Frases de John Berger

“En la historia siempre hay terrores nuevos, aun cuando algunos desaparezcan, pero no hay nuevas dichas, la dicha es siempre antigua.”

“En el pueblo, la diferencia entre lo que se sabe sobre una persona y lo que se desconoce de ella es mínima. Puede haber cierto número de secretos bien guardados, pero, en general, apenas existe el engaño: es casi imposible.
El conocimiento que tiene el pueblo de cada individuo no es mucho menor que el de Dios, aunque su juicio sea diferente. La curiosidad, en el sentido de fisgar o entremeterse, es así escasa, pues no hay necesidad de ella.
Lo misterioso no es lo que se oculta de forma deliberada, sino, como ya he señalado, el hecho de que la gama de lo posible siempre pueda sorprendernos. Y por ello, tampoco hay apenas representación; los campesinos no "representan papeles" como lo hacen los personajes urbanos. Esto no se debe a que sean "sencillos" o más sinceros o menos astutos; simplemente el espacio entre lo que se desconoce de una persona y lo que todo el mundo sabe de ella - y éste es el espacio de la representación - es demasiado pequeño.”

“Los tangos están hechos por pedazos de vida que han sobrevivido por casualidad”

“Alguna vez pensamos que la esperanza llegaría como una estrella caída del cielo, pero nos equivocábamos. Y es por eso que esa simple dicotomía implícita en la pregunta: ¿Es usted optimista o pesimista?, me parece tan estúpida. Es un ejemplo perfecto de un pensamiento perezoso. La esperanza o la fe sólo surgen en la oscuridad o en la desesperación.”

“En cuanto una habitación es habitada por una mujer, su techo se curva. ¿No te has dado cuenta? Si la mujer es desdichada en esa habitación, el techo cae como una manga rota.”

“La necesidad de producir más y más focos de resistencia es muy grande y esos nuevos focos ni siquiera tienen hoy modelos históricos. De modo que pueden surgir incluso entre un escritor y un lector, entre miles de personas en una ciudad o en las montañas de Chiapas. No puedo olvidarme de eso. Y no se trata de una virtud personal, sólo que no soy ciego.”

“La esperanza es un acto de fe y debe ser respaldada por acciones concretas.”

“Este sistema despoja al individuo del futuro -nadie piensa en el futuro- y lo obliga a ignorar el pasado como algo prescindible que puede ser tirado como una hoja de afeitar usada.”

“El objetivo de los beligerantes es la conquista del mundo entero a través del mercado.”

“El acto de resistencia significa no sólo la negativa a aceptar lo absurdo del mundo de la imagen que se nos ofrece, sino también su enunciación.”

“Se oyeron disparos en la calle mayor. A ver así, susurraste. Y de pronto comprendí que en las máquinas que fabrican los hombres hay unos circuitos de ingenio que se pueden compartir, que unas mentes comparten con otras. Igual que se comparte la poesía. Lo vi en el dorso de tus manos. Ninguna palabra me ha tranquilizado tanto como lo hicieron tus manos en ese momento. Oímos las órdenes que voceaban por el megáfono abajo en la calle. Alzaste la vista y me miraste, asentiste y entonces me hiciste un guiño con uno de tus ojos doloridos.”

“Fuera de las iglesias la gente se olvida de los pecados capitales, pero creo que el pecado de nuestro tiempo es la pereza. Y obviamente no me refiero a los desocupados, sino a la gran tentación del hombre actual por no comprometerse.”

“The relation between what we see and what we know is never settled. Each evening we see the sun set. We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.”

“Men look at women. Women watch themselves being looked at.”

“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.”

“You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting “Vanity,” thus morally condemning the woman whose nakedness you had depicted for you own pleasure.”

“A man's presence suggests what he is capable of doing to you or for you. By contrast, a woman's presence… defines what can and cannot be done to her.”

“The past is the one thing we are not prisoners of. We can do with the past exactly what we wish. What we can't do is to change its consequences.”

“Your lips, beloved, are like a honeycomb: honey and milk are under the tongue. And the smell of your clothes is like the smell of my home.”

“To remain innocent may also be. to remain ignorant.”

“If every event which occurred could be given a name, there would be no need for stories.”

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

“When in love, the sight of the beloved has a completeness which no words and no embrace can match: a completeness which only the act of making love can temporarily accommodate”

“History always constitutes the relation between a present and its past. Consequently fear of the present leads to mystification of the past”

“Whenever the intensity of looking reaches a certain degree, one becomes aware of an equally intense energy coming towards one through the appearance of whatever it is one is scrutinizing.”

“All publicity works upon anxiety.”

“Animals are born, are sentient and are mortal. In these things they resemble man. In their superficial anatomy — less in their deep anatomy — in their habits, in their time, in their physical capacities, they differ from man. They are both like and unlike.”

“The uniqueness of every painting was once part of the uniqueness of the place where it resided.”

“To be desired is perhaps the closest anybody in this life can reach to feeling immortal.”

“To be naked is to be oneself.
To be nude is to be seen naked by others and yet not recognised for oneself.”

“What any true painting touches is an absence - an absence of which without the painting, we might be unaware. And that would be our loss.”

“Never again shall a single story be told as though it were the only one.”

“I was scared of one thing after another. I still am.
Naturally. How could it be otherwise? You can either be fearless or you can be free, you can’t be both.”

“Yet why should an artist's way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality. Not of course our awareness of our potentiality as artists ourselves. But a way of looking at the world implies a certain relationship with the world, and every relationship implies action. The kind of actions implied vary a great deal. … A work of art can, to some extent, increase an awareness of different potentialities in different people. The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement. Nor need the word be optimistic to achieve this; indeed, its subject may be tragic. For it is not the subject that makes the promise, it is the artist's way of viewing his subject. Goya's way of looking at a massacre amounts to the contention that we ought to be able to do without massacres.”

“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 in that sentence are connected by an and and not by a but.”

“Publicity is usually explained and justified as a competitive medium which ultimately benefits the public (the consumer) and the most efficient manufacturers - and thus the national economy. It is closely related to certain ideas about freedom: freedom of choice for the purchaser: freedom of enterprise for the manufacturer. The great hoardings and the publicity neons of the cities of capitalism are the immediate visible sign of "The Free World." For many in Eastern Europe such images in the West sum up what they in the East lack. Publicity, it is thought, offers a free choice.”

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

“Nowhere in a zoo can a stranger encounter the look of an animal. At the most, the animal’s gaze flickers and passes on. They look sideways. They look blindly beyond. They scan mechanically. … That look between animal and man, which may have played a crucial role in the development of human society, and with which, in any case, all men had always lived until less than a century ago, has been extinguished. Looking at each animal, the unaccompanied zoo visitor is alone.”

“In the first stages of the industrial revolution, animals were used as machines. As also were children. Later, in the so-called post-industrial societies, they are treated as raw material. Animals required for food are processed like manufactured commodities. … This reduction of the animal … is part of the same process as that by which men have been reduced to isolated productive and consuming units. Indeed, during this period an approach to animals often prefigured an approach to man. The mechanical view of the animal’s work capacity was later applied to that of workers. F. W. Taylor who developed the “Taylorism” of timemotion studies and “scientific” management of industry proposed that work must be “so stupid” and so phlegmatic that he (the worker) “more nearly resembles in his mental makeup the ox than any other type.” Nearly all modern techniques of social conditioning were first established with animal experiments. As were also the methods of so-called intelligence testing. Today behaviourists like Skinner imprison the very concept of man within the limits of what they conclude from their artificial tests with animals.”