A photograph is always invisible, it is not it that we see.
ROLAND BARTHESFrontiers are physical as well as symbolic constructions.
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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Isn’t the most sensitive point of this mourning the fact that I must lose a language – the amorous language? No more ‘I love you’s.
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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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New York is a city of geometric heights, a petrified desert of grids and lattices, an inferno of greenish abstraction under a flat sky, a real Metropolis from which man is absent by his very accumulation.
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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
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Architecture is always dream and function, expression of a utopia and instrument of a convenience.
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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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Touch is the most demystifying of all senses, different from sight which is the most magical.
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The art of living has no history: it does not evolve: the pleasure which vanishes vanishes for good, there is no substitute for it. Other pleasures come, which replace nothing. No progress in pleasures, nothing but mutations.
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The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself).
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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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It must always be considered as though spoken by a character in a novel
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There is only one way left to escape the alienation of present day society: to retreat ahead of it.
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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 Ventoux is a god of Evil, to which sacrifices must be made. It never forgives weakness and extracts an unfair tribute of suffering.
ROLAND BARTHES