The strange power of art is sometimes it can show that what people have in common is more urgent than what differentiates them. It seems to me it's something that theatre can do, but it's rare; it's very rare.
John BergerRead
To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguises.
Interpretation
Nakedness expresses authenticity, while nudity objectifies the body.
John Berger's quote distinguishes between being naked and being nude. To be naked signifies a state of being genuine and vulnerable, where one reveals their true self without any barriers or pretenses. In contrast, to be nude involves being exposed physically in a manner that is more about how others perceive the body than the individual’s authenticity, often reducing the person to an object rather than recognizing their humanity.
In practice
In an art class discussing the human form, this quote emphasizes the importance of authenticity in representation.
The strange power of art is sometimes it can show that what people have in common is more urgent than what differentiates them. It seems to me it's something that theatre can do, but it's rare; it's very rare.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
We never look at just one thing; we are always looking at the relation between things and ourselves.
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast.
Being a unique superpower undermines the military intelligence of strategy. To think strategically, one has to imagine oneself in the enemy's place. If one cannot do this, it is impossible to foresee, to take by surprise, to outflank. Misinterpreting an enemy can lead to defeat. This is how empires fall.
I'm fairly certain when I die that the obituary will say, 'Author of 'Angels in America' dies.' Unless I'm completely forgotten, and then it won't say anything at all.
It's our job as fiction writers to provide a delight that nothing else can - to such a degree that people have no choice but to read our work. Now that's a very tall order, if not impossible. But why not try?
I aimed at the public's heart, and by accident I hit it in the stomach.
As a writer, I tend to be drawn to marginal people - writers, poet-prophets, seers, eccentrics - who embody the deeper ambivalences of their societies and bear deeper witness to their world than the famous figures we are used to celebrating, or demonizing, in our histories.
When I'm writing, the darkness is always there. I go where the pain is.
I'm not a classical player. I don't want to be a classical player. I love to improvise, because things happen that never happen anywhere else.
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