Berger On Drawing Quotes

We who draw do so not only to make something visible to others, but also to accompany something invisible to its incalculable destination.

A drawing of a tree shows not a tree but a tree being looked at

Everything in life, is a question of drawing a life, John, and you have to decide for yourself where to draw it. You cant draw it for others. You can try, of course, but it doesn't work. People obeying rules laid down my somebody else is not the same thing as respecting life. And if you want to respect life, you have to draw a line.

Drawing is a form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.

There is a symbiotic desire to get closer and closer, to enter the self of what is being drawn, and, simultaneously, there is the foreknowledge of immanent distance. Such drawings aspire to be both a secret rendezvous and an au revoir! Alternately and ad infinitum.

When I'm drawing - and here drawing is very different from writing or reasoning - I have the impression at certain moments of participating in something like a visceral function, such as digestion or sweating, a function that is independent of the conscious will. This impression is exaggerated, but the practice or pursuit of drawing touches, or is touched by, something prototypical and anterior to logical reasoning.

A drawing is a translation. That is to say each mark on the paper is consciously realted, not only to the real or imagined "model", but also to every mark and space already set out on the paper. Thus a drawn or painted image is woven together by the energy (or the lassitude, wen the drawing is weak) of countless judgements [sic]. Every time a figuration is evoked in a drawing, everything about it has been mediated by consciousness, either intuitively or systematically.

Just after the Second World War Picasso bought a house in the South of France and paid for it with one still-life. Picasso has now in fact transcended the need for money. Whatever he wishes to own, he can acquire by drawing it. The truth has become a little like the fable of Midas.

In the imaginative movement which prompts the impulse to draw repeats implicitly the same pattern...there is a symbiotic desire to get closer and closer, to enter the self of what is being drawn, and, simultaneously, there is the foreknowledge of immanent distance. Such drawings aspire to be both a secret rendezvous and a au-revoir! Alternately and at infinitum.

Don’t come to someone with feedback (or a problem) unless you have one or more solutions—In this approach the responsibility lies with the person giving the feedback to also come up with the best solution for acting on the feedback. That sounds totally reasonable and helpful: you’re telling people about the problem and the solution in one bite. • The feedback sandwich—You know this one. You open with good news, slip in some bad news, and then close with good news. That way, the person in front of you is opened up for the bad news by hearing the good news and still likes you in the end because you’ve closed with something good.6 And we’re supposed to give more positive feedback than negative feedback (the best ratio is at least 3:17), so this puts us well on our way to that. • Socratic questioning—Here, you leave people to draw their own conclusions by simply asking a set of helpful questions to take them to the realization that there’s an issue (and the hope is that they’ll then ask you for a solution or even stumble on your solution and offer it up as if it were their own). This, we’re told, increases ownership of the issue because the other person—the person needing to change—came up with the idea himself.

The cocker had a way of looking up at you, head perked a little to one side, one ear drooping properly forward but the other turned coquettishly back, and with an arch, quizzical expression of countenance which had all the effect of a keen appreciation of the humors of life; and was potent to draw out affection in everyone save those unfortunates condemned by an inscrutable fate to indifference toward man's best friend among brute kind. - Richard Burton, Three of a Kind

The past is never there waiting to be discovered, to be recognized for exactly what it is. History always constitutes the relation between a present and its past. The past is not for living in; it is a well of conclusions from which we draw in order to act.

The past is not for living in; it is a well of conclusions from which we draw in order to act.

It can be a relief to know that, in coming up with fresh ideas, we don’t have to invent from scratch; we can draw upon what already exists and use that as raw material. The key may lie in connecting those bits and pieces in a clever, unusual, and useful way, resulting in (to use a term that seems to have39 originated with the British designer John Thackara) smart recombinations.

This is not to say that before the invention of the camera men believed that everyone could see everything. But perspective organized the visual field as though that was indeed the ideal. Every drawing or painting that used perspective proposed to the spectator that he was the unique centre of the world. The camera - and more particularly the movie camera - demonstrated that there was no centre.

Everything in life, is a question of drawing a line, John, and you have to decide for yourself where to draw it. You can't draw it for others. You can try, of course, but it doesn't work. People obeying rules laid down my somebody else is not the same thing as respecting life. And if you want to respect life, you have to draw a line.

Turn actions into identities. Asking for help or trying to persuade someone to do something? Turn that verb (“Will you help?”) into a noun instead (“Will you be a helper?”). Framing actions as opportunities to confirm desired identities will encourage people to go along. Change can’ts to don’ts. Having trouble sticking to your goals or resisting temptation? Rather than saying “I can’t,” try saying “I don’t” instead (e.g.,“I don’t eat sweets right now”). Doing this increases our feeling of empowerment and makes us more likely to achieve our goals. Turn shoulds into coulds. Want to be more creative or come up with a creative solution to a tough problem? Rather than asking what we should do, ask what you could do instead. This encourages divergent thinking and helps us get out of that rut. Talk to yourself. Nervous about a big presentation or trying to psych yourself up for a big interview? Try talking to yourself in the third person (“You can do it!”). It distances us from tough situations, reducing anxiety and increasing performance. Pick your pronouns. And whether trying to get someone’s attention, or not fight with a spouse, think carefully about how to use pronouns like “I” and “you.” They can draw attention and take ownership, but they also suggest responsibility and blame.

So asking for advice can make us look smart because it strokes the advice giver’s ego. Rather than thinking we’re not capable or are stupid for asking, advice givers draw a very different conclusion: “Of course my opinions are valuable, so this person is smart for asking for them.”*

On customer support pages, however, drawing attention isn’t as necessary because people are already there. They went to the support page because they have a question, or a problem they’re trying to solve, so their attention is already focused on the content.

Over the next seven years, the group [Weather Underground] claimed credit for more than two dozen bombings of high-profile targets such as the Pentagon, numerous courthouses and police stations, the U.S. Agency for International Development, and several corporations involved in the coup in Chile or colonialism in Angola. Weather articulated a politics of solidarity that demanded a high level of sacrifice by whites in support of Black and other revolutionary people of color. This support emanated from a strategic belief, pioneered by Che Guevara, that U.S. imperialism could be defeated through overextension; bombings were an attempt to pierce the myth of government invincibility and draw repressive attention away from the Panthers and similar groups. It also reflected a political position that said white people had to side with Third World struggles against the U.S. government—and had to do so in a similarly dramatic way.