Roland Barthes
[Writer, critic, and theorist, b. 1915, Cherbourg, d. 1980, Paris.]

 How does meaning get into the image? Where does it end? And if it ends, what is there beyond? 
 Ultimately—or at the limit—in order to see a photograph well, it is best to look away or close your eyes. 
 The Photograph is violent: not because it shows violent things, but because on each occasion it fills the sight by force, and because in it nothing can be refused or transformed. 
 A photograph is always invisible, it is not it that we see. 
 When we look at a photograph of ourselves or of others, we are really looking at the return of the dead. 
 I passed beyond the unreality of the thing represented, I entered crazily into the spectacle, into the image, taking into my arms what is dead, what is going to die... 
 Formerly, the image illustrated the text (made it clearer); today, the text loads the image, burdening it with a culture, a moral, an imagination. 
 Not only is the Photograph never, in essence, a memory... but it actually blocks memory, quickly becomes a counter-memory. 
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