The Ventoux is a god of Evil, to which sacrifices must be made. It never forgives weakness and extracts an unfair tribute of suffering.
ROLAND BARTHESLanguage is never innocent.
More Roland Barthes Quotes
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We know that the war against intelligence is always waged in the name of common sense.
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The lover’s fatal identity is precisely this: I am the one who waits.
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Physically, the Ventoux is dreadful. Bald, it’s the spirit of Dry: Its climate (it is much more an essence of climate than a geographic place) makes it a damned terrain, a testing place for heroes, something like a higher hell.
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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.
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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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Every new Fashion is a refusal to inherit, a subversion against the oppression of the preceding Fashion; Fashion experiences itself as a Right, the natural right of the present over the past.
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The realists do not take the photograph for a ‘copy’ of reality, but for an emanation of past reality, a magic, not an art.
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What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
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When we look at a photograph of ourselves or of others, we are really looking at the return of the dead.
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The new is not a fashion, it is a value.
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Great portrait photographers are great mythologists.
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Wine is a part of society because it provides a basis not only for a morality but also for an environment; it is an ornament in the slightest ceremonials of French daily life, from the snack to the feast, from the conversation at the local cafT to the speech at a formal dinner.
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All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.
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The best principals are not heroes; they are hero makers.
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If I acknowledge my dependency, I do so because for me it is a means of signifying my demand: in the realm of love, futility is not a “weakness” or an “absurdity”: it is a strong sign: the more futile, the more it signifies and the more it asserts itself as strength.)
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Through the mythology of Einstein, the world blissfully regained the image of knowledge reduced to a formula.
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Myth is neither a lie nor a confession: it is an inflexion.
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Each of us has his own rhythm of suffering.
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A light without shadow generates an emotion without reserve.
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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 testimony.
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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.
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I passed beyond the unreality of the thing represented, I entered crazily into the spectacle, into the image, taking into my arms what is dead, what is going to die.
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Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.
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To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not–this is the beginning of writing.
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Thus every writer’s motto reads: mad I cannot be, sane I do not deign to be, neurotic I am.
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To eat, to speak, to sing (need we add: to kiss?) are operations which have the same site of the body for origin.
ROLAND BARTHES