Wherever people feel safe — they will be indifferent.

It's not 'natural' to speak well, eloquently, in an interesting, articulate way. People living in groups, families, communes say little - have few verbal means. Eloquence - thinking in words - is a byproduct of solitude, deracination, a heightened painful individuality. In groups, it's more natural to sing, to dance, to pray: given, rather than invented (individual) speech.

The photographer both loots and preserves, denounces and consecrates.

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.

As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

There are more and more taboos about calling something, anything, ugly.

Even more than comparing society to a family, comparing it to a body makes an authoritarian ordering of society seem inevitable, immutable.