In every society, the definitions of sanity and madness are arbitrary - are, in the largest sense, political.

Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire

Like the effects of industrial pollution and the new system of global financial markets, the AIDS crisis is evidence of a world in which nothing important is regional, local, limited; in which everything that can circulate does, and every problem is, or is destined to become, worldwide.

Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.

The "happening" operates by creating an asymmetrical network of surprises, without climax or consummation, this is the alogism of dreams rather than the logic of most art.

Most writers I know have switched to word processors. I haven't but I'm very curious about why people like it so much. I think it has something to do with the fact that at last writing, which has been such an old-fashioned, artisanal activity, even on a typewriter, has now entered the central domain of modern experience which is that of making copies, being involved in the world of duplicates and machine-mediated activities.

While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects) — a material vestige of its subject in a way that no painting can be.