Academic literature on the topic 'Ocularcentrism'

Scientific objective: The concept of ocularcentrism as the dominant ideology acts as a very important role within visual shaping photographic models of vision used by social media and photographic images. The paper focuses on the concept of ocularcentrism as the dominant effect of sight in visual culture, the problems of “ocularcentric discourse,” presented in forms of the “phono-logo-centrism” paradigm, and ocularcentric ways of seeing, or scopic regimes: “Cartesian perspectivalism,” the “Art of Describing,” “baroque vision,” and photographic models of vision that have been discussed in two theoretical contexts: Lev Manovich’s Software Studies and Cultural Analytics methods and Zygmunt Bauman’s consumer society theory that can be understood as the “embodied eye” and the “armed eye” concepts. Research methods: I suggest use of critical methods of Martin Jay’s Visual Studies in the perspective of the history of visuality from the ancient Greek to the philosophical, twentieth-century French thought, undertaking Software Studies and Cultural Analytics methods, in an analysis of the research project of Manovich’s “Phototrails,” as well as Bauman’s consumer society theory in an analysis of the photographic project of Alain Delorme’s “Totems.” Results and conclusions: I hope that exploring theoretical problems of visual culture will allow researchers to open a new field of reciprocal correspondence between the concept of ocularcentrism, photographic models of vision, Software Studies, and Cultural Analytics methods, as well as Bauman’s consumer society theory, based on possibility of coming to conclusions, posing questions, and hypotheses. Cognitive value: The paper is an attempt to make a contribution to the hitherto unexplored research on the concept of ocularcentrism as the dominant effect of sight, subjecting to analysis the research project of Manovich’s “Phototrails,” in the perspective of Software Studies and Cultural Analytics methods within “media visualizations,” as well as the photographic project of Delorme’s “Totems,” in the perspective of Bauman’s consumer society theory, consumerism, consumption, and social exclusion.

This article presents some fundamental matters in visual culture. Philosophy has been grappling with important issues of image and ocularcentrism. These matters have shaped and brought impacts on the world’s visual culture. On the one hand, an image with all its possible interpretations today tends to be captured as an object and not so much as something that is at the same time plural and moving. On the other hand, people’s way of seeing tends to be blurred by the ocularcentrism. This might be a crucial problem that brings significant implications on one of the most important aspects of human life, that is, art activity, and particularly on cinema. The author of this article invites the readers to be aware of the negative inclinations around the issues of image and ocularcentrism. Some of the important challenges in the cinematic world are how people continually reformulate their experience of an image and how the ocularcentrism character in our visual culture can be positioned in the heart of the matter. In an effort to respond to these challenges, one can approach philosophy in a different way in order to refresh his or her way of seeing that might have been tiresome and cloudy.

Abounding in visual metaphors and situations, Tolstoy's works are permeated with the conviction that it is the nature of truth to be seen. This attitude exemplifies the ocularcentrism that has characterized European thought since the Greeks, though the Tolstoyan corpus also displays some of the tension between ocularcentrism's eastern and western European recensions that obtains in the Russian context. The quintessential visual situation in Tolstoy is emphatically perspectival—despite the attractions of more “Russian” ways of seeing. The scenes constituting that situation work, in a way reminiscent of the camera obscura, to present life in an intellectually and morally apprehensible form by turning it into a planar visual surface. Ultimately Tolstoy's impulse can be linked with the material nature of books, which foster this very kind of experience when the eye is trained on the page, and this linkage has implications for Russian culture as well as for the relation between the verbal and the visual in general.

Blind Canadians experience higher rates of unemployment, social isolation, and poverty than sighted Canadians. Examining what influences opportunities can help to identify the factors that disable blind people. During initial analysis, stigma and ocularcentrism emerged as important factors. Thus, this article examines how stigma operates culturally, socially, politically, and economically to shape opportunities among blind adults. Data were collected through in-depth, semi-structured interviews with six legally blind participants (visual acuity of 20/200 or below), aged 19–65 years. Thematic analysis was employed to understand the common and diverging narratives of participants. Within participant narratives, ocularcentrism is found to contribute to stigmatization at societal, interpersonal, and internalized levels. Opportunities are experienced within this context, and the stigmatization experienced both shaped and was shaped by participation in activities. It is imperative that a closer look is given to how stigma shapes the opportunities for blind people, so that individuals, teachers, practitioners, and policy makers can develop relevant and effective interventions and can challenge stigmatization.

