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cantilc naturę, the scmiology of Photography is therefore limited to the admirablc performanccs of several por-traitists. For the rest, with regard to the heterogeneity of "good” photographs, all we can say is tbat the object speaks, it induces us, vagucly, to think. And further: even this risks being perceived as dangerous. At the limit, no meaning at all is safer: the editors of Life rejcctcd Ker-tćsz’s photographs when hc arrived in the United States in 1937 because, rhey said, his images "spokc too much”; they madę us reflcct, suggested a meaning—a different meaning from the literał one. Ultima te ly, Photography is subversivc not when it frightens, rcpcls, or even stig-matizes, but when it is pensire, when it thinks.
An old housc, a shadowy porch, tiles, a crum-bling Arab decoration, a man sitting against the wali, a deserted Street, a Mcditcrranean tree (Charles Clifford’s “Alhambra"): this old photograph (1854) touches me: it is quitc simply there that I should like to live. This desire affccts mc at a depth and accord-ing to roots which I do not know: warmth of the climate? Mcditerranean myth? Apollinism? Dcfection? Witł»-drawal? Anonymity? Nobility? Whatever the casc (with regatd to myself, my motives, my fantasy), I want to livc there, en pnase—and tł»e tourist photograph never satis-fics that esprit de finetse. For mc, photographs of land-scape (urban or country) must be habitable, not visitablc.
*1 ivant to Uv0 there .. P CHAKLBS CUFPO*D: THI! ALHAMBRA (GRANADA).
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