Photographs can be forms of recruitment, ways of bringing the viewer into the military, as it were. In this way, they prepare us for war, even enlist us in war, at the level of the senses, establishing a sensate regime of war.

What we need are poems that interrogate the world of pronouns, open up possibilities of language and life; forms of politics that support and encourage self-affirmation.

Photographs can be forms of recruitment, ways of bringing the viewer into the military, as it were. In this way, they prepare us for war, even enlist us in war, at the level of the senses, establishing a sensate regime of war.

Whether or not we continue to enforce a universal conception of human rights at moments of outrage and incomprehension, precisely when we think that others have taken themselves out of the human community as we know it, is a test of our very humanity.

It's not like it's a brand new vocabulary that permits to have a new reality. It's rather a new vocabulary that lets us see that our lives have always been more complex than traditional categories allow. So, I think, you know, maybe the introduction of new words permits us to rethink what we've taken for granted about what forms bodies take, what the name is for certain kinds of sexual, intimate relations, how we think of a life.

I think that many of the mobilizations against the wars waged by the US and its allies since 2001 have been non-violent and massive. We have seen them throughout European capitals and in the US, and in many other parts of the world as well. So it is not only imaginable, but already actual.

The critical image... must not only fail to capture its referent, but show its failure.