Aasif Ahmad Shah
John Berger’s seminal work, Ways of Seeing, profoundly reshapes one’s perspectives on art and cognition. Having read this pivotal book briefly, I found its insights refreshing and empowering, fostering newfound confidence in my understanding of the world. Berger’s exploration of how we perceive and interpret art is a crucial validation of my experiences and perceptions, leading me to appreciate the multi-layered constructs that shape our everyday lives.
The idea that seeing precedes verbal expression is at the heart of Berger’s thesis. This concept implies that our initial, raw observations are then shaped by learned language and psychological frameworks. He argues that viewing the world is more potent than articulating balanced thoughts, suggesting that deep, solitary reflection can yield richer fruits than impulsive reactions. Those who engage in keen observation—not burdened by relentless external influences—are less susceptible to being swayed by dominant narratives. In contrast, individuals overwhelmed by persuasive ideas may succumb to anxiety and frustration. Thus, a mindful approach to perception, where observation precedes judgment, is critical and a path to heightened awareness and consciousness.
Berger also introduces the dichotomy of production versus reproduction in art. An artist’s original creation is often a unique reflection of their perception and perspective, whereas reproductions—be it photographs or digital copies—can dilute the essence of the artwork. While the original holds intrinsic value, reproductions diminish its market worth. As technology evolves, art is increasingly commodified, leading to a situation where authenticity is often sacrificed for accessibility. For instance, films that compile various artworks aggravate this dilution, as they compel viewers to engage with multiple pieces collectively, overshadowing the individual significance of any single work. The relentless reproduction of art has resulted in a loss of appreciation for its unique historical and contextual significance, a fact that should make us all feel regretful and reflective.
In the second chapter, Berger meticulously examines gender inequalities reflected in art historically and contemporaneously. Traditional artworks frequently depict women as objects of desire, conditioned by societal expectations placed upon them. This lens highlights the male-dominated narratives that have historically subjugated women’s identities and expressions. For instance, the portrayal of nakedness often embodies the male gaze, a term coined by feminist film critic Laura Mulvey, which refers to how visual arts and literature depict the world and women from a masculine point of view, reinforcing the notion that women exist predominantly for male pleasure. Such representations dehumanise women, reducing them to mere vessels of sexual gratification.
Berger’s analysis of homosexuality also reveals how perceptions have evolved—or regressed—through time. Some contemporaries still view it as a deviation from the norm, while others embrace it as a natural variation of human sexuality. This perception is further complicated by entrenched societal and religious beliefs that perpetuate discrimination and stigma. Even with advancements in understanding, those with rigid preconceptions may resist the acceptance of homosexuality as an inherent aspect of human diversity.
A key aspect of Berger’s analysis involves the abstraction present in the representation of women in art. The various body parts depicted in a single painting often amalgamate multiple women’s experiences and struggles rather than representing one individual. This abstraction serves to highlight the collective plight of women in patriarchal societies, illuminating their suffering within the rigid confines of social norms. Men’s perceptions of women are often coloured by utilitarian views—valuing women for their domestic roles, physical attractiveness, or compliance with societal expectations. The multitude of experiences represented within a single work of art can serve as a powerful commentary on the societal structures that govern women’s lives.
The reaction against art from certain religious and conservative groups, such as the ‘Mullahs,’ underscores the tension between artistic expression and societal norms. The ‘Mullahs’ are spiritual leaders in Islamic communities who often interpret and enforce strict religious laws. Art’s potential to challenge male dominance and question established norms poses a threat to those entrenched in traditional power structures. Thus, art has historically functioned as a medium of protest, seeking to convey themes of equality and empowerment, often inciting backlash from ruling classes resistant to change.
Berger also emphasises the commodification of art in capitalist societies. The commodification of art refers to the process of turning art into a commodity, where its value is often dictated by the ruling class, creating barriers for artists from lower socio-economic backgrounds who wish to express their narratives and critiques. This economic stratification in the art world reveals a broader societal pattern where access to cultural capital is limited to the affluent. As a result, the art produced often aligns more closely with the desires and tastes of the elite than with the lived experiences of marginalised communities.
Moreover, Berger’s exploration of the relationship between art and publicity unveils how consumer culture influences perceptions. Publicity shapes aspirations and consumer identities, weaving narratives that compel individuals to associate personal fulfilment with material possessions. Such messages often mislead consumers, fostering dissatisfaction with their present circumstances while promoting an unattainable ideal rooted in Consumerism. Publicity operates on inherent human desires, creating illusions of choice largely contingent on one’s economic capacity.
This notion of commodification intersects starkly with the themes explored in Tariq Ali’s ‘The Obama Syndrome: Surrender at Home, War Abroad’. Ali critiques the American political landscape, illustrating how mass perception is manipulated through a well-orchestrated narrative. Americans believe they operate within a free and progressive society, unaware of the significant constriction imposed by political and media entities. The relentless routine of daily life fosters a detachment from global realities, leading to a narrow understanding of international relations and conflicts.
Tariq Ali elaborates on how the government frames military interventions such as those in Iraq and Afghanistan as efforts to establish stability. Yet, they ultimately inflict suffering and chaos on the invaded regions. The American public’s perception—shaped by propaganda—creates a dichotomy between the benevolent intentions purported by their government and the destructive consequences of military actions. This contrast illustrates how the same events can be viewed through vastly different lenses, highlighting the importance of context in shaping societal understanding.
The cover of Ali’s book, The Obama Syndrome: Surrender at Home, War Abroad, serves as a visual cue for navigating these complex issues. It emphasises the interplay between art, politics, and perception, suggesting that to grasp the implications of modern governance and societal structures truly, one must engage critically with one’s observations and the narratives presented to them.
In conclusion, art remains a potent tool for understanding and interpreting societal constructs. However, its accessibility and relevance are often confined to the privileged classes. The narratives embedded within artistic expressions highlight the ongoing struggles against oppression and inequity, yet they are frequently overlooked or misunderstood. The current state of art necessitates a more profound, holistic comprehension. As we navigate the complexities of modern governance and capitalist societies,
it becomes imperative to leverage art as a means of advocacy, employing its power to illuminate the realities and challenges marginalised communities face. Art transcends mere aesthetic appreciation; it serves as a vehicle for fostering empathy, understanding, and social change.
By re-examining both Berger’s and Ali’s arguments, we can reshape our perceptions, prompting a shift in the collective consciousness towards a more inclusive and equitable society. Art can galvanise action and resist oppression, urging us to confront the structures constraining our understanding and experiences of the world.
Author is Independent Researcher, Masters in Sociology and Alumnus of Jamia Millia Islamia University, New Delhi. He can be mailed at pirasif@live.com
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