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

 Ultimately—or at the limit—in order to see a photograph well, it is best to look away or close your eyes. 
 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. 
 How does meaning get into the image? Where does it end? And if it ends, what is there beyond? 
 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. 
 The photographic referent [is] not the optionally real thing to which an image or a sign refers but the necessarily real thing which has been placed before the lens, without which there would be no photograph. 
 A photograph is always invisible, it is not it that we see. 
 Not only is the Photograph never, in essence, a memory... but it actually blocks memory, quickly becomes a counter-memory. 
 As Spectator I wanted to explore photography not as a question (a theme) but as a wound. 
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