Berger
When a photographer creates arrestingly vivid images which give the impression of being saturated in thought, he reminds us that perception is simultaneously dependent on sense impressions and driven by the desire to interpret them. Insofar as this realisation serves to undermine the myth of man’s domination of nature, or so Berger implies, it follows that photography has an important role to play in inculcating a new form of environmental responsibility.
Berger has a positively messianic belief in the ability of the arts to sharpen the individual sensibility and stimulate revolutionary change
As he has made clear in a number of his writings on art, Berger believes that men and women have suffered intolerable levels of existential anxiety over the last two centuries by adhering to a ‘linear’ understanding of time
What do these images mean? Berger is the first to admit that the ‘reader’ of a photographic narrative has greater interpretative freedom than the reader of a traditional story. Indeed, when he claims that ‘The reader is free to make his way own way through these images’ (Berger and Mohr, 1989a: 284), he sounds perilously close to a sort of poor man’s Roland Barthes who believes that the ‘writerliness’ of photographs makes them infinitely more democratic than the ‘readerliness’ of words.
For one thing they place a massive responsibility on the reader to cultivate a fusional relationship between him/herself and the other actors in the story. This is largely because the perceived discontinuities between photographs are so much greater than those between words: ‘The spectator (listener) becomes more active because the assumptions behind the discontinuities (the unspoken which bridges them) are more far-reaching’ (Berger and Mohr, 1989a: 287). Moreover, Berger also argues that photographic narratives will probably effect massive and beneficial changes to the way that stories portray human identity. Whereas ‘epic’ narratives depict the individual in a struggle with fate (and whereas the traditional novel shows him negotiating the relationship between public and private), stories told through the medium of photographs will tend to emphasize the ‘task of memory: the task of continually resuming a life being lived in the world’ (Berger and Mohr, 1989a: 287). By virtue of their defining commitment to the representation of the past, or so Berger seems to imply, photographic narratives emphasis the sheer importance of coming to terms with history
Simulacra. Force us to decide relation to old and new. What we watching. Mimicry or creation? Where does it like?Bringing Alice something past making new How does it seem to you? Each must decide
Open clear. Performers know. They making a price. The answer is clear for them. How we view.
1800. All performers. We watching Gender.Mother
Taught us to hear then to see Theatrical restraint Spiritual. Vile usurper Community. Song. Craft. Love. Not unlike Spartans unable to procreate Rock music theatre dance film Show us what art at home Can be.Communal
All the tools. Tech exposed Use of tech Intetfattiok I to performance Simulation as a structure spine from which to play.
Music metaphor Copy simulate, stimulate.
US structure could workJust used to impose and protect propertyFights about shipping versions growing. Manufacturing vs growing.
Expected south to grow much more populated.
Strange thing that not very populated southern states have so much influence in our country. Insistent on equal rep in senate. Almost walked out. Had to have it. Even though expected south to be more populated. All thought so. Didn’t prove true. Europeans immigrants stayed north didn’t want to compete against slave labor. Very thing that prot caring right to own other people kept Europe away.