“The bastard form of mass culture is humiliated repetition... always new books, new programs, new films, news items, but always the same meaning.”

“To visit the Tower, then, is to enter into contact not with a historical Sacred, as is the case for the majority of monuments, but rather with a new nature, that of human space: the Tower is not a trace, a souvenir, in short culture; but an immediate consumption of a humanity made natural by that glance which transforms it into space.”

“The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.”

“Each photograph is read as the private appearance of its referent: the age of Photography corresponds precisely to the explosion of the private into the public, or rather into the creation of a new social value, which is the publicity of the private: the private is consumes as such, publicly.”

“Eiffel saw his Tower in the form of a serious object, rational, useful; men return it to him in the form of a great baroque dream which quite naturally touches on the borders of the irrational ... architecture is always dream and function, expression of a utopia and instrument of a convenience.”

“Where there is meaning, there is paradigm, and where there is paradigm (opposition), there is meaning . . . elliptically put: meaning rests on conflict (the choice of one term against another), and all conflict is generative of meaning: to choose one and refuse the other is always a sacrifice made to meaning, to produce meaning, to offer it to be consumed.”

“…the book creates meaning, the meaning creates life.”