Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society, for there is no law, whether natural or not, which forbids talking about things
ROLAND BARTHESCameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
More Roland Barthes Quotes
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Television doomed us to the Family, whose household instrument it has become-what the hearth used to be, flanked by the communal kettle.
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The book creates meaning, the meaning creates life.
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To make someone wait: the constant prerogative of all power.
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To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive and impoverished.
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The haiku reproduces the designating gesture of the child pointing at whatever it is (the haiku shows no partiality for the subject), merely saying: that!
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Isn’t desire always the same, whether the object is present or absent? Isn’t the object always absent? -This isn’t the same languor: there are two words: Pothos, desire for the absent being, and Himéros, the more burning desire for the present being.
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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.
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Pleasure is continually disappointed, reduced, deflated, in favor of strong, noble values: Truth, Death, Progress, Struggle, Joy, etc. Its victorious rival is Desire: we are always being told about Desire, never about Pleasure.
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He who reads a story only once is condemned to read the same story his whole life.
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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.
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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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Each of us has his own rhythm of suffering.
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Why is it better to last than to burn?
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In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like winnicott’s psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
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Where you are tender, you speak your plural.
ROLAND BARTHES