Quote

To dope the racer is as criminal, as sacrilegious, as trying to imitate God it is stealing from God the privilege of the spark.

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
Spark
Sparks
Criminal
Stealing
Racer
Criminals
Sacrilegious
Privilege
Racers
Sports
Dope
Trying
Imitate

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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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I encounter millions of bodies in my life of these millions, I may desire some hundreds but of these hundreds, I love only one.
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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.
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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
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What love lays bare in me is energy.
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To eat steak rare . . . represents both a nature and a morality.
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I have not a desire but a need for solitude.
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Henceforth I would have to cosent to combine two voices: the voice of banality (to say what everyone sees and knows) and the voice of singularity (to replenish such banality with all the élan of an emotion which belonged only to myself).
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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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Those who fail to reread are obliged to read the same story everywhere.
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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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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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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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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.
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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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The realists do not take the photograph for a 'copy' of reality, but for an emanation of past reality, a magic, not an art.
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Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.
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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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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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Today there is no symbolic compensation for old age, no recognition of a specific value: wisdom, perceptiveness, experience, vision.
Roland Barthes