Journal articles: 'Ocularcentrism'

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Chmielecki, Konrad. "The Concept of Ocularcentrism & Photographic Models of Vision From the Perspectives of Software Studies and Cultural Analytics Methods of Social Media Images and the Consumer Society Theory." Studia Medioznawcze 22, no. 3 (August 1, 2021): 962–94. http://dx.doi.org/10.33077/uw.24511617.sm.2021.3.347.

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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.

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Devorah, Rachel. "Ocularcentrism, Androcentrism." Parallax 23, no. 3 (July 3, 2017): 305–15. http://dx.doi.org/10.1080/13534645.2017.1339969.

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Stonehill, Brian. "The Debate over “Ocularcentrism”." Journal of Communication 45, no. 1 (March 1, 1995): 147–52. http://dx.doi.org/10.1111/j.1460-2466.1995.tb00720.x.

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Calovic, Dragan. "Culture of media ocularcentrism." Kultura, no. 137 (2012): 49–61. http://dx.doi.org/10.5937/kultura1237049c.

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Bawono, Haryo Tejo. "Tatapan Medusa dan Okularsentrisme: Budaya Visual dan Persoalan Sinema Kontemporer." MELINTAS 36, no. 1 (March 17, 2021): 67–97. http://dx.doi.org/10.26593/mel.v36i1.4681.67-97.

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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.

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Seifrid, Thomas. "Gazing on Life's Page: Perspectival Vision in Tolstoy." PMLA/Publications of the Modern Language Association of America 113, no. 3 (May 1998): 436–48. http://dx.doi.org/10.2307/463351.

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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.

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Bulk, Laura Yvonne, Andrea Smith, Laura Nimmon, and Tal Jarus. "A closer look at opportunities for blind adults: Impacts of stigmatization and ocularcentrism." British Journal of Visual Impairment 38, no. 3 (March 23, 2020): 270–83. http://dx.doi.org/10.1177/0264619620911424.

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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.

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Jay, Martin. "The Rise of Hermeneutics and the Crisis of Ocularcentrism." Poetics Today 9, no. 2 (1988): 307. http://dx.doi.org/10.2307/1772691.

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Peirse, Alison. "Ocularcentrism, horror and The Lord of the Rings films." Journal of Adaptation in Film & Performance 5, no. 1 (May 8, 2012): 41–50. http://dx.doi.org/10.1386/jafp.5.1.41_1.

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Kavanagh, Donncha. "Ocularcentrism and its Others: A Framework for Metatheoretical Analysis." Organization Studies 25, no. 3 (March 2004): 445–64. http://dx.doi.org/10.1177/0170840604040672.

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Broad, Charlotte. "Ekoneni: Yvonne Vera's Challenge to Ocularcentrism in The Stone Virgins." Anuario de Letras Modernas 16 (January 10, 2012): 143–55. http://dx.doi.org/10.22201/ffyl.01860526p.2011.16.633.

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Este ensayo propone explorar las maneras en que algunas escritoras del África del Sur cuestionan el ocularcentrismo, que todavía es un paradigma en el pensamiento occidental, a través de una lectura de la representación del espacio yla ubicación del lector en el primer capítulo de The Stone Virgins (2002), una novela escrita por la zimbabuense Yvonne Vera. “La escritura es un proceso de destilación”, dijo una vez su compatriota Tsitsi Dangarembga. Estas palabrasson clave en el tratamiento de esta compleja cuestión, en particular, la palabra “proceso”. No obstante, lo anterior sólo forma parte de un tema más ambicioso: los modos en que estas escritoras representan la transición del colonialismo a la independencia. En este sentido, la escritura poscolonial demuestra cómo las así llamadas oposiciones binarias conformadas por visibilidad/invisibilidad y habla/silencio se combinan en procesos que conllevan movimiento e inestabilidad en vez de que dichos elementos permanezcan fijos en un esquema bipolar.

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Jay, Martin. "The Disenchantment of the Eye: Surrealism and the Crisis of Ocularcentrism." Visual Anthropology Review 7, no. 1 (March 1991): 15–38. http://dx.doi.org/10.1525/var.1991.7.1.15.

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Bolt, David. "The blindman in the classic: feminisms, ocularcentrism and Charlotte Brontë'sJane Eyre." Textual Practice 22, no. 2 (June 2008): 269–89. http://dx.doi.org/10.1080/09502360802044976.

