To eat steak rare . . . represents both a nature and a morality.

I have tried to be as eclectic as I possibly can with my professional life, and so far it's been pretty fun.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ("this-has-been"), the photograph suggests that it is already dead.

Is the scene always visual? It can be aural, the frame can be linguistic: I can fall in love with a sentence spoken to me: and not only because it says something which manages to touch my desire, but because of its syntactical turn (framing), which will inhabit me like a memory.

Other countries drink to get drunk, and this is accepted by everyone; in France, drunkenness is a consequence, never an intention. A drink is felt as the spinning out of a pleasure, not as the necessary cause of an effect which is sought: wine is not only a philtre, it is also the leisurely act of drinking.

Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.

Television doomed us to the Family, whose household instrument it has become-what the hearth used to be, flanked by the communal kettle.