O diálogo entre a visualidade, a história da arte e os meios tecnológicos norteia este estudo. Para tanto, observamos alguns dispositivos maquínicos e sua aplicação na produção e divulgação de imagens. Desde os tempos da Renascença, a representação visual do espaço vem recebendo um impacto direto das tecnologias de geração e reprodução de imagem no contexto da arte e da comunicação. Na pintura, em uma fase inicial, o registro ótico deu-se por meio da perspectiva central, instrumento gráfico eficaz que deu corpo ao conceito de espaço analógico. A partir daí, dissertamos sobre as mutações dos modelos de visão, os dispositivos que, no campo da técnica e da ciência, contribuíram para novas formas de representação visual e espacial. Na época contemporânea, a tecnologia digital associada às telecomunicações propiciou à arte e às mídias uma nova forma visual chamada intervisualidade, caracterizada pela capacidade de ultrapassar as mídias individuais e agregar diversos formatos em uma única visão.
The dialogue between visuality, art history and technological media guides this study. To conduct the investigation, we have observed some mechanical and electronic devices and their application in the production and dissemination of images. Since Renaissance times, the visual representation of space has receivied a directly impact by image generation processes and reproduction technology, in the context of art and communication. In painting, at an early stage, optical representation took place through central perspective, an effective graphic tool that gave substance to the concept of analogic space. From that point on, we talk about the evolution of possible models of vision, devices in the field of technology and science, which have contributed to new forms of visual and spatial representations. At contemporary times, digital technology associated with telecommunications provided, both to art and media, a new visual format called intervisuality, characterized by its potential to transcend individual media aggregating diverse media into an unique vision.

This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis
Master of Arts (Hons)

The purpose of this study is to investigate the potential contrariety between the concepts of art and music, and in the case of its existence what social factors can be seen as its root causes. Specifically, the concepts of artistic quality and musical quality are in this attempt defined respectively using the Swedish cultural policy objectives and Friedrich Nietzsche's The Birth of Tragedy, ultimately to be compared in the form of an ideal type analysis. The conclusion reached in the study is that there is a certain conflict between the concepts of art and music, primarily in their relation to individualism and complexity, and that this can be related to the dominance of vision as a means of gaining access to the world – the so-called ocularcentrism – in Western culture, as well as commercial ideas such as marketing and ownership. A model is constructed out of the ideal types musical quality and artistic quality, which is intended for practical use in connection to assessment of the quality of an artwork for potential government funding.

This research project takes drawing as the exemplar to investigate the correlation between vision and blindness, memory and remembering, and that which is determined by haptic and sensory perception. Drawing operates as the means and the medium to interrogate the subject of perception and ‘ocularcentrism’, a paradigm that has historically privileged sight as the dominant sense. As part of my studio research, I examined the work and methods of specific contemporary artists who forego sight (metaphoric and actual), giving preference to those investigations that reference the body as the site of perception. This initiated my research into Maurice Merleau-Ponty’s phenomenological conception of the body as “reversible flesh”, which contextualises drawing as embodied experience. The studio practice, a significant component of the research project that focuses on the object as a mnemonic device, has led me to consider ideas of seeing through non-seeing. I have incorporated the act of drawing blind, a metaphoric blindness that both sees and does not see, as the means to reflectively consider memory as an attribute of perception and as a process of engaging the body as the site of perception. Throughout the exegesis, I interweave key writings by Hélène Cixous, who addresses the philosophical questions relating to perception, writing, and drawing through self-reflection in Stigmata: Escaping Text. This led me to question what is it that we see and cannot see, and is blindness at the heart of vision. These questions, in turn, address my enquiry into the subject of perception, of vision and blindness, and of memory.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text

