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.
ROLAND BARTHESLanguage is legislation, speech is its code. We do not see the power which is in speech because we forget that all speech is a classification, and that all classifications are oppressive.
More Roland Barthes Quotes
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Every exploration is an appropriation.
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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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To make someone wait: the constant prerogative of all power.
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The lover’s fatal identity is precisely this: I am the one who waits.
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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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As Spectator I wanted to explore photography not as a question (a theme) but as a wound.
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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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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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The author enters into his own death, writing begins.
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Don’t say mourning. It’s too psychoanalytic. I’m not mourning. I’m suffering.
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A light without shadow generates an emotion without reserve.
ROLAND BARTHES -
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.
ROLAND BARTHES -
A photograph is always invisible, it is not it that we see.
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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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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.
ROLAND BARTHES