Roland Barthes
[Writer, critic, and theorist, b. 1915, Cherbourg, d. 1980, Paris.]

 The photographer, like an acrobat, must defy the laws of probability or even of possibility; at the limit, he must defy those of the interesting: the photograph becomes surprising when we do not know why it has been taken. 
 In an initial period, photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. 
 The photographic referent [is] not the optionally real thing to which an image or a sign refers but the necessarily real thing which has been placed before the lens, without which there would be no photograph. 
 As Spectator I wanted to explore photography not as a question (a theme) but as a wound. 
 Not only is the Photograph never, in essence, a memory... but it actually blocks memory, quickly becomes a counter-memory. 
 A photograph is always invisible, it is not it that we see. 
 Pornography ordinarily represents the sex-organ, it makes it into an immobile object (a fetish), to which we burn incense, like a god that doesn’t leave its niche. 
 Formerly, the image illustrated the text (made it clearer); today, the text loads the image, burdening it with a culture, a moral, an imagination. 
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