What we need is to use what we have.

Victims suggest innocence. And innocence, by the inexorable logic that governs all relational terms, suggests guilt.

Knowing a great deal about what is in the world art, catastrophe, the beauties of nature through photographic images, people are frequently disappointed, surprised, unmoved when the see the real thing. For photographic images tend to subtract feeling from something we experience at first hand and the feelings they do arouse are, largely, not those we have in real life. Often something disturbs us more in photographed form than it does when we actually experience it.

I'm extremely interested in the Russian formalists and have been for many years. I'm more drawn to their writing, which is expressive and literary, than to writing which is extremely academic or jargon-ridden.

The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to "the serious." One can be serious about the frivolous, frivolous about the serious.

A way of certifying experience, taking photographs is also a way of refusing it - by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir. Travel becomes a strategy for accumulating photographs.

Life is a movie; death is a photograph.