“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.”

“Charlus takes the narrator's chin and slides his magnetized fingers up to the ears "like a barber's fingers." This trivial gesture, which I begin, is continued by another part of myself; without anything interrupting it physically, it branches off, shifts from a simple function to a dazzling meaning, that of the demand for love. Meaning (destiny) electrifies my hand: I am about to tear open the other's opaque body, oblige the other (whether there is a response, a withdrawal, or mere acceptance) to enter into the interplay of meaning: I am about to make the other speak. In the lover's realm, there is no acting out: no propulsion, perhaps even no pleasure -- nothing but signs, a frenzied activity of language: to institute, on each furtive occasion, the system (the paradigm) of demand and response.”

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

“...The editors of (i)Life(i) rejected Kerész'a photographs when he arrived in the United States in 1937 because, they said, his images 'spoke too much'; they made us reflect, suggested a meaning — a different meaning from the literal one. Ultimately, Photography is subversive not when it frightens, repels, or even stigmatizes, but when it is (i)pensive(i), when it thinks.”

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

“When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies.”

“One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. Consider the United Sates, where everything is transformed into images: only images exist and are produced and are consumes ... Such a reversal necessarily raises the ethical question: not that the image is immoral, irreligious, or diabolic (as some have declared it, upon the advent of the Photograph), but because, when generalized, it completely de-realizes the human world of conflicts and desires, under cover of illustrating it.”