Sense of Sight by John Berger

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By John Berger

With this provocative and infinitely relocating choice of essays, a preeminent critic of our time responds to the profound questions posed by means of the visible international. For while John Berger writes approximately Cubism, he writes not just of Braque, Léger, Picasso, and Gris, yet of that amazing second early during this century while the realm converged round a marvelouis feel of promise. whilst he appears to be like on the Modigiliani, he sees a man's countless love revealed in the elongated traces of the painted figure.

Ranging from the Renaissance to the conflagration of Hiroshima; from the Bosphorus to ny; from the woodcarvers of a French village to Goya, Dürer, and Van Gogh; and from inner most stories of affection and of loss to the key political upheavals of our time, The feel of Sight encourages us to determine with an identical breadth, braveness, and ethical engagement that its writer does. 

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Rather, each one of us is a project and a story, like a beam of light in search of focus, always extending toward something other. Otherness is part of our essence, the void that we are and yet are not. This void ahead of us, something or someone that calls us to be ourselves, is inspiration. The very aspiration of the artist, a moving forward thrust of the imagining self, goes beyond itself to encounter itself, deconstructing the egocentric I in order to find itself engaged in a fuller wholeness.

Foregrounded from the confusion of everyday life by artworks of diverse genres, the space of Eros and Limits 33 desire would allow readers and spectators to experience the site of a meaningful existence. In erotic narratives such as Longus’s Daphnis and Chloe, this space was maintained with countless ordeals and rivals that separate the lover and beloved. 7 Eros is intertwined with human, mortal time. Eros is indeed a twin of Thanatos. Renaissance authors would later observe that “the cause of death is love,” quoting the Neoplatonic writings of Hermes Trismegistus.

Igor Stravinky, Poetics of Music in the Form of Six Lessons (trans. Arthur Knodel and Ingolf Dahl) Surrealism did not deny inspiration, an exceptional state: it affirmed that it was common property. Poetry requires no special talent but rather a kind of spiritual daring, an unbinding that is also an unwinding. Octavio Paz, “Signs in Rotation” (trans. Ruth L. C. Simms) After all of this, what can we say about contemporary architectural creation? Is inspiration a mere anachronism? Even in cultural contexts where design is highly appreciated, society may be suspicious of it.

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