reality.

Frontiers Are Physical As Well As Symbolic Constructions

I Try To Busy Myself Elsewhere, To Arrive Late; But I Always Lose At This Game. Whatever I Do, I Find Myself There, With Nothing To Do, Punctual, Even Ahead Of Time.

The Photographer, Like An Acrobat, Must Defy The Laws Of Probability Or Even Of Possibility; At The Limit, He Must Defy Those Of The Interesting: The Photograph Becomes Surprising When We Do Not Know Why It Has Been Taken.

The Text Is A Tissue Of Quotations Drawn From The Innumerable Centres Of Culture.