Geoffrey Batchen
[Photohistorian, b. 1956, Australia, lives in Wellington, New Zealand.]

 And within the logic of [the electronic economy], the identity of an image is no longer distinguishable from any other piece of datum, be it animal, vegetable, or “experiential” in origin. Indeed, given the rhyzomatic structure of the electronic universe, the point of origin is no longer of consequence. All that matters (in every sense of the word) is the possibility of instantaneous dissemination and exact reproduction of data. 

Joel Meyerowitz
[Photographer, b. 1938, New York, lives in New York.]

 What I think is so extraordinary about the photograph is that we have a piece of paper with this image adhered to it, etched on it, which interposes itself into the plane of time that we are actually in at that moment. Even if it comes from as far back as 150 years ago, or as recently as yesterday, or a minute before as a Polaroid color photograph, suddenly you bring it into your experience. You look at it, and all around the real world is humming, buzzing and moving, and yet in this little frame there is stillness that looks like the world. That connection, that collision, that interfacing, is one of the most astonishing things we can experience. 

John Ashbery
[Poet and critic, b. 1927, Rochester, New York, d. 2017, Hudson, New York.]

 For although memories, of a season, for example,
Melt into a single snapshot, one cannot guard, treasure
That stalled moment. It too is flowing, fleeting;

It is a picture of flowing, scenery, though living, mortal,
Over which an abstract action is laid out in blunt,

Harsh strokes.
  

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 Sometimes a single event can be so rich in itself and its facets that it is necessary to move all around it in your search for the solution to the problem it poses—for the world is movement, and you cannot be stationary in your attitude toward something that is moving. 

Leon Golub
[Artist, b. 1922, Chicago, Illinois, d. 2004, New York.]

 The freeze of a photographic gesture, the fix of an action, how an arm twists, how a smile gets momentarily stabilized or exaggerated—to try to get some of this is important... The photofix inflects the almost literal shaping of a figure, changes of movement or potential movement, and a sense of occurrence or event. 

Frank Gohlke
[Photographer, b. 1942, Wichita Falls, Texas, lives in Southborough, Massachusetts.]

 I see the experience of pictures as a kind of cycle, a kind of circular motion in which you’re in the world, then you enter the picture and you’re in a different world (it’s not the same as the one you live in, but recognizable as one you might live in). And then you’re returned to your world with an enlarged sense of its possibilities. 

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box. 

Gilles Deleuze
[Writer and philosopher, b. 1925, Paris, d. 1995, Paris.]

 External images act on me, transmit movement to me, and I return movement: how could images be in my consciousness since I am myself image, that is, movement? 
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