It's clear enough to see that Nakahira shared the so-called "blurry-grainy-out of focus" style of Daido and others of the Provoke generation. But does that aesthetic by itself represent "the complete eradication of personal meaning"? I'd venture to say no. Why does Nakahira think he's achieved this, then? The subjects of the photos in "Circulation" give a clue here: they are never all that noteworthy, and I think this is getting closer to Nakahira's point. By using the camera to collect and then display everything in front of him, without any regard for its particular "interest," he is trying to remove himself from the picture, as it were. This is hardly an easy concept to grasp, and I think the images of text makes this idea clear, in the sense that that very little "personal meaning" can be transmitted through the stark representation of a word: it already has enough concrete meaning in it to overpower any "personal meaning" that the photographer might wish to impart. Then again, Nakahira was consciously framing up words in this stark way, rather than, say, showing people next to them.