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We don't forget, but something vacant settles in us.

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
Settles
Vacant
Settling
Forget
Something

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To eat steak rare . . . represents both a nature and a morality.
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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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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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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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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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Every new Fashion is a refusal to inherit, a subversion against the oppression of the preceding Fashion Fashion experiences itself as a Right, the natural right of the present over the past.
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Each of us has his own rhythm of suffering.
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It must always be considered as though spoken by a character in a novel
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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
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A photograph is always invisible, it is not it that we see.
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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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Language is neither reactionary nor progressive it is quite simply fascist for fascism does not prevent speech, it compels speech.
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The Text is not a definitive object.
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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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Every photograph is a certificate of presence.
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The author enters into his own death, writing begins.
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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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What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.
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It is no longer the sexual which is indecent, it is the sentimental.
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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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