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Brook, Isis. "Experiencing Interiors: Ocularcentrism and Merleau-Ponty's Redeeming of the Role of Vision." Journal of the British Society for Phenomenology 33, no. 1 (January 2002): 68–77. http://dx.doi.org/10.1080/00071773.2002.11007361.

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Benjamin. "Looking for the Bilder: the Subversion of Ocularcentrism in Finnegans Wake." Journal of Modern Literature 38, no. 2 (2015): 71. http://dx.doi.org/10.2979/jmodelite.38.2.71.

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Chan Hee Hwang. "“Eloquent Eyes”: Lockean Ocularcentrism in Sydney Owenson’s The Missionary: An Indian Tale (1811)." Studies in English Language & Literature 44, no. 2 (May 2018): 205–19. http://dx.doi.org/10.21559/aellk.2018.44.2.011.

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Dixon, D. P., and J. P. Jones. "My Dinner with Derrida, or Spatial Analysis and Poststructuralism Do Lunch." Environment and Planning A: Economy and Space 30, no. 2 (February 1998): 247–60. http://dx.doi.org/10.1068/a300247.

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Menu. This paper extends our previous efforts to (de)lineate contemporary divisions between poststructuralist and spatial analytic, or scientific, approaches in geography. We adopt the format of a dialogue between a hypothetical spatial analyst (SA) and a poststructuralist (PS). Their exchange covers, among other items, the differing stances of these approaches to epistemology, ontology, research questions and methods, and the concept of ‘context’. We also further develop the concept of the ‘epistemology of the grid’, which we define as the spatialization of categorical thought. We link this epistemology to two others, Cartesian perspectivalism and ocularcentrism, arguing that their realization in social practice is generative of social order.

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Wesner, Ashton Bree. "Contested Sonic Space: Settler Territoriality and Sonographic Visualization at Celilo Falls." Catalyst: Feminism, Theory, Technoscience 4, no. 2 (October 16, 2018): 1–32. http://dx.doi.org/10.28968/cftt.v4i2.29909.

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In this article, I argue that “seeing with sound" is a fraught political process with the potential to both obfuscate and assist Indigenous claims to land. I do so by analyzing the Portland District U.S. Army Corps of Engineers’ 2007 sonar images of Celilo Falls on the Columbia River. I take up feminist materialist analytics developed by Native American and Indigenous Studies scholarship on cartography and refusal, and place them in conversation with the sonic geographies of Columbia River Indigenous writers. Namely, I use Elizabeth Woody’s poem Waterways Endeavor to Translate Silence from Currents (1994) to investigate how overlapping and conflicting deployments of sonic imaging play a major cultural, political, and material role in the (re)mapping of Celilo Falls. First, I present a theoretical framework that considers the role of what I call sonic knowledges in unsettling colonial visual cartographies. I use archival Army Corps’ maps and critical sonar studies literature to show how the Army Crops’ 2007 riverbed sonograms emerge from a longer context of US settler practices of enclosing land with maps and surveying water with sound. I then turn to a close reading of newspaper articles and state legislation to analyze how the sonograms take on a present political life in ways that repackage ocularcentrism and assuage settler guilt, thus authorizing ongoing US enclosure of Indigenous lands. Yet, I also bring to bear Indigenous sonic knowledges that position imaging processes as potentially antithetical to addressing questions of access to land and self-determination. Through examining newspaper interviews, public testimonies, and Elizabeth Woody’s poem, I elucidate deployments of sonic knowledge that can help us think about what anti-colonial (re)mapping practices demand of contemporary cartographic imaging processes. Attending to sonic knowledges under conditions of settler-ocularcentrism, I suggest, might assist anti-colonial feminist science studies engagements with processes of imag(in)ing Indigenous space.

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Cook, Russell J. "Sound Lets You See: A Phenomenology of Hearing Screen Media." Coactivity: Philosophy, Communication 23, no. 2 (October 1, 2015): 124–38. http://dx.doi.org/10.3846/cpc.2015.234.

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This phenomenological investigation of ocularcentrism in screen media proceeds deductively. First, the significance of screen media is demonstrated. Next, synaesthetic merging of human senses is shown to begin with the body and to produce ready substitutions of seeing and hearing. The final deduction explores apperception – “seeing with” – a foundation of the phenomenological method. Sounds emanating from beyond the screen edge stimulate an expanded experience – a window to a wider world. This marginal consciousness has surprising power to dictate the audiovisual impact. In summary, off-screen sounds, combined with visual closure of objects partially hidden by the frame edge, stimulate in screen sense the apperception of a co-extensive world beyond the picture frame. Sound lets you see.

