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Proce eding this way from photograph to photograph (to tell the truth, all of them public ones, up to now), I had perhaps
learned how my desire worked, but I had not discovercd the naturę (the eidos) of Photography. I had to grant that my pleasure was an impcrfect mediator, and that a sub-jcctivity reduccd to its hedonist project could not rccog-nize the universal. I would have to dcscend decpcr into mysclf to fiod the cvidence of Photography, that thing which is scen by anyone looking at a photograph and which distinguishes it in his eyes from any other image. I would havc to make my recantation, my palinode.
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