A Quote by Georges Didi-Huberman
Photography works hand in glove with image and memory and therefore possesses their notable epidemic power.
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When two terms belong to the same category, it is proper to construct conjunctive propositions embodying them. Thus a purchaser may say that he bought a left-hand glove and a right- hand glove, but not that he bought a left-hand glove, a right- hand glove, and a pair of gloves. 'She came home in a flood of tears and a sedan-chair' is a well known joke based on the absurdity of conjoining terms of different types. Now the dogma of the Ghost in the Machine does just this. It maintains that there exist both bodies and minds.
Photography is like a found object. A photographer never makes an actual subject; they just steal the image from the world... Photography is a system of saving memories. It's a time machine, in a way, to preserve the memory, to preserve time.
Concluding a short series on sin: It is appalling to think of a power so strong that it can annihilate with the irresistible force of its grinding heel; but it is inspiring to consider an Almightiness that transforms the works of evil into the hand-maidens of righteousness and converts the sinner into the saint. And it is this latter power which eternal Love possesses and exhibits. He persistently dwells in the sinner until the sinner wakes up in His likeness and is satisfied with it.
In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value.
Most importantly, postmodernism comes down on the side of photography and power, not photography as power. As a consequence, photography continues to be conceived as an inconsequential vehicle or passage for real powers that always originate elsewhere.
It's your glove, your baseball glove. It's got a soul, a memory all its own, and a future that never fades because it has never let go of the grasp the past has on you and so many others.
The whole idea of image is so confused. On the one hand, Madison Avenue is worried about the image of the players in a tennis tour. On the other hand, sports events are often sponsored by the makers of junk food, beer, and cigarettes. What's the message when an athlete who works at keeping her body fit is sponsored by a sugar-filled snack that does more harm than good?
Surrealism will usher you into death, which is a secret society. It will glove your hand, burying therein the profound M with which the word Memory begins.
A man's not doing much until the cause he works for possesses all there is of him. Desire, when harnessed, is power.
Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
Photographs will always be impressive because they show us nature, and all artists will find in them a world of sensations. The photographer must therefore intervene as little as possible, so as not to cause photography to lose the objective charm which it naturally possesses, notwithstanding its defects.
Every man, therefore, who expects justification by works, must see to it, not that he is better than other men, or that he is very exact and does many things, or that he fasts twice in the week, and gives tithes of all he possesses, but that he is sinless.
Therefore, it is we who are responsible for much of the evil in the world; and we are each morally required to accept rather than project that ponderous responsibility-lest we prefer instead to wallow in a perennial state of powerless, frustrated, furious, victimhood. For what one possesses the power to bring about, one has also the power to limit, Mitigate, counteract, or transmute.
Several sorts of memory exist in us; body and mind each possesses one peculiar to itself. Nostalgia, for instance, is a malady of the physical memory.
Universal love is a glove without fingers, which fits all bands alike and none closely; but true affection is like a glove with fingers, which fits one hand only, and sits close to that one.
Although photography generates works that can be called art-it requires subjectivity, it can lie, it gives aesthetic pleasure-photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made.
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