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Lim, Yoon Soo. "A Study of Contemporary Art by Deconstruction of Ocularcentrism -focused on the Cartesian Perspectivalism-." Treatise on The Plastic Media 25, no. 3 (August 31, 2022): 142–52. http://dx.doi.org/10.35280/kotpm.2022.25.3.16.

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McClanahan, Bill, and Nigel South. "‘All Knowledge Begins with the Senses’1: Towards a Sensory Criminology." British Journal of Criminology 60, no. 1 (August 6, 2019): 3–23. http://dx.doi.org/10.1093/bjc/azz052.

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AbstractVisual criminology has established itself as a site of criminological innovation. Its ascendance, though, highlights ways in which the ‘ocularcentrism’ of the social sciences is reproduced in criminology. We respond, arguing for attention to the totality of sensorial modalities. Outlining the possible contours of a criminology concerned with smell, taste, sound and touch—along with the visual—the paper describes moments in which the sensory intersects with various phenomena of crime, harm, justice and power. Noting the primacy of the sensorial in understanding environmental harm, we describe an explicitly sensory green criminology while also suggesting the ways that heightened criminological attention to the non-visual senses might uncover new sites and modes of knowledge and a more richly affective criminology.

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Carspecken, Phil Francis. "Ocularcentrism, Phonocentrism and the Counter Enlightenment Problematic: Clarifying Contested Terrain in our Schools of Education." Teachers College Record: The Voice of Scholarship in Education 105, no. 6 (August 2003): 978–1047. http://dx.doi.org/10.1177/016146810310500602.

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Our schools of education today host two important counter-Enlightenment discourses, criticalism and postmodernism. Graduate students inevitably encounter both discourses when taking their required classes in research methods, along with modernist modes of thinking embedded within mainstream research methodologies. These three modes of thought and practice—the modernist mainstream, criticalism and postmodernism—are also found within such educational fields as curriculum studies, multiculturalism, literacy and social foundations. Differences between criticalism and postmodernism are difficult to articulate, and confusion abounds. Both criticalism and postmodernism have distinguishing features based on their challenge to ocularcentric and phonocentric theories of truth that can be found underlying the assumptions of mainstream social research methodologies. Ocular- and phonocentrism also operate within the popular cultures of modernity. This paper clarifies differences between postmodernism and criticalism through a very partial exploration of ocular- and phonocentric theories of truth and meaning. The alternatives opened by these counter-Enlightenment discourses are reviewed and compared. The problematical relations between knowledge and representation, knowledge and power, and sameness and difference are simultaneously explored, as is the concept of self. The essay argues that certain popular postmodern themes are importantly insightful but best relocated within a criticalist framework. Criticalism provides a more promising direction for counter-Enlightenment thought and practice, but criticalism is an unfinished project in need of further work.

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Carspecken, Phil Francis. "Ocularcentrism, Phonocentrism and the Counter Enlightenment Problematic: Clarifying Contested Terrain in our Schools of Education." Teachers College Record 105, no. 6 (August 2003): 978–1047. http://dx.doi.org/10.1111/1467-9620.00275.

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DuComb, Christian. "Listening to Los Angeles in the Theatre of Anna Deavere Smith and Gabriel Kahane." Modern Drama 64, no. 4 (December 1, 2021): 419–41. http://dx.doi.org/10.3138/md.64-4-1175.

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Postmodern theorists such as Jean Baudrillard, David Harvey, and Frederic Jameson have tended to approach cities through the eye rather than the ear, often citing Los Angeles as a prototypical example of an urban simulacrum. This article takes up two works of theatre that focus on listening to rather than looking at Los Angeles. Anna Deavere Smith’s Twilight: Los Angeles, 1992 (1993) and Gabriel Kahane’s The Ambassador (2014) use voice and music, respectively, to sound out neglected histories and experiences overlooked by theorists who apprehend Los Angeles primarily through vision. Through the close reading of dramatic texts, musical scores, and live and recorded performances of these two works, this article troubles the pervasive ocularcentrism in critical interpretations of Los Angeles, using theatre to theorize a more inclusive dramaturgy and geography of the city.

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Westerlund, Heidi, and Sidsel Karlsen. "Knowledge Production Beyond Local and National Blindspots: Remedying Professional Ocularcentrism of Diversity in Music Teacher Education." Action, Criticism, and Theory for Music Education 16, no. 3 (November 1, 2017): 78–107. http://dx.doi.org/10.22176/act16.3.78.

