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

 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... 
 How does meaning get into the image? Where does it end? And if it ends, what is there beyond? 
 Not only is the Photograph never, in essence, a memory... but it actually blocks memory, quickly becomes a counter-memory. 
 In an initial period, photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. 
 Formerly, the image illustrated the text (made it clearer); today, the text loads the image, burdening it with a culture, a moral, an imagination. 
 The photographer, like an acrobat, must defy the laws of probability or even of possibility; at the limit, he must defy those of the interesting: the photograph becomes surprising when we do not know why it has been taken. 
 As Spectator I wanted to explore photography not as a question (a theme) but as a wound. 
 Pornography ordinarily represents the sex-organ, it makes it into an immobile object (a fetish), to which we burn incense, like a god that doesn’t leave its niche. 
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