A Quote by Hiroshi Sugimoto
Fossils work almost the same way as photography as a record of history. The accumulation of time and history becomes a negative of the image. And this negative comes off, and the fossil is the positive side. This is the same as the action of photography.
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A paradox: the same century invented history and photography. But history is a memory fabricated according to positive formulas, a pure intellectual discourse which abolishes mythic time; and the photograph is a certain but fugitive testimony.
Now that photography is a digital medium, the ghost of painting is coming to haunt it: photography no longer retains a sense of truth. I think that's great, because it frees photography from factuality, the same way photography freed painting from factuality in the mid-nineteenth century.
Self satisfaction alone cannot determine if a desire or action is positive or negative. The demarcation between a positive and a negative desire or action is not whether it gives you a immediate feeling of satisfaction, but whether it ultimately results in positive or negative consequences.
As the possibilities for straightforward photography seem to have become exhausted it has been the photographers who know about the history of art, not simply the history of photography, who have shaped important directions for the future.
The biggest lesson in photography is that from negative we make a positive
I was 24 years old at the time. I had no real notion of what photography was about. I had no training. By accident, I put a negative in an enlarger, and you can do many things with that negative.
I can see today that the same sort of issues lie behind taxidermy and photography. Taxidermy consists in preserving a bird in full flight... In the same way, photography halts and freezes motion and life.
The history of photography needs clearing out. It needs something else now. Because photography always acknowledged there were cameras before photography.
In the same way, photography, for me, has fragmented. You do have people doing bodies of work - often with found photographs - that are quite hard to understand unless you got a very sophisticated visual history behind you. But there are different camps.
[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.
Basically we are all the same human beings with the same potential to be a good human being or a bad human being. The important thing is to realize the positive side and try to increase that; realize the negative side and try to reduce. That's the way.
Photography's relationship with pornography is as old as photography. That kind of unholy relationship is formed from the very beginning, and there's a reason why: it's thoroughly enjoyable to be that voyeuristic. Voyeurism is a very old modality, and most of the history of photography is in some way related voyeurism.
First you study photography, then you practice photography, then you serve photography, and finally one becomes photography.
I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.
Ever since I can remember I’ve had positive and negative fan reviews. And whether it was positive or negative it wasn’t always based in reality or what my perception of the music was. But judging from playing these new songs live and my feelings on the record [Scream] – and it’s a great record – there is definitely an audience for it. Also, I don’t really go to clubs so I don’t know what sounds are made there.
No fossil is buried with its birth certificate. That, and the scarcity of fossils, means that it is effectively impossible to link fossils into chains of cause and effect in any valid way... To take a line of fossils and claim that they represent a lineage is not a scientific hypothesis that can be tested, but an assertion that carries the same validity as a bedtime story-amusing, perhaps even instructive, but not scientific.
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