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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
World
Capture
Agents
Photographer
Determined
Upon
Death
Young
Actuality
Work
Photographers

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Flaubert had infinite correction to perform.
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Every photograph is a certificate of presence.
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The birth of the reader must be at the cost of the death of the Author.
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Eiffel saw his Tower in the form of a serious object, rational, useful men return it to him in the form of a great baroque dream which quite naturally touches on the borders of the irrational ... architecture is always dream and function, expression of a utopia and instrument of a convenience.
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All of a sudden it didn't bother me not being modern.
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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
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Painting can feign reality without having seen it.
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Those who fail to reread are obliged to read the same story everywhere.
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Someone tells me: this kind of love is not viable. But how can you evaluate viability? Why is the viable a Good Thing? Why is it better to last than to burn?
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...language is never innocent.
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Pleasure is continually disappointed, reduced, deflated, in favor of strong, noble values: Truth, Death, Progress, Struggle, Joy, etc. Its victorious rival is Desire: we are always being told about Desire, never about Pleasure.
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There is only one way left to escape the alienation of present day society: to retreat ahead of it.
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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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Is the scene always visual? It can be aural, the frame can be linguistic: I can fall in love with a sentence spoken to me: and not only because it says something which manages to touch my desire, but because of its syntactical turn (framing), which will inhabit me like a memory.
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It must always be considered as though spoken by a character in a novel
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We don't forget, but something vacant settles in us.
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To dope the racer is as criminal, as sacrilegious, as trying to imitate God it is stealing from God the privilege of the spark.
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Is not the most erotic part of the body wherever the clothing affords a glimpse?
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Usually the amateur is defined as an immature state of the artist: someone who cannot — or will not — achieve the mastery of a profession. But in the field of photographic practice, it is the amateur, on the contrary, who is the assumption of the professional: for it is he who stands closer to the (i)noeme(i) of Photography.
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Death of the Father would deprive literature of many of its pleasures. If there is no longer a Father, why tell stories? Doesn't every narrative lead back to Oedipus? Isn't storytelling always a way of searching for one's origin, speaking one's conflicts with the Law, entering into the dialectic of tenderness and hatred?
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