The development of fast film allowed the subjects of our photographs to be caught unawares, beyond our or their control. But they are nevertheless caught; the camera holds the last lanyard of control we would forgo.

The development of fast film allowed the subjects of our photographs to be caught unawares, beyond our or their control. But they are nevertheless caught; the camera holds the last lanyard of control we would forgo.

Philosophy... is indeed outrageous, inherently so. It seeks to disquiet the foundations of our lives and to offer us in recompense nothing better than itself- and this on the basis of no expert knowledge, of nothing closed to the ordinary human being, once... [one] lets himself or herself be informed by the process and ambition of philosophy.

The academic world doesn't invite you to try to walk on two feet all the time. And in philosophy especially . . . it's a very intimidating place. The intimidation can be very thin, or it can stop you.

Under examination by the camera, a human body becomes for its inhabitant a field of betrayal more than a ground of communication, and the camera's further power is manifested as it documents the individual's self-conscious efforts to control the body each time it is conscious of the camera's attention to it.

Philosophy is the education of grown-ups.

One impulse of photography, as immediate as its impulse to extend the visible, is to theatricalize its subjects. The photographer's command, Watch the birdie! is essentially a stage direction.