Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.

The becoming of man is the history of the exhaustion of his possibilities.

To us, the difference between the #‎ photographer as an individual eye and the photographer as an objective recorder seems fundamental, the difference often regarded, mistakenly, as separating photography as art from #‎ photography as document. But both are logical extensions of what photography means: note-taking on, potentially, everything in the world, from every possible angle.

Instead of expecting all and being lowered into despair each time I get less, I expect nothing now and, occasionally, I get a little, and am more than a little happy.

To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge-and therefore, like power.

I didn't think of myself as importing, I thought it was more interesting to write about things people didn't know about than what they did. When I became aware that I was in fact "importing", I stopped doing it.

One can know worlds one has not experienced, choose a response to life that has never been offered, create an inwardness utterly strong and fruitful.