Art's effect is due to the tension resulting from the clash of the collocation of elements of two (or more) systems of interpretation. This conflict has the function of breaking down automatism of perception and occurs simultaneously on the many levels of a work of art. . . All levels may carry meaning.
So far as photography satisfied a wish, it satisfied a wish not confined to painters, but a human wish, intensifying since the Reformation, to escape subjectivity and metaphysical isolation - a wish for power to reach this world, having for so long tried, at last hopelessly, to manifest fidelity to another. . . Photography overcame subjectivity in a way undreamed of by painting, one which does not so much defeat the act of painting as escape it altogether: by automatism, by removing the human agent from the act of reproduction.
Both Faith and Terror are instruments for the elimination of individual self-respect. Terror crushes the autonomy of self-respect, where Faith obtains its more or less voluntary surrender. In both cases, the result of the elimination of individual autonomy is - automatism. Both Faith and Terror reduce the human entity to a formula that can be manipulated at will.