In the early 20thcentury, a “crisis of ocularcentrism” arose in philosophy, replacing the Cartesian epistemological notion of a disembodied mind inspecting the object-world from the outside with an ontological and phenomenological approach to vision and being, embedding humans corporeally in a world exceeding their perceptual horizon (Jay 94). In response, modernist artists abandoned realist and naturalist techniques, rejecting mimetic representation, and experimented with new artistic forms, trying to account for the new complexity of life.  In this context, Virginia Woolf wrote her novel The Waves (1931), “an abstract mystical eyeless book” (DIII 203). Despite countless studies on The Waves and vision, its “eyelessness” has never been thoroughly examined before. Since Woolf considered vision and being to be inherently embodied and communal and longed for capturing moments of being, this thesis proposes to unlock Woolf’s eyeless writing in The Waves through Maurice Merleau-Ponty’s late corporeal phenomenology. Alongside his concepts of the flesh and chiasm, this thesis claims that eyeless writing is Woolf’s method to go beyond vision in order to reveal the inherent corporeal interconnectedness of all beings in a hidden, visually imperceptible pattern—the eyeless flesh of the world—by creating a narrative that is eyeless in several ways. It is at once eye- and I-less due to lacking a single focalising point and denoting an anonymous visibility enveloping all beings. Rather than being structured by a narrative eye/I, it is governed by the characters’ bodies and their chiasmatic relations with the world. On this basis, emphasising the carnal adherence of all human and non-human beings, their eyeless kinship thus comes to light, creating a nonanthropocentric conception of Being-in-and-of-the-world. In this sense, The Waves uncovers that since the Wesen (essence) of Being lies in the common, visually imperceptible flesh, it can only be reached eyelessly, via the body.

The thesis discusses the development of my artistic research in relation to the critique of the ocularcentric Western philosophical tradition developed by twentieth century French thought, as referred to by Martin Jay and Amelia Jones. The work reviews the positions of both authors with respect to the relationship between Lacan's Mirror Stage and Gaze and Merleau-Ponty's Chiasm or Intertwining, within two areas of investigation: the self and strategies for its engagement with the external world. The research was conducted by adopting an evolutionary approach, which allowed me to test hypotheses through artistic experimentation. The structure of the thesis encompasses these two theoretical discussions in relation to my artistic practice, fully presented in the enclosed cd-rom. The first discussion, in Part I and II analyses the Mirror Stage and the emerging of the self, its psychological implications and manifestations in the history of art, with particular emphasis on self-portraiture, the performative self, Body Art and my own production. In Part III, the concept of Chiasm/Intertwining - developed from the notions of visuality and Gaze - is discussed in relation to inter-subjectivity in Body Art. The issue of the interaction between artist/audience and environment is also investigated in my most recent artworks, which question the primacy of vision over the other senses. I believe my original contribution to be both in the content of the artworks and the methodology adopted, rather than at theoretical level. By adopting a set strategy in the creation of my work, I challenged the static artist-audience relationship implicit in the one-way perception of representations based on central-focus perspective. My hypothesis, which encompasses a two-way artist-audience interaction, was first tested in the body of work I produced in 1999. The theoretical argument of chiasmatic intertwining I subsequently developed, allowed me to place my practice within the antiocularcentric discourse and confirmed the direction undertaken in the practice to be satisfactory. The validity of my initial hypothesis was further confirmed by the participation of the audience in aspects of the art making process of the recent videolive installations.

