“Every sentence refers to another sentence, every image to one that precedes or follows it. It would not be entirely mistaken to presume that there is always a story behind them, but it would remove from view that which is visible, that which is particular to the surface of these photographs; that which appertains to them, beyond questions of cause and effect, as expressions of an distinctive event. Singular joy, singular shock, a sensation, almost momentary, of fatigue or irritation. As though violently broken out of the continuum of time that, in our world, is thought to be the basis of narration: first this, then that, and in between a link that joins past and future in a logical, a comprehensible manner. Nothing but hypotheses to which we have, for better or for worse, gotten used.
As what is outside the frame at the moment of exposure is no longer important, the image transforms into a kind of frozen cross-section without interfaces left or right, up or down-even though we can still think these interfaces as possibilities of narration that will bring a second, a third meaning into the scene. Or, rather, that will impose a meaning on the scene that does not in fact inhabit its elements.(…)”
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