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Morgan, Trish. "Sounding the Unheard River: Reflections on an Ecological Sound Art Praxis as a Response to Ecosystem Distress." Irish University Review 49, no. 1 (May 2019): 151–70. http://dx.doi.org/10.3366/iur.2019.0386.

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This article reflects on a body of academic and practice-based work in the contexts of praxis. It asserts that in the face of systemic issues pertaining to ecosystem crisis, multidisciplinary approaches are required, which also enable the agency of the researcher to continue their work in challenging circumstances. In reflecting on the work conducted, the article aims to offer an insight into multiple ways in which knowledge about ecosystem distress can be communicated to multiple audiences. Furthermore, in providing a reflexive account of an ecological sound art project titled The Miracle of the One Thing, the article aims to shed light on the role of practice-based approaches in communicating ecosystem distress. It implicitly offers an alternative to the ‘ocularcentrism’ of the visual turn. It questions the assumption that communication about ecosystem crisis is necessarily visual or written, and places the role of sonic practices to the fore.

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Lægring, Kasper. "The Politics of the Plinth: Notes on a Latent Ocularcentrism in Aureli’s Theory of an Absolute Architecture." Joelho Revista de Cultura Arquitectonica, no. 8 (December 26, 2017): 142–55. http://dx.doi.org/10.14195/1647-8681_8_9.

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According to Pier Vittori Aureli, architectural form becomes political by being a clearly defined limit. These defining effects of architectural form are also what allow a civic and political space to exist. In contrast to the tradition of urbanism, Aureli praises Mies van der Rohe because of the architect’s use of form as an act of demarcation, where a reinterpreted classical plinth carries a glass-and-steel pavilion structure. While Aureli regards this Modernist plinth as a guarantor of absoluteness and independence from urbanism, this article conversely argues that the Miesian plinth is just as implicated in nineteenth-century urbanism as the gridded plans of Cerdà, since this model can be traced back, not to the Ancient Greek temple, but to a novel nineteenth-century visual culture which came into being under the spell of ocularcentrism and panopticism. Aureli’s theory is thus supplemented with its necessary counterpart to management: the representational component of urbanism.

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Topping, Margaret. "Cross-Rhythms, Across Cultures: Towards a Multi-Sensory Travel Literature." Irish Journal of French Studies 15, no. 1 (December 1, 2015): 61–75. http://dx.doi.org/10.7173/164913315817039252.

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Cross-rhythms — or the simultaneous combination of contrasting rhythms in a musical composition — are characteristic of many non-Western forms, and present, too, in those such as jazz which have been progressively 'de-othered' in the course of the 20th century: from being perceived as 'primitive' and 'un-European', jazz has been gradually assimilated into the European cultural landscape. As Matthew F. Jordan has argued in Le Jazz, this evolution has, though, entailed an at times vexed renegotiation of aspects of French cultural identity. The motif of the cross-rhythm — with its suggestions of cultural forms 'rubbing against' one another in ways that may be perceived as conflict or harmony depending on the listener's own cultural positioning — may thus be suggestively linked to questions of cross-cultural encounter and representation, borrowing and reinvention. Swiss traveller-writer Nicolas Bouvier (1929–1998) will provide a particular focus. My analysis posits a multisensory engagement with 'otherness' as an ethical imperative which displaces the ocularcentrism commonly associated with cross-cultural representation.

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Sudhinaraset, Pacharee. "Hope in Dystopian Times: In the Heart of the Valley of Love and the Limits of Cold War Racial Liberal Ocularcentrism." American Quarterly 68, no. 4 (2016): 883–906. http://dx.doi.org/10.1353/aq.2016.0071.

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Koczanowicz, Dorota. "Taste as a Medium of Memory in Anna Królikiewicz’s Installations." Arts 10, no. 1 (December 31, 2020): 3. http://dx.doi.org/10.3390/arts10010003.

