In stamping photography with the patent of realism, society does nothing but confirm itself in the tautological certainty that an image of reality that conforms to its own representation of objectivity is truly objective.

Photography itself is most frequently nothing but the reproduction of the image that a group produces of its own integration.

Algeria is what allowed me to accept myself.

Television enjoys a de facto monopoly on what goes into the heads of a significant part of the population and what they think.

Practice has a logic which is not that of the logician.

The mind is a metaphor of the world of objects.

I would simply ask why so many critics, so many writers, so many philosophers take such satisfaction in professing that the experience of a work of art is ineffable, that it escapes by definition all rational understanding; why are they so eager to concede without a struggle the defeat of knowledge; and where does their irrepressible need to belittle rational understanding come from, this rage to affirm the irreducibility of the work of art, or, to use a more suitable word, its transcendence.