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 BARTHESPainting can feign reality without having seen it.
More Roland Barthes Quotes
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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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I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.
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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 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!
ROLAND BARTHES -
Every photograph is a certificate of presence.
ROLAND BARTHES -
The new is not a fashion, it is a value.
ROLAND BARTHES -
There are people who think that wrestling is an ignoble sport. Wrestling is not sport, it is a spectacle, and it is no more ignoble to attend a wrestled performance of suffering than a performance of the sorrows of Arnolphe or Andromaque.
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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 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!
ROLAND BARTHES -
One must turn the tongue seven times in the mouth before speaking.
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The text is a tissue of quotations drawn from the innumerable centres of culture.
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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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As Spectator I wanted to explore photography not as a question (a theme) but as a wound.
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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.
ROLAND BARTHES