Sublime

In John Berger’s Ways of Seeing, Berger describes the relation between what we see and what we know, more precisely arguing that what we know impacts what we see (and vice versa). Talking about the ubiquitous abundance of images and their increasingly ephemeral, insubstantial, and available meaning, he says, “If the new language of images were used

to whom does the meaning of the art of the past properly belong?

Trafalgar Square.

When a painting is reproduced by a film camera it inevitably becomes material for the film-maker’s argument.

Erhard Frommhold