The realists do not take the photograph for a ‘copy’ of reality, but for an emanation of past reality, a magic, not an art.
ROLAND BARTHESWine 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.
More Roland Barthes Quotes
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The text is a tissue of quotations drawn from the innumerable centres of culture.
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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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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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Don’t say mourning. It’s too psychoanalytic. I’m not mourning. I’m suffering.
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The photographic image is a message without a code.
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Touch is the most demystifying of all senses, different from sight which is the most magical.
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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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Literature is without proofs. By which it must be understood that it cannot prove, not only what it says, but even that it is worth the trouble of saying it.
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A photograph is always invisible, it is not it that we see.
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If I had to create a god, I would lend him a “slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.
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The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? His entire policy would be jeopardized!
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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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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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Thus every writer’s motto reads: mad I cannot be, sane I do not deign to be, neurotic I am.
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A picture is never anything but its own plural description.
ROLAND BARTHES