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| A photograph is always invisible, it is not it that we see. |
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| All official institutions of language are repeating machines: school, sports, advertising, popular songs, news, all continually repeat the same structure, the same meaning, often the same words: the stereotype is a political fact, the major figure of ideology. |
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| For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture. |
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| Historically and politically, the petit-bourgeois is the key to the century. The bourgeois and proletariat classes have become abstractions: the petite-bourgeoisie, in contrast, is everywhere, you can see it everywhere, even in the areas of the bourgeois and the proletariat, what's left of them. |
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| I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient. |
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| I have tried to be as eclectic as I possibly can with my professional life, and so far it's been pretty fun. |
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| I think that cars today are almost the exact equivalent of the great Gothic cathedrals: I mean the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates t |
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Inexpressible Love:
To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love, to know that writing compensates for nothing.. |
| Love |
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| Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire. |
| Language |
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| Language is legislation, speech is its code. We do not see the power which is in speech because we forget that all speech is a classification, and that all classifications are oppressive. |
| Language |
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| Literature is the question minus the answer. |
| Literature |
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| Literature is without proofs. By which it must be understood that it cannot prove, not only what it says, but even that it is worth the trouble of saying it. |
| Literature |
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| Myth is neither a lie nor a confession: it is an inflexion. |
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| New York... is a city of geometric heights, a petrified desert of grids and lattices, an inferno of greenish abstraction under a flat sky, a real Metropolis from which man is absent by his very accumulation. |
| Cities |
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| Other countries drink to get drunk, and this is accepted by everyone; in France, drunkenness is a consequence, never an intention. A drink is felt as the spinning out of a pleasure, not as the necessary cause of an effect which is sought: wine is not only a philter, it is also the leisurely act of drinking. |
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| Pleasure is continually disappointed, reduced, deflated, in favor of strong, noble values: Truth, Death, Progress, Struggle, Joy, etc. Its victorious rival is Desire: we are always being told about Desire, never about Pleasure. |
| Pleasure |
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| The bastard form of mass culture is humiliated repetition... always new books, new programs, new films, news items, but always the same meaning. |
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| The photographic image... is a message without a code. |
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| The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? His entire policy would be jeopardized! |
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