Whatever Doesn't Kill You Leaves

Our Very Sense Of Situation Is Now Articulated By The Camera's Interventions. The Omnipresence Of Cameras Persuasively Suggests That Time Consists Of Interesting Events, Events Worth Photographing. This, In Turn, Makes It Easy To Feel That Any Event, Once Underway, And Whatever Its Moral Character, Should Be Allowed To Complete Itself - So That Something Else Can Be Brought Into The World, The Photograph.

The Process Of Building A Self And Its Works Is Always Too Slow. One Is Always In Arrears To Oneself.

The Photographer Both Loots And Preserves, Denounces And Consecrates.

To Suffer Is One Thing; Another Thing Is Living With The Photographed Images Of Suffering, Which Does Not Necessarily Strengthen Conscience And The Ability To Be Compassionate. It Can Also Corrupt Them. Once One Has Seen Such Images, One Has Started Down The Road Of Seeing More - And More. Images Transfix. Images Anesthetize.

The Moral Pleasure In Art, As Well As The Moral Service That Art Performs, Consists In The Intelligent Gratification Of Consciousness.