William J. T. Mitchell
[Writer, theorist, and architect, b. 1944, Melbourne, Australia, lives in Cambridge, Massachusetts.]

 Photography is and is not a language; language also is and is not a “photography.” 
 ...people have always known, at least since Moses denounced the Golden Calf, that images were dangerous, that they can captivate the onlooker and steal the soul. 
 Exile is a series of photographs without texts. 
 We are surrounded by pictures; we have an abundance of theories about them, but it doesn’t seem to do us any good. Knowing what pictures are doing, understanding them, doesn’t seem necessarily to give us power over them. 
 The essential characteristic of digital information is that it can be manipulated easily and very rapidly by computer... Computational tools for transforming, combining, altering, and analyzing images are as essential to the digital artist as brushes and pigments to a painter. 
 An interlude of false innocence has passed. Today, as we enter the post-photographic era, we must face once again the ineradicable fragility of our ontological distinctions between the imaginary and the real, and the tragic elusiveness of the Cartesian dream. We have indeed learnt to fix the shadows, but not to secure their meanings or to stabilize their truth values; they still flicker on the walls of Plato's cave. 
 The relation of photography and language is a principal site of struggle for value and power in contemporary representations of reality; it is the place where images and words find and lose their conscience, their aesthetic and ethical identity. 
 Pictures of pain are not necessarily painful pictures, and this is why our response to them fluctuates between shame and delight, horror and pleasure. 
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