While I write this essay, Renata Poljak’s work All One Knows is still in the pro cess of being realized, and in this situation of uncertain outcome, in which the interpretative projection of the artist’s desire interlocks with the projec tion of my desire, I try to persuade myself that we are moving over the same terrain. But All One Knows actually troubles me with the doubt of claiming the opposite-that in the field of ideology, which is especially concerned with the production of meaning and the field of the symbolic, nothing is to be taken for granted.
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