다른 방식으로 보기(Ways of Seeing)

Seeing comes before words. The child looks and recognizes before it can speak.

―p.7
 
The past is never there waiting to be discovered, to be recognized for exactly what it is. History always constitutes the relation between a present and its past. Consequently fear of the present leads to mystification of the past. The past is not for living in; it is a well of conclusions from which we draw in order to act.
―p.11
 
If the image is no longer unique and exclusive, the art object, the thing, must be made mysteriously so.
―p.23
 
The art of the past no longer exists as it once did. Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. This touches upon questions of copyright for reproduction, the ownership of art presses and publishers, the total policy of public art galleries and museums.
―p.33
 
And so she come sto consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman.
……One might simplify this by saying: men act and women appear.
―p.46, 47
 
She is not naked as she is.
She is naked as the spectator sees her.
 
To be naked is to be oneself.
To be nude is to be seen naked by others and yet not recognized for oneself.
 
To be naked is to be without disguise.
To be on display is to have the surface of one’s own skin, the hairs of one’s own body, turned into a disguise which, in that situation, can never be discarded.
―p.50, 54
 
We need the banality which we find in the first instant of disclosure because it grounds us in reality. But it does more than that. This reality, by promising the familiar, proverbial mechanism of sex, offers, at the same time, the possibility of the share subjectivity of sex.
―p.59
 
What is new and disconcerting here is the individualized presence which needs to suggest distance. Individualism finally posits equality. Yet equality must be made inconceivable.
―p.97
 
Usually it is we who pass the images―walking, different but even then we are theoretically the active agent―we can look away, turn own the sound, make some coffee. Yet despite this, one has the impression that publicity images some distant terminus. We are static; they are dynamic―until continues or the poster is posted over.
―p.130
 
Publicity persuades us of such a transformation by showing us people who have apparently been transformed and are, as a result, enviable. The state of being envied is what constitutes glamour. And publicity is the process of manufacturing glamour.
―p.131
 
They look out over the looks of envy which sustain them.
―p.133