In the first stages of the industrial revolution, animals were used as machines. As also were children. Later, in the so-called post-industrial socie… - John Berger

According to usage and conventions which are at last being questioned but have by no means been overcome, the social presence of a woman is different in kind from that of a man. A man’s presence is dependent upon the promise of power which he embodies. If the promise is large and credible his presence is striking. If it is small or incredible, he is found to have little presence. The promised power may be moral, physical, temperamental, economic, social, sexual – but its object is always exterior to the man. A man’s presence suggests what he is capable of doing to you or for you. His presence may be fabricated, in the sense that he pretends to be capable of what he is not. But the pretence is always towards a power which he exercises on others.
By contrast, a woman’s presence expresses her own attitude to herself, and defines what can and cannot be done to her. Her presence is manifest in her gestures, voice, opinions, expressions, clothes, chosen surroundings, taste – indeed there is nothing she can do which does not contribute to her presence. Presence for a woman is so intrinsic to her person that men tend to think of it as an almost physical emanation, a kind of heat or smell or aura.

Seeing comes before words. The child looks and recognizes before it can speak.
But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.

Yet why should an artist's way of looking at the world have any meaning for us? Why does it give us pleasure? Because, I believe, it increases our awareness of our own potentiality. Not of course our awareness of our potentiality as artists ourselves. But a way of looking at the world implies a certain relationship with the world, and every relationship implies action. The kind of actions implied vary a great deal. ... A work of art can, to some extent, increase an awareness of different potentialities in different people. The important point is that a valid work of art promises in some way or another the possibility of an increase, an improvement. Nor need the word be optimistic to achieve this; indeed, its subject may be tragic. For it is not the subject that makes the promise, it is the artist's way of viewing his subject. Goya's way of looking at a massacre amounts to the contention that we ought to be able to do without massacres.