John Berger Quotes (47 Quotes)

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.

Today the discredit of words is very great. Most of the time the media transmit lies. In the face of an intolerable world, words appear to change very little. State power has become congenitally deaf, which is why but the editorialists forget it terrorists are reduced to bombs and hijacking.

We only see what we look at. To look is an act of choice.

Modern thought has transferred the spectral character of Death to the notion of time itself. Time has become Death triumphant over all.

Compassion has no place in the natural order of the world which operates on the basis of necessity. Compassion opposes this order and is therefore best thought of as being in some way supernatural.

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.

Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present.

Men act and women appear. Men look at women. Women watch themselves being looked at.

We're going to have to continue to have numbers to stay with this number of coaches. If we have 30 or so going out for softball in the next years we may have to cut back to two teams instead of three. The numbers will indicate if we continue to chase this thing. 15 members on a team isn't too many when you're playing double headers. We need to do this before we set the schedule. It's too late to start cutting back now.

Glamour cannot exist without personal social envy being a common and widespread emotion.

One of the fundamental reasons why so many doctors become cynical and disillusioned is precisely because, when the abstract idealism has worn thin, they are uncertain about the value of the actual lives of the patients they are treating. This is not because they are callous or personally inhuman it is because they live in and accept a society which is incapable of knowing what a human life is worth.

I can't tell you what art does and how it does it, but I know that often art has judged the judges, pleaded revenge to the innocent and shown to the future what the past suffered, so that it has never been forgotten. . . .

A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements are connected by an and not by a but.

All photographs are there to remind us of what we forget. In this -- as in other ways -- they are the opposite of paintings. Paintings record what the painter remembers.

Autobiography begins with a sense of being alone. It is an orphan form.

The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich.

We came back from Labor Day, and the interest has just exploded, ... It's just going to get more and more from here unless crude just takes a bath. That doesn't look likely anytime soon.

All nationalisms are at heart deeply concerned with names with the most immaterial and original human invention. Those who dismiss names as a detail have never been displaced but the peoples on the peripheries are always being displaced. That is why they insist upon their continuity -- their links with their dead and the unborn.

One can say of language that it is potentially the only human home, the only dwelling place that cannot be hostile to man.

A man's death makes everything certain about him. Of course, secrets may die with him. And of course, a hundred years later somebody looking through some papers may discover a fact which throws a totally different light on his life and of which all the people who attended his funeral were ignorant. Death changes the facts qualitatively but not quantitatively. One does not know more facts about a man because he is dead. But what one already knows hardens and becomes definite. We cannot hope for ambiguities to be clarified, we cannot hope for further change, we cannot hope for more. We are now the protagonists and we have to make up our minds.

I knew I'd been living in Berkeley too long when I saw a sign that said 'Free firewood and my first thought was Who was Firewood and what did he do.

Compare the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.

The envied are like bureaucrats the more impersonal they are, the greater the illusion (for themselves and for others) of their power.

There is tremendous demand for this type of service. The main reason for all of this is that it will improve patient care. They get an expert who's awake during the daytime to look at those results.

Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.

The past grows gradually around one, like a placenta for dying.

Nothing in the nature around us is evil. This needs to be repeated since one of the human ways of talking oneself into inhuman acts is to cite the supposed cruelty of nature.

What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.

You can plan events, but if they go according to your plan they are not events.

That we find a crystal or a poppy beautiful means that we are less alone, that we are more deeply inserted into existence than the course of a single life would lead us to believe.

The spectator-buyer is meant to envy herself as she will become if she buys the product. She is meant to imagine herself transformed by the product into an object of envy for others, an envy which will then justify her loving herself.

Nothing fortuitous happens in a child's world. There are no accidents. Everything is connected with everything else and everything can be explained by everything else. . . . For a young child everything that happens is a necessity.

When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss. It was more than that. It was the period in which we suffered more total losses than in all the rest of our life put together.

Ours is the century of enforced travel of disappearances. The century of people helplessly seeing others, who were close to them, disappear over the horizon.

Emigration, forced or chosen, across national frontiers or from village to metropolis, is the quintessential experience of our time.

The media network has its idols, but its principal idol is its own style which generates an aura of winning and leaves the rest in darkness. It recognizes neither pity nor pitilessness.

Every city has a sex and an age which have nothing to do with demography. Rome is feminine. So is Odessa. London is a teenager, an urchin, and, in this, hasn't changed since the time of Dickens. Paris, I believe, is a man in his twenties in love with an older woman.

What makes photography a strange invention is that its primary raw materials are light and time.

Publicity is the life of this culture - in so far as without publicity capitalism could not survive - and at the same time publicity is its dream.

Never chain your dogs together with sausages. One must accustom one's self to be bored.

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.

Common-sense is part of the home-made ideology of those who have been deprived of fundamental learning, of those who have been kept ignorant. This ideology is compounded from different sources items that have survived from religion, items of empirical knowledge, items of protective skepticism, items culled for comfort from the superficial learning that is supplied. But the point is that common-sense can never teach itself, can never advance beyond its own limits, for as soon as the lack of fundamental learning has been made good, all items become questionable and the whole function of common-sense is destroyed. Common-sense can only exist as a category insofar as it can be distinguished from the spirit of inquiry, from philosophy.

As an industry we have become over-reliant on analytics.

Finding a new job can be a frightening and stressful experience. I've been there myself and know how it feels. We created The Career Elevator to give people the tools they need to gain self-confidence and career direction.

The human imagination... has great difficulty in living strictly within the confines of a materialist practice or philosophy. It dreams, like a dog in its basket, of hares in the open.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

Sometimes, because of its immediacy, television produces a kind of electronic parable. Berlin, for instance, on the day the Wall was opened. Rostropovich was playing his cello by the Wall that no longer cast a shadow, and a million East Berliners were thronging to the West to shop with an allowance given them by West German banks At that moment the whole world saw how materialism had lost its awesome historic power and become a shopping list.