All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.

Historically and politically, the petit-bourgeois is the key to the century. The bourgeois and proletariat classes have become abstractions: the petite-bourgeoisie, in contrast, is everywhere, you can see it everywhere, even in the areas of the bourgeois and the proletariat, what's left of them.

The Photograph belongs to that class of laminated objects whose two leaves cannot be separated without destroying them both: the windowpane and the landscape, and why not: Good and Evil, desire and its object: dualities we can conceive but not perceive... Whatever it grants to vision and whatever its manner, a photograph is always invisible: it is not it that we see.

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.

Language is neither reactionary nor progressive; it is quite simply fascist; for fascism does not prevent speech, it compels speech.

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

I make the other’s absence responsible for my worldliness.