That celebrated marriage of science and art, photography, seemed at the time to join together how we look at the world, art, with how we were coming to know it, science.

Unlike the marks of a painting, the photo seems to organize its 'opinions' in relation to the world; even when the photographs have clearly been manipulated, the 'opinions' seem to have all the more force, with the suggested 'participation of the world' articulating that 'opinion' as a difference.

Seeing is not as simple as looking.

When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment.

I am only describing language, not explaining anything.

I liked that the work itself was something other than simply what you saw It meant you could have an art work which was that idea of an art work, and its formal components weren't important.

That celebrated marriage of science and art, photography, seemed at the time to join together how we look at the world, art, with how we were coming to know it, science.