Praca poświęcona jest problematyce kryzysu tradycyjnej władzy wzroku w polskiej literaturze i polskim malarstwie na przełomie XIX i XX wieku. Chodzi o usytuowanie rodzimej sztuki słowa i obrazu w zupełnie nowym kontekście: przełomu antywzrokocentrycznego, zaproponowanego przez amerykańskiego badacza Martina Jaya sposobu rozumienia zmian paradygmatu kultury europejskiej w drugiej połowie dziewiętnastego stulecia. Przedmiot rozprawy stanowi badanie przejawów kryzysu tradycyjnej władzy wzroku w wybranych dziełach literackich i malarskich, poszukiwanie jego wyznaczników, charakterystycznych mechanizmów tekstowych o charakterze intersemiotycznym. Pozwoli to zbudować nowe podstawy dla komparatystycznych badań interdyscyplinarnych, a także wskazać możliwość odmiennego opisu epoki obejmującej przełom stuleci w dziejach kultury polskiej oraz procesu kształtowania się w Polsce formacji modernistycznej. Trzy najważniejsze aspekty przełomu antywzrokocentryzcznego to detranscendentalizacja perspektywy, rekorporalizacja podmiotu poznającego i rewaloryzacja czasu w stosunku do przestrzeni. Sposób przejawiania się tych zjawisk badam, analizując między innymi pozycję tematyki historycznej czy stosunek artystów do natury w sztuce przełomu wieków – odmienne na gruncie kultury polskiej od europejskich tendencji. Charakteryzuję takie zjawiska estetyczne jak niejednorodność budowy perspektywicznej przestrzeni obrazu (taką strategią posługują się między innymi Olga Boznańska oraz Jacek Malczewski) czy konstrukcja metaforyki w tekstach literackich, wskazując w nich próby ekspresji jednostkowej podmiotowości. Odwołuję się również do obecnej zarówno w malarstwie, jak i w literaturze oscylacji między obrazowaniem alegorycznym a symbolicznym; wiąże się ona z kryzysem reprezentacji przełomu wieków. Materiału dostarczają mi dzieła dramatyczne Stanisława Wyspiańskiego i ich recepcja w epoce czy jednocześnie mimetyczne i symboliczne traktowania w malarstwie tematu, koloru, światła. Analizując egzepmlaryczne teksty pokazuję, jak artyści artykułują – choć często nie wprost – swój protest w stosunku do wzrokocentrycznego, mimetycznego paradygmatu, jednak nie potrafią się od niego całkowicie uwolnić. Detranscendentalizacja perspektywy się dokonała, nie dochodzi jednak jeszcze do przywrócenia podmiotowi wolności, pełnego otwarcia się na indywidualizm, cielesność, subiektywne przeżywanie czasu. Odrzucenie tradycyjnej władzy wzroku nie wiąże się więc z całkowitą afirmacją nowego sposobu widzenia (a co za tym idzie – poznania). Można postawić tezę, że polska kultura przełomu wieków zatrzymuje się pomiędzy paradygmatami wzrokocentrycznym i antywzrokocentrycznym, starając się przedłużyć utożsamienie Oka Umysłu i oka-organu, choć jedność spojrzenia została rozbita i nie może zostać odzyskana. Taka analiza twórczości malarskiej i literackiej okresu 1890–1910 przyniesie nie tylko nowe jej interpretacje, lecz pozwoli także z innej perspektywy spojrzeć na wystąpienia awangardowe kolejnych dwóch dekad. Opis i analiza dominujących mechanizmów twórczych związanych z kryzysem tradycyjnej władzy wzroku pozwoli przeformułować istniejący w literaturze naukowej obraz epoki, dając podstawę do dalszych badań zarówno twórczości tego okresu, jak i innego spojrzenia na relacje modernizmu i postmodernizmu. Tak jak intensyfikacja zainteresowania problematyką wizualności (zwrot ikoniczny) w ostatniej dekadzie XX wieku pozwoliła wydobyć pewne aspekty kultury poprzednich wieków i wskazać na inny aspekt kryzysu przedstawienia, tak przeformułowanie obrazu wczesnego modernizmu może pomóc w odnalezieniu w przeszłości korzeni współczesnych zjawisk. The dissertation is devoted to the question of the crisis of traditional ocularcentrism in Polish literature and art at the turn of the 20th century. It locates Polish verbal and visual art in a totally new context of the antiocularcentric turn proposed by an American scholar Martin Jay, who showed new ways of understanding the changes in the paradigm of the European culture in the second half of the 19th century. The aim of the dissertation is to analyse the indications of the crisis of ocularcentrism in selected texts and paintings, as well as the search of its indicators and specific textual mechanisms of intersemiotic character, which will make possible to establish new platform for interdisciplinary comparative research. It will also enable a different description of Polish culture at the turn of the centuries together with the process of emergence of modernism in Poland. There are three most important aspects of the antiocularcentric turn, that is: detranscendentalisation of perspective, recorporalization of the subject and a revalorisation of time and space relation. I examine the indications of those issues by analysing, for example, the position of historical themes or the artists’ attitudes towards nature, which, in Polish art at the turn of the centuries, differed from European tendencies of the time. I describe such aesthetic phenomena as heterogeneity of constructing the perspective space in art (the technique used by Olga Boznańska and Jacek Malczewski) or constructing metaphors in literary texts, indicating in them the attempts to express individuality. I refer also to oscillation between allegoric and symbolic depictions, present in both art and literature of the turn of the centuries. I use Stanisław Wyspiański’s dramas and their reception at the time as well as mimetic and symbolic treatment of colour and light in art. While analysing exemplars of texts I show how the artists utter, not necessarily in a direct way, their protest against ocularcentric, mimetic paradigm, yet they cannot free themselves from it. Although the detranscendentalisation of perspective has already occurred, the subject has not yet been brought back its freedom, neither total openness to individualism, nor carnality, nor subjective experiencing of time. Therefore, the rejection of traditional ocularcentrism is not related to a total affirmation of the new vision and, in consequence, of cognition. It may be claimed that Polish culture of the turn of the centuries is suspended between the two paradigms: the ocularcentrism and antiocularcentrism. It tries to continue the identification of the mind’s eye with the organ-eye, even though the homogeneity of vision has already been split and cannot be regained. Such analysis of literature and art between 1890s and 1910s brings not only new interpretations, but also makes possible to look at the avant-garde of the following decades from a different perspective. The description and analysis of dominant creative mechanisms related with a crisis of ocularcentrism will make possible to reformulate a well-established in academic studies image of the epoch, forming a basis for further studies of the time as well as the different view of the relations between modernism and postmodernism. As the intensification of interest in visual issues (the so called ‘iconic turn’) in the last decade of the 20th century enabled revelation of some aspects of the past culture, the reformulation of the image of early modernism might help in finding the roots of contemporary phenomena in the past.

