00001// and a haircut

22 // and a haircut and an idea of 

33 // how

44 // I think it's a given these days that we must continue burdening ourselves with tasks and obligations.

55 // The larger purpose is nebulous. Every time I think I understand something, clarification turns to bewilderment.

66 // John Szarkowski once stated that a photograph either becomes a mirror or a window. The Japanese writer Yukio Mishima hit on this idea in his own way in the preface to one of his novels, where he refers to all photographs as either 'a record or a testimony.' 

77 // Mishima get's closer to the truth than Szarkowski. Photography a mirror, always, and it is never completely a window.

88 // Once, during a long train journey, while watching the fields and mountains blur by and the clouds that hung over the horizon coalesce into a thick blanket, I became briefly entranced by the reflection of my face in the train window, super-imposed over the flat plane of the landscape. The train was picking up speed and the sprawl of industry began to give way to more sedate farmland and hills. My reflection, however, persisted—faint and Godlike—over the world. I tried to readjust my focus and see through my reflection but my perception thickened and I suddenly found my view of the landscape to be inseparable from the image of myself.

99 // I felt that what I was seeing was the truth: that in this way windows are mirrors and reflections, themselves, are mediations. Since then I've felt that I am forever intervening in small disputes from the very moment of seeing; disputes that I can never escape from and in which I have no neutral position.

000 // I think that I'm coming to regard photography as nothing more than a polite species of solipsism. Take the mechanism of the camera: it is no coincidence that the photographers eye is mediated through a mirror.