I have to admit to you, I am the person who's done probably the least analysis on the selfie, because it's a bit like pornography for me. It's this masturbatory, repetitive act that I'd rather wasn't part of my routine.

The internet does not adhere to the inherent, necessary asymmetry of high-versus-low-art categorizations that we use in the cultural sector: in a banal sense, all photographs on the Web are orphans ready to be claimed.

I have to admit to you, I am the person who's done probably the least analysis on the selfie, because it's a bit like pornography for me. It's this masturbatory, repetitive act that I'd rather wasn't part of my routine.

More platform-sensitive generations will make distinctions between online and in-person intimacy, whereas fourteen-year-olds have very nuanced online selves and might embody their virtual identity in the physical, analogue version of themselves. They have a much more pluralistic understanding of the self. I don't think we'd be here now in this amazing sexual and gender revolution without the online space where young people can see and share other versions of identity and sexuality.

I think the twenty-first-century modality is exhibitionism. Exhibitionism is our contemporary strategy for maintaining our boundaries, which is to be boundary-less - to put everything out there before somebody comes and violates or penetrates something that we're keeping sacred.

We are not only a civilization of amateur photographers; we are amateur curators, editors, and publishers.

I love bells, clocks, watches - and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing.