Georges Didi-Huberman
[Writer and thinker, b. 1953, Saint-Etienne, France, lives in Paris.]

 Photography works hand in glove with image and memory and therefore possesses their notable epidemic power. 
 Does inadequacy not characterize all that we make use of to perceive and describe the world? Are the signs of language not just as “inadequate,” albeit differently, as are images? 
 The image passes us by. We have to follow its movement as far as possible, but we must also accept that we can never entirely possess it. 
 Writing about images means above all writing. It means expressing in spite of everything that which initially appears to be an experience of the inexpressible. 
 I feel as if I spent my childhood in a world of images, basically in a world cut off from action. 
 To talk about “the image” is to think metaphysically, whatever you do. 
 The image is not a closed field of knowledge; it is a whirling, centrifugal field. It is not a “field of knowledge” like any other; it is a movement demanding all the anthropological aspects of being and time. 
 Images embrace us: they open up to us and close themselves to us in so far as they conjure up in us something that we could call an interior experience. 
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