A Quote by Susan Sontag

The particular qualities and intentions of photographs tend to be swallowed up in the generalized pathos of time past. — © Susan Sontag
The particular qualities and intentions of photographs tend to be swallowed up in the generalized pathos of time past.
It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt
Photographs are diary entries That's all they can be. Photographs are just documentations of a day's event. At the same time, they drag the past into the present and also continue into the future. A day's occurrence evokes both the past and the future. That's why I want to clearly date my pictures. It's actually frustrating, that's why I now photograph the future
The teaching on karma starts with the principle that people experience happiness and sorrow based on a combination of their past and present intentions. If we act with unskillful intentions either for ourselves or for others, we’re going to suffer. If we act with skillful intentions, we’ll experience happiness. So if we want to be happy, we have to train our intentions to always be skillful.
I expressed skepticism, in the first chapter, about the utility of time machines in historical research. I especially advised against graduate students relying on them, because of the limited perspective you tend to get from being plunked down in some particular part of the past, and the danger of not getting back in time for your orals.
To consider the matter aright, reason is nothing but a wonderful and unintelligible instinct in our souls, which carries us along a certain train of ideas, and endows them with particular qualities, according to their particular situations and relations. This instinct, 'tis true, arises from past observation and experience; but can anyone give the ultimate reason, why past experience and observation produces such an effect, any more than why nature alone should produce it?
The 1970s was the decade of liberation, of anger at injustice and demands for recognition and rights. But over time, the demand for specific rights degraded into a generalized sense of entitlement, the demand for specific recognition into a generalized demand for attention and the anger at specific injustice into a generalized feeling of grievance and resentment. The result is a culture of entitlement, attention-seeking and complaint.
All of the qualities that you need to be a good opinion columnist tend to be qualities that aren't valued in women.
I don't consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
My camera, my intentions stopped no man from falling. Nor did they aid him after he had fallen. It could be said that photographs be damned for they bind no wounds. Yet, I reasoned, if my photographs could cause compassionate horror within the viewer, they might also prod the conscience of that viewer into taking action.
We are being swallowed up by the popular culture of the United States, but then the Americans are being swallowed up by it too. It's just as much a threat to American culture as it is to ours.
The aesthetic discussion of photography is dominated by the concept of time. Photographs appear as devices stopping time and preserving fragments of the past, like flies in amber.
Your musical soul is like facets of a jewel, and you stick out one facet at a time ... (and) I tend to work real hard on whatever it is I do, to get it up to speed, up to a professional level. I tend to bury myself in one thing for years at a time.
Beyoncé and pathos are strangers. Amy Winehouse and pathos are flatmates, and you should see the kitchen.
Our intentions tend to be much more real to us than our actions, and this can lead to a great deal of misunderstanding with other people, to whom our actions tend to be much more real than our intentions.
The ostensible subject of my photographs may be motion, but the subtext is time. A dancer's movements illustrate the passage of time, giving it a substance, materiality, and space. In my photographs, time is stopped, a split second becomes an eternity, and an ephemeral moment is solid as sculpture.
I believe that just as everyone inherits a particular form so does he inherit the particular characteristics and qualities of his progenitors, and to make this admission is to conserve one's energy.
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