Quote

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?

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
Kind
Evaluate
Good
Burn
Love
Tells
Lasts
Last
Someone
Better
Viability
Thing
Viable

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For me the noise of Time is not sad: I love bells, clocks, watches — and I recall that at first photographic implements were related to techniques of cabinetmaking and the machinery of precision: cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
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When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies.
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To eat, to speak, to sing (need we add: to kiss?) are operations which have the same site of the body for origin.
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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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Great portrait photographers are great mythologists.
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For the theatre one needs long arms it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.
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I cannot classify the other, for the other is, precisely, Unique, the singular Image which has miraculously come to correspond to the speciality of my desire. The other is the figure of my truth, and cannot be imprisoned in any stereotype (which is the truth of others).
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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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In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like winnicott's psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
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All official institutions of language are repeating machines: school, sports, advertising, popular songs, news, all continually repeat the same structure, the same meaning, often the same words: the stereotype is a political fact, the major figure of ideology.
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Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
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I have not a desire but a need for solitude.
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Language is neither reactionary nor progressive it is quite simply fascist for fascism does not prevent speech, it compels speech.
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A light without shadow generates an emotion without reserve.
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If I acknowledge my dependency, I do so because for me it is a means of signifying my demand: in the realm of love, futility is not a weakness or an absurdity: it is a strong sign: the more futile, the more it signifies and the more it asserts itself as strength.)
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L'amoureux qui n'oublie pas quelquefois meurt par exce' s, fatigue et tension de me moire (tel Werther). The lover who does not forget sometimes dies from excess, fatigue, and the strain of memory (like Werther).
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Isn’t the most sensitive point of this mourning the fact that I must lose a language — the amorous language? No more ‘I love you’s.
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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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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
Roland Barthes
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The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here the duration of the transmission is insignificant the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.
Roland Barthes