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All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.

Roland Barthes

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Roland Barthes
Age: 64 †
Born: 1915
Born: November 12
Died: 1980
Died: March 25
Diarist
Essayist
Linguist
Literary Critic
Literary Scholar
Literary Theorist
Mythographer
Non-Fiction Writer
Philosopher
Screenwriter
Roland Gérard Barthes
Work
Photographers
World
Capture
Agents
Photographer
Determined
Upon
Death
Young
Actuality

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There are two kinds of liberalism. A liberalism which is always, subterraneously authoritative and paternalistic, on the side of one's good conscience. And then there is a liberalism which is more ethical than political one would have to find another name for this. Something like a profound suspension of judgment.
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Those who fail to reread are obliged to read the same story everywhere.
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I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.
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The unary Photograph has every reason to be banal, 'unity' of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject,' says one handbook for amateur photographers, 'must be simple, free of useless accessories this is called the Search for Unity.
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Through the mythology of Einstein, the world blissfully regained the image of knowledge reduced to a formula.
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Rarely do outside of school remedies work their way into the fabric of the schools or into the teachers lives, and more rarely into the classrooms. Therefore they only offer a modest hope of influencing the basic culture of the school
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Painting can feign reality without having seen it.
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Every photograph is a certificate of presence.
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The Text is not a definitive object.
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Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.
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Where you are tender, you speak your plural.
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The author enters into his own death, writing begins.
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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.
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The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? His entire policy would be jeopardized!
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Myth is neither a lie nor a confession: it is an inflexion.
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This endured absence is nothing more or less than forgetfulness. I am, intermittently, unfaithful. This is the condition of my survival.
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The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
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Great portrait photographers are great mythologists.
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To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not--this is the beginning of writing.
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If I had to create a god, I would lend him a “slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.
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