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“Male fantasies, male fantasies, is everything run by male fantasies? Up on a pedestal or down on your knees, it's all a male fantasy: that you're strong enough to take what they dish out, or else too weak to do anything about it. Even pretending you aren't catering to male fantasies is a male fantasy: pretending you're unseen, pretending you have a life of your own, that you can wash your feet and comb your hair unconscious of the ever-present watcher peering through the keyhole, peering through the keyhole in your own head, if nowhere else. You are a woman with a man inside watching a woman. You are your own voyeur.”
― Margaret Atwood, The Robber Bride

“When identity is derived from projecting an image in the public realm, something is lost, some core of identity diluted, some sense of authority or interiority sacrificed. It is time to question the false equivalency between not being seen and hiding. And time to reevaluate the merits of the inconspicuous life, to search out some antidote to continuous exposure, and to reconsider the value of going unseen, undetected, or overlooked in this new world. Might invisibility be regarded not simply as refuge, but as a condition with its own meaning and power? Going unseen may be becoming a sign of decency and self-assurance. The impulse to escape notice is not about complacent isolation or senseless conformity, but about maintaining identity, propriety, autonomy, and voice. It is not about retreating from the digital world but about finding some genuine alternative to a life of perpetual display. It is not about mindless effacement but mindful awareness. Neither disgraceful nor discrediting, such obscurity can be vital to our very sense of being, a way of fitting in with the immediate social, cultural, or environmental landscape. Human endeavor can be something interior, private, and self-contained. We can gain, rather than suffer, from deep reserve.”
― Akiko Busch, How to Disappear: Notes on Invisibility in a Time of Transparency