For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive for us.

Both those taking snaps and documentary photographers, however, have not understood 'information.' What they produce are memories.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice. Today everything exists to end in a photograph. When I look at my old pictures, all I can see is what I used to be but am no longer. I think What I can see is what I am not.