We called [the] process photomontage, because it embodied our refusal to play the part of the artist. We regarded ourselves as engineers, and our work as construction: we assembled our work, like a fitter.
[Dada is] perfectly kindhearted malice, alongside exact photography the only legitimate pictorial form of communication and balance in shared experience.
What is important is that our optical awareness rids itself of classical notions of beauty and opens itself more and more to the beauty of the instant and of these surprising points of view that appear for a brief moment and never return; those are what make photography an art.
To be a photographer is to become aware of visible appearances and at the same time acquire from them an education in individual and common optical aperception. Why? Because every individual sees in his own way but see little more than images shaped by the cultural standards of a given period.
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