To Dope The Racer Is As Criminal,

The Text Is Plural. Which Is Not Simply To Say That It Has Several Meanings, But That It Accomplishes The Very Plural Of Meaning: An Irreducible (and Not Merely An Acceptable) Plural. The Text Is Not A Co-existence Of Meanings But A Passage, An Overcrossing; Thus It Answers Not To An Interpretation, Even A Liberal One, But To An Explosion, A Dissemination.

The Photograph Is Literally An Emanation Of The Referent. From A Real Body, Which Was There, Proceed Radiations Which Ultimately Touch Me, Who Am Here; The Duration Of The Transmission Is Insignificant; The Photograph Of The Missing Being, As Sontag Says, Will Touch Me Like The Delayed Rays Of A Star.

It Is As If The Photograph Always Carries Its Referent With Itself, Both Affected By The Same Amorous Or Funereal Immobility, At The Very Heart Of The Moving World: They Are Glued Together, Limb By Limb, Like The Condemned Man And The Corpse In Certain Tortures; Or Even Like Those Pairs Of Fish (sharks, I Think, According To Michelet) Which Navigate In Convoy, As Though United By An Eternal Coitus.

The Skyscraper Establishes The Block, The Block Creates The Street, The Street Offers Itself To Man.

Each Photograph Is Read As The Private Appearance Of Its Referent: The Age Of Photography Corresponds Precisely To The Explosion Of The Private Into The Public, Or Rather Into The Creation Of A New Social Value, Which Is The Publicity Of The Private: The Private Is Consumes As Such, Publicly.