Even hidden in the most squalid Parisian halls, wrestling partakes of the nature of the great solar spectacles, Greek drama and bullfights: in both, a light without shadow generates an emotion without reserve.

If I had to create a god, I would lend him a “slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.

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.

The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.

Usually the amateur is defined as an immature state of the artist: someone who cannot — or will not — achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography.

Literature is that which he can not read without pain, without choking on truth.

I love you is unsubtle. It removes explanations, facilities, degrees, scruples.