“The photographic image is a message without a code.”

We don’t forget, but something vacant settles in us.

I love you is unsubtle. It removes explanations, facilities, degrees, scruples.

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).

Cameras, 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.

When we look at a photograph of ourselves or of others, we are really looking at the return of the dead.

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.

Through the mythology of Einstein, the world blissfully regained the image of knowledge reduced to a formula.

All official institutions of language are repeating machines: school, sports, advertising, popular songs, news, all continually repeat the same structure, the same meaning, often the same words: the stereotype is a political fact, the major figure of ideology.

Language is never innocent.

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.

We can never know, for the good reason that writing is the destruction of every voice, every origin. Writing is that neuter, that composite, that obliquity into which our subject flees, the black-and-white where all identity is lost, beginning with the very identity of the body that writes.

To make someone wait: the constant prerogative of all power.

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.

As Spectator I wanted to explore photography not as a question (a theme) but as a wound.

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.

A light without shadow generates an emotion without reserve.

“Legacy code” often differs from its suggested alternative by actually working and scaling.

You can hide all kinds of clever and dirty code behind a good interface if you really need such code.

Now that’s a law. Laws made by man are rules reflecting the current status of his moral codes. As he alters and whittles away his morality, casting bits and pieces aside, his codes change to reflect it.

MTV and the culture industry never are talking about community relevance, hood organization, they aren’t talking about ethical codes, they aren’t talking about forms of political organization, they don’t speak about codes inside the jails. What they talk about are superficial things.

The problem is that those few programmers who crank out code aren’t interested in maintaining it.

As a Senator I am opposed to duelling. As Ben. Wade, I recognize the code.

My first album was mainly dealing with street issues, and it was ‘coded’: it was called ‘Reasonable Doubt.’ So the things I was talking about…

There are more words in the IRS code than there are in the Bible. And not a one of them is as good.