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And publicity is the process of manufacturing glamour. The state of being envied is what constitutes glamour. Publicity persuades us of such a transformation by showing us people who have apparently been transformed and are, as a result, enviable. This more, it proposes, will make us in some way richer - even though we will be poorer by having spent our money. It proposes to each of us that we transform ourselves, or our lives, by buying something more. Within publicity, choices are offered between this cream and that cream, that car and this car, but publicity as a system only makes a single proposal. Publicity is not merely an assembly of competing messages: it is a language in itself which is always being used to make the same general proposal.
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It is true that in publicity one brand of manufacture, one firm, competes with another but it is also true that every publicity image confirms and enhances every other.
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Publicity, it is thought, offers a free choice. The great hoardings and the publicity neons of the cities of capitalism are the immediate visible sign of 'The Free World'.įor many in Eastern Europe such images in the West sum up what they in the East lack.
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It is closely related to certain ideas about freedom: freedom of choice for the purchaser: freedom of enterprise for the manufacturer. 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. We are static they are dynamic - until the newspaper is thrown away, the television programme continues or the poster is posted over. Yet despite this, one has the impression that publicity images are continually passing us, like express trains on their way to some distant terminus.
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Usually it is we who pass the image - walking, travelling, turning a page on the tv screen it is somewhat different but even then we are theoretically the active agent - we can look away, turn down the sound, make some coffee. For example, the fact that these images belong to the moment but speak of the future produces a strange effect which has become so familiar that we scarcely notice it. But we accept the total system of publicity images as we accept an element of climate. A person may notice a particular image or piece of information because it corresponds to some particular interest he has. Engaging in conversations with each work of art allowed me to dig deeper into the actual meaning, or what could be the actual meaning, of each work.We are now so accustomed to being addressed by these images that we scarcely notice their total impact. Taking Berger’s suggestions I decided to take two works of art and analyze them in order not to be mystified by them any longer. Having a “conversation” with the painting can allow us to think of things that we would not have thought of otherwise. Asking the right questions can reveal facts about the painting that one may not have known otherwise. Becoming familiar withĪ painting requires that one submerges himself/herself in it and ask it questions. The paintings may first appear as silent pieces but one can change this. What we make of that painted moment when it is before our eyes depends upon what we expect of art, and that in turn depends today upon how we have already experienced the meaning of paintings through reproductions. This has the effect of closing the distance in time between the painting of the picture and one’s own act of looking at is. Even a reproduction hung on a wall is not comparable in this respect for in the original the silence and stillness permeate the actual material, the paint, in which one follows the traces of the painter’s immediate gestures. Original paintings are silent and still in a sense that information never is. The original work speaks to you in a way that a reproduction is not able to. The information that comes from the silence of a painting is only truly experienced when looking at the original work rather than a reproduction of it. According to John Berger in his essay “Ways of Seeing” the way that a painting is viewed by some may already be distorted prior to analyzing it because we are not viewing the original piece.