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The paper explores the multisensory artistic practices of the Polish artist Anna Królikiewicz, in which the sense of taste is pivotal as a medium of memory. Królikiewicz relies on tastes and smells to restore the memory of past moments, places, and people and to give life to the dead. Królikiewicz’s method is unique in that she abandons the exclusively cognitive mode of remembering, promoted by ocularcentrism, which distinctively pervades our culture. The artist aspires to stimulate sometimes anemic memory to compose from scratch an image of a place that is strongly marked by the presence of its previous dwellers. She does not propose a cognitive dialog or intellectual processing of sensory data; instead, she constructs a relationship ensuing from emotional and empathetic processes. She inquires into the nature of perception, modes of remembering, and possibilities to foster a community around the table. Once-alive existences resurface in Królikiewicz’s pieces in the form of sensory traces. Her works are on-site experimentations in which the relations between tasting and recollecting are studied. The paper focuses on two site-specific installations—How much sugar? and The Drugstore—where taste is relied on to build tunnels of memory connecting the contemporary residents of Sopot and Gdansk to the Germans who inhabited the two cities before the WW2.

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Tarnay, László. "Paradoxes of Visibility." Acta Universitatis Sapientiae, Film and Media Studies 14, no. 1 (December 1, 2017): 7–30. http://dx.doi.org/10.1515/ausfm-2017-0001.

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Abstract The paper investigates two possible critical arguments following the pictorial turn. The first is formulated within ocularcentrism, the dominance of sight, and starts with the right to visibility as a general principle that governs today’s digital culture but gets twisted in special cases like the Auschwitz photos of the Shoa, the Abu Ghraib prison videos, or recently the website called Yolocaust. The second is conceived outside the visual culture and is meant to vindicate the other senses vis-à-vis the eyes. However, the argument is truncated here only to highlight the boomerang effect of the other senses: haptic vision. It is the case of visual perception when (a) there is a lack of things to see and (b) indeterminate synaesthesia: when vision intensifies the other senses in the embodied viewer. The two arguments converge upon a dialectic of the visible and the imaginable, which is formulated here as two paradoxes that the discussed examples transcend. By enforcing visibility at all costs where there is hardly anything recognizable to see, they lead to two diverging results. On the one hand, the meaning of “image” is extended toward the unimaginable, the traumatic experience, on the other hand, it is extended toward the invisible, the encounter with the radical Other.

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Petteni, Oriane. "La philosophie française postmoderne et les inventions narratives du roman moderniste américain." Symposium 23, no. 1 (2019): 212–34. http://dx.doi.org/10.5840/symposium201923112.

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Le but de cet article est de réévaluer l’impact du projet philosophique de Jean Wahl sur la philosophie française postmoderne. L’angle choisi consiste à replacer le projet wahlien dans le cadre des deux grands motifs de la philosophie française de la seconde moitié du XXe siècle: le rejet du paradigme dominant de la vision et le rapport ambivalent à l’hégélianisme, cristallisé dans la 􀏔igure de la conscience malheureuse. En suivant ces deux fils conducteurs, l’article retrace le parcours intellectuel de Jean Wahl depuis sa thèse de doctorat sur les philosophies pluralistes angloaméricaines, en passant par sa réception de l’hégélianisme, pour le mettre en relation avec sa période la moins commentée, celle de l’introduction dans le paysage philosophique français des grands noms du roman moderniste américain de l’époque.The goal of this paper is to re-evaluate the impact of Jean Wahl’s philosophical project on French postmodern philosophy. To complete this task, it is necessary to put the Wahlian project into the context of the two major aims of 20th Century French philosophy: the rejection of ocularcentrism and the ambiguous relationship to Hegelianism characterized by the figure of the Unhappy Consciousness. Following these two threads, the article reconstructs Wahl’s intellectual journey from his Ph.D. on American pluralism to his reception of Hegelianism in order to connect them to his less known work, which consists of introducing American modernist writers into the French philosophical landscape.

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Łuczak, Dorota. "Nowe widzenie – astrologiczny i astronomiczny wymiar wizji fotograficznej." Artium Quaestiones, no. 28 (May 22, 2018): 33–64. http://dx.doi.org/10.14746/aq.2017.28.2.

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The paper focuses on the New Vision – one of the most important developments in the history of the twentieth-century photography, whose ambition was to modernize human perception, hence also society. A project with such an objective, characteristic of the avant-garde, required not only the use of photography as a tool of “ocularcentrism,” to use a term coined by Martin Jay, but also some more solid epistemological and ontological foundation. The author analyzes the project of the New Vision, introducing two interpretive contexts, i.e. astrology and astronomy, which are understood as specific paradigms of cognition and knowledge. First, both concepts are located in a more general discourse of the philosophy of history (Nietzsche, Benjamin), and second, they are related to the practice and theory of the New Vision and the idea of developing a new vision of reality, shown at the famous “Film und Foto” exhibition (Stuttgart, 1929). The basis of the present interpretation is methodological reflection on the ideologization of photography in the so-called revisionist studies which favor the critique of the apparatus of power. Instead, the author proposes a concept of photographic vision connecting the picture and the spectator or, in other words, calling for taking into consideration the process of reception. This proposal, close to Hans Belting’s anthropology of the image, renounces the idea of the passive spectator, subject to the picture, in favor of the analysis of its perception. In the context of the New Vision, the picture-spectator relationship has been approached in terms of astrology and astronomy.