The introduction sets up the scope and framework of the volume as a whole. Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies. As an object of theoretical focus, the voice has helped correct the long-standing ocularcentrism of film theory discourse. Yet, the voice as a narrow concept is itself problematic in that it limits our understanding of how it functions among the various components of the soundtrack. Understood as part of an integrated soundtrack—that is, a soundtrack where the various components have a sense of being planned or composed and where sound design and music are blended into a kind of conceptual unity—the voice assumes a somewhat different role and allows for a more complex and interpretively richer conceptual framework. This volume aims to reconsider and broaden our notion of what the voice as a concept can do for studies of film music and sound. The introduction explores theoretical concerns relating to film dialogue, vococentrism, the spectacle of the singing voice, film music’s commentative function as voice, as well as the voice of various cinematic authorship and production. It concludes with a brief summary of each chapter in the volume. Considering these many different conceptions of “voice” can provide new perspectives on how we consider the relationship between voice and cinema, broadly defined.

AbstractBuilding on a view of Feeding and Eating Disorders (FEDs) as passions, this chapter illustrates through personal testimony and materials from publicly accessible (Pro-Ana) websites the nature of anorexia as a kind of religion. The explicit values of this ‘religion’ are shown to have their origins in a cultural value we call ‘ocularcentrism’. Some of the limitations and further developments of this model are indicated. The model though we conclude may be helpful in developing more effective approaches to therapy.

This concluding chapter offers a brief summary of the book, along with some short illustrative anecdotes to close the text. It includes a discussion of some of the limitations of the visual criminology outlined in the book, along with a description and discussion of the problems of the senses presented by ocularcentrism and visuocentrism in contemporary culture and theory, and the ways in which it might lead a visual criminology away from important analyses and perspectives. The chapter concludes with some final thoughts on the role of visual criminology—as one dimension of a broader sensory criminology—in the contemporary world.

The introduction outlines the basic narrative of the book: how the Puritanical logocentrism of some of North America’s first English settlers yielded to the democratic ocularcentrism of today. More than any other city, Boston reveals how this process took place. A culture of spectatorship emerged just as the urban visual environment itself became a spiritually charged illustrated text, drawing the competing gazes of art-admiring intellectuals, literate middle-class Protestants, and increasingly socially independent laborers. While The Hub was far from the only nineteenth-century city to “give not the human senses room enough” (as Ralph Waldo Emerson put it), it was there that a liberated faculty of sight first promised escape from the competition, congestions, and social divisions of urban life.

