Like the collector, the photographer is animated by a passion that, even when it appears to be for the present, is linked to a sense of the past.
Susan SontagRead
In contrast to the written account-which, depending on its complexity of thought, reference, and vocabulary, is pitched at a larger or smaller readership-a photograph has only one language and is destined potentially for all.
Interpretation
A photograph communicates universally, unlike written text that can vary in complexity and audience.
Susan Sontag emphasizes the universal nature of photography as a form of communication. Unlike written texts, which can be complex and tailored to specific audiences, photographs transcend language barriers and cultural differences, enabling a broader reach and understanding. This highlights the power of visual art to connect individuals across diverse backgrounds through a shared visual language.
In practice
In a presentation about the impact of photography in social movements.
Like the collector, the photographer is animated by a passion that, even when it appears to be for the present, is linked to a sense of the past.
Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.
Gide and I have attained such perfect intellectual communion that I experience the appropriate labor pains for every thought he gives birth to!
Volume depends precisely on the writer's having been able to sit in a room every day, year after year, alone.
In NY sensuality completely turns into sexuality - no objects for the senses to respond to, no beautiful river, houses, people. Awful smells of the street, and dirt... Nothing except eating, if that, and the frenzy of the bed.
It hurts to love. It's like giving yourself to be flayed and knowing that at any moment the other person may just walk off with your skin.
Acting is a nice childish profession - pretending you're someone else and, at the same time, selling yourself.
The bright dawn flooded the room, and swept the fantastic shadows into dusky corners, where they lay shuddering.
I'm not likely to forget where I've been and what I've done and learned. I think it's just as important to play new instruments as to play new pieces. The old ones are getting scarcer and the new ones more and more wonderful.
Somewhere along the line a convention developed that the opening of a film was just a laundry list of credits. There was no incentive to complicate an area that was settled.
Art is going to make a bigger comeback than ever. That's the upside to things getting challenging.
As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.
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