We are surrounded by pictures; we have an abundance of theories about them, but it doesn't seem to do us any good. Knowing what pictures are doing, understanding them, doesn't seem necessarily to give us power over them.

The relation of photography and language is a principal site of struggle for value and power in contemporary representations of reality; it is the place where images and words find and lose their conscience, their aesthetic and ethical identity.

American cities are kind of difficult contexts to work in. They are politically complex. There are a lot of different interest groups. It takes immense political skill to get anything done at all.

Imagine a kind of system where you have lightweight electric vehicles relatively small battery capacity, and then picking up charge wherever they park. You never have to worry about filling up your car, never go to the gas station, never plug it in, never do any of these things.

We are surrounded by pictures; we have an abundance of theories about them, but it doesn't seem to do us any good. Knowing what pictures are doing, understanding them, doesn't seem necessarily to give us power over them.

Automobile is one of the most successful inventions of all time, but in my view, it is thoroughly obsolete already. And so by fundamentally rethinking the automobile, thinking of it as a robot on four wheels, essentially, something that can communicate with other intelligent devices, it can operate in a coordinated way, you can really start to fundamentally rethink urban personal mobility.

Exile is a series of photographs without texts.