The images are like the weather or the climate in which viewers live. The frequency and omnipresence provide the sense of a parade, although a viewer moves past them except for television. These ways of seeing, in turn, produce an artificial and corrupt understanding of the self and the world, while simultaneously posing themselves as natural, inherent, and indisputably true. Generally, a viewer passes the publicity images while walking, driving, riding, or reading. The corrosive ideology of capitalism instantiates itself by producing distinct manners of interpreting the visual world, or ways of seeing. The common element indicated by the author is that the images do not address the present, always point to the future, and often use the past to do so. These images are momentary, ever-present everywhere and constantly changing as one experiences modern daily life. Berger refers to them as visual messages and publicity images. This photo includes a mannequin, buildings, and billboard advertising among other items in a typical city view. Chapter seven begins with a photograph by Sven Blomberg, showing several contemporary advertising items reflected in reverse on an apparent store display window.
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