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Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art. Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of 'meanings.' It is to turn the world into this world. ('This world'! As if there were any other.) The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.


Susan Sontag


#interpretation #art



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Did you know about Susan Sontag?

"
Ellen Lee accused Sontag of plagiarism when Lee discovered at least twelve passages in In America that were similar to or copied from passages in four other books about Helena Modjeska without attribution. The last two novels were set in the past which Sontag said gave her greater freedom to write in the polyphonic voice. She elevated Camp to the status of recognition with her widely-read 1964 essay Notes on 'Camp' which accepted Art as including common absurd and burlesque themes.

". Sontag was active in writing and speaking about or travelling to areas of conflict including during the Vietnam War and the Siege of Sarajevo. Beginning with the publication of her 1964 essay "Notes on 'Camp'" Sontag became an international cultural and intellectual celebrity.

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