To Photograph People Is To Violate Them,

Because Each Photograph Is Only A Fragment, Its Moral And Emotional Weight Depends On Where It Is Inserted. A Photograph Changes According To The Context In Which It Is Seen: Thus Smith's Minamata Photographs Will Seem Different On A Contact Sheet, In A Gallery, In A Political Demonstration, In A Police File, In A Photographic Magazine, In A Book, On A Living-room Wall. Each O These Situations Suggest A Different Use For The Photographs But None Can Secure Their Meaning.

If Literature Has Engaged Me As A Project, First As A Reader, Then As A Writer, It Is As An Extension Of My Sympathies To Other Selves, Other Domains, Other Dreams, Other Territories.

To Photograph Is To Confer Importance.

As Objects Of Contemplation, Images Of The Atrocious Can Answer To Several Different Needs. To Steel Oneself Against Weakness. To Make Oneself More Numb. To Acknowledge The Existence Of The Incorrigible.

The Freakish Is No Longer A Private Zone, Difficult Of Access. People Who Are Bizarre, In Sexual Disgrace, Emotionally Violent Areseen Daily On The Newsstands, On Tv, In The Subways. Hobbesian Man Roams The Streets, Quite Visible, With Glitter In His Hair.