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Moore, Brian Michael. "Exhausted Senses: Between the Eye and the Ear in ‘Long Observation of the Ray’ and ‘The Voice/Verbatim’." Journal of Beckett Studies 31, no. 2 (September 2022): 169–87. http://dx.doi.org/10.3366/jobs.2022.0373.

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Between October 1975 and November 1976, Samuel Beckett began, revised and abandoned a manuscript for a prose piece entitled ‘Long Observation of the Ray’ (at least) twice. After a period of writing for television, Beckett’s next foray into prose resulted in ‘The Voice/Verbatim’, a text that – due to its partial incorporation into Company – resists definition as either draft or abandoned work. This article parses Beckett’s motivations for abandoning (and reabandoning) these pieces and demonstrates that the ‘ray’ and the ‘voice’ partake in a broader conversation in Beckett’s work concerning the visual and the audible. The 1970s, a time of unprecedented modulation between media in Beckett’s writing, see Beckett almost capriciously tailoring images to fit media, or vice versa. His writing desk between 1975 and 1977 was home to ‘ends and odds’ in various media: two stage plays, two TV plays, a litany of poems and prose. Focusing on the writing that immediately preceded his first attempt at ‘Long Observation’, the works that come between its first and second abandonment, and the inception of Beckett’s late prose ‘trilogy’, this article argues that one can witness a negotiation between writing the ‘eye’ and the ‘ear’ as he wrangles with how to put the observations of the ‘ray’ and the overheard ‘voice’ in words. This article contextualises this dynamic within discourses surrounding modernism and the senses, philosophical responses to ‘ocularcentrism’ and the ways in which manuscript research can harmonize with Deleuze’s reading of Beckett’s ‘exhaustive’ language. Alongside this, investigations into Beckett’s late allusions to Dante’s description of Virgil’s hoarse voice or faint appearance and W. B. Yeats’s ‘deepening shades’ reveal this compositional struggle seeping into (or deriving from) Beckett’s reading habits; traversing the ‘ill-heard’ and the ‘ill-seen’, these references encapsulate Beckett’s ongoing struggle to isolate in words the senses of sight and hearing.

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Kleege, Georgina. "The art of touch: lending a hand to the sighted majority." Journal of Visual Culture 20, no. 2 (August 2021): 433–51. http://dx.doi.org/10.1177/14704129211026298.

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This article describes three collaborative projects designed to explore tactile and haptic encounters with visual art. As a blind person, the author takes advantage of touch tours offered in many of the world’s museums. As rewarding as these can be, she often leaves feeling that there is something missing. She is aware that people who witness a touch tour for blind people, both companions who might be with them and strangers who might observe it, are curious, even envious. It seems only right that she, and other blind people who enjoy this privilege, have a responsibility to share the experience as a way to expand cultural knowledge about art. The projects described here enable her to begin to establish a taxonomy and vocabulary of tactile and haptic aesthetics, and model tactile descriptions of art that can benefit anyone. She does this both to reciprocate for the privilege cultural institutions bestowed on her, as well as to show that touch is not merely a poor substitute for sight, but rather a different mode of inquiry and appreciation. She hopes this work will support challenges to the ocularcentrism of the museum sector by showing how art can engage the full human sensorium. These projects all took place in the years leading up to the Covid-19 global pandemic and were a small part of initiatives at arts institutions to promote equity and inclusion by drawing on the knowledge and expertise of members of marginalized communities. As these institutions reopen post-pandemic and restructure their staff and programming, it remains to be known if they will continue the progress toward greater inclusion or return to previous models designed to serve only normative audiences. In her conclusion, the author speculates on the kind of systematic changes that will need to happen to continue to diversify museum audiences and increase multisensory access to art.

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Sinclair, Marlene, Julie EM McCullough, David Elliott, Anna Latos-Bielenska, Paula Braz, Clara Cavero-Carbonell, Anna