The relation of photography and language is a principal site of struggle for value and power in contemporary representations of reality; it is the place where images and words find and lose their conscience, their aesthetic and ethical identity.

Photography is and is not a language; language also is and is not a photography.

The essential characteristic of digital information is that it can be manipulated easily and very rapidly by computer... Computational tools for transforming, combining, altering, and analyzing images are as essential to the digital artist as brushes and pigments to a painter.

What we need is a critique of visual culture that is alert to the power of images for good and evil and that is capable of discriminating the variety and historical specificity of their uses.

Imagine a kind of system where you have lightweight electric vehicles relatively small battery capacity, and then picking up charge wherever they park. You never have to worry about filling up your car, never go to the gas station, never plug it in, never do any of these things.

An interlude of false innocence has passed. Today, as we enter the post-photographic era, we must face once again the ineradicable fragility of our ontological distinctions between the imaginary and the real, and the tragic elusiveness of the Cartesian dream. We have indeed learnt to fix the shadows, but not to secure their meanings or to stabilize their truth values; they still flicker on the walls of Plato's cave.

...people have always known, at least since Moses denounced the Golden Calf, that images were dangerous, that they can captivate the onlooker and steal the soul.