“‘They Won’t Believe What I Say’: Theorizing Freedom as an Economy of Violence” analyzes Harriet Wilson’s Our Nig (1859) in which Wilson exposes the coerciveness of imbricated discourses of sentimentality, Christianity, and economic determinism sustaining the liberal problematic. In particular, Wilson offers a dense engagement with questions of materiality, citing it as a critical register of political meaning and experience. As Wilson implicates abstract rationalism in hierarchizing socially constructed processes of investment and exchange, she similarly reimagines dominant ideologies of self-help and self-determination in the context of working class and underclass exploitation in the antebellum U.S. North, revising governing perceptions of interracial altruism and charity. Invoking blackness, fugitivity, and associated figurations of opacity in Our Nig in order to challenge Western liberal dictates toward ocularcentrism, order, and coherence, Wilson also provocatively manipulates liberal tropes of childhood, innocence, and joy.

Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies drawn from such fields as musicology, music theory, film and media studies, and sound studies. As an object of theoretical focus, the voice has helped correct the long-standing ocularcentrism of film theory discourse. Yet, the voice as a narrow concept is itself problematic in that it limits our understanding of how it functions among the various components of the soundtrack. Traditionally, the voice has been given great deference in production, even as dialogue has been denigrated in film theory. This has led to a curious conceptual framework for the soundtrack where the default state of synchronized dialogue in filmmaking is treated as a merely redundant figure or even as a profoundly ideological delusion in film theory. Understood as part of an integrated soundtrack—that is, a soundtrack where the various components have a sense of being planned or composed and where sound design and music are blended into a kind of conceptual unity—the voice (dialogue in particular) assumes a somewhat different role and allows for a more complex and interpretively richer conceptual framework. Many films—and increasingly in contemporary cinema of all sorts—downplay the centrality of dialogue even as the soundtrack as a whole assumes a crucial role in these films’ spectacle. This volume aims to reconsider and broaden our notion of what the voice as a concept can do for studies of film music and sound....

This chapter examines how H.D. forges intersensory connections among the seemingly divergent senses of sight, sound, and touch in her autobiographical novel HERmione. She does this through optic technologies, by first exposing how such technologies reinforce gendered, sensory hierarchies, and then repurposing those technologies for more feminist, sensuously inclusive ends. HERmione’s setting resembles that of H.D.’s childhood home, replete with her father and brother busy at their microscopes. Through these microscopes, Hermione recovers the so-called feminine, lower senses, which the misogynistic, ocularcentric milieu of male science buries. Hermione is aided in her work through a romantic relationship with a woman, Fayne Rabb. Their queer relationship challenges sexual and societal norms and fosters sensory investigation. As Hermione conducts her own scientific study of the senses, she challenges masculine science and alters understandings of human perception and sensation. Importantly, she uses the microscope to illuminate the synesthetic sensorium of sea animals, thereby challenging anthropocentric sensory paradigms.

Antítesis propone una investigación basada en procesos y metodologías de arte. A través de lo teórico-práctico, trata de hacer una reflexión sobre lo post-fotográfico, sobre el propio medio y la materialización de la luz. En esta investigación, la antítesis de mostrar lo oculto y ocultar lo visible son ejes principales y aluden a procesos experimentales vinculados a material fotosensible, entre otros. En este ámbito, donde se nos muestra y a la vez se nos oculta, se activan líneas invisibles de pensamiento con respecto a lo que no vemos pero está latente. En esta tendencia a lo no visible, se trabaja mediante lo que podríamos denominar procedimiento siniestro, como lugar donde emerge lo Real, siendo la manera de llevarnos lo más cerca posible a la esencia de la imagen y conseguir mostrar lo antivisual. Esta investigación de “resistencia” se forma como una oposición a la propia totalidad de lo visible, especialmente a la hegemonía del ocularcentrismo expandido. Desde el hacer, tiene en cuenta aspectos clave del proceso como la percepción, la temporalidad, el medio y la luz. Su materialización forma parte del proceso de reflexión, alterando la misma idea de realidad y de realismo, porque hay más de lo que se ve y en lo que se ve no está todo lo que hay. En definitiva, el proceso trata de a-presentar. Trata de pervertir la reproducción objetiva de la realidad poniendo en cuestión el medio y reflexionando sobre los límites temporales, visuales y conceptuales de la imagen, de la fotografía y de la luz.