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.

There's something quite magical that can happen when a secret is no longer a secret - or is a shared secret or a common secret. By allowing those boundaries to be porous, certain forms of oppression may be lifted.

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.

In an era where digital or virtual is the default, the actual coming together into a physical space has to be an experience that you don't want to miss.

Photography is, and has been since its conception, a fabulously broad church. Contemporary practice demonstrates that the medium can be a prompt, a process, a vehicle, a collective pursuit, and not just the physical end product of solitary artists' endeavors.

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

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.