By Susan Sontag
Sontag's incisive intelligence, expressive brilliance, and deep interest approximately artwork, politics, and the writer's accountability to undergo witness have secured her position as essentially the most very important thinkers and writers of the 20 th century.
At an identical Time gathers 16 essays and speeches written within the final years of Sontag's lifestyles, while her paintings used to be being venerated at the overseas level. She writes of the liberty of literature, approximately braveness and resistance, and fearlessly addresses the dilemmas of post-9/11 the USA, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib.
David Rieff describes his mother's ardour in his foreword: "She desired to adventure every thing, flavor every thing, move all over the place, do every little thing. certainly, if I had just one be aware with which to awaken her, it might be avidity. . . . i feel that, for her, the enjoyment of residing and the enjoyment of realizing particularly have been one and the same."
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Extra info for At the Same Time: Essays and Speeches
Whether the objects were displayed to or viewed by a wider public circle beyond maker and immediate consumer, master, or patron cannot be readily determined. Like the makers of stainedglass windows high in the walls of a medieval cathedral, the late prehistoric Egyptian image makers may have produced objects and images simply according to their proper rules, expecting no one to make out their intricate details. How could we determine the function, or social use, of the image even before defining what we are looking at?
But to the degree that we can identify no time or place definitively outside or beyond the reach and grip of the spreadout temporal structuring of intentionality, the psychoanalysis is the past rather than its objective representation by a detached, Olympian historianobserver. Here we may find that the canonical image maker suppresses, or "forgets," as much prehistory as he repeats, or "remembers," and that if prehistoric art is the conceptual basis (Williams and Logan 1987) for canonical image making, it is only as the partial target of later repetition, revision, and refusal.
Rather, a cultural order, the set of modes of representation and conventions, speaks through and constitutes the mental equipment of the particular maker who replicates representations. Therefore the convention is to be found, or observed archaeologically, not only in the content and action of a single agent but also in and among the group of agents as an interacting whole. No one image can be said to exemplify all the properties of the chain; no single image maker has access to it all at once.
At the Same Time: Essays and Speeches by Susan Sontag