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

 Ultimately—or at the limit—in order to see a photograph well, it is best to look away or close your eyes. 
 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. 
 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. 
 How does meaning get into the image? Where does it end? And if it ends, what is there beyond? 
 I passed beyond the unreality of the thing represented, I entered crazily into the spectacle, into the image, taking into my arms what is dead, what is going to die... 
 A photograph is always invisible, it is not it that we see. 
 Not only is the Photograph never, in essence, a memory... but it actually blocks memory, quickly becomes a counter-memory. 
 As Spectator I wanted to explore photography not as a question (a theme) but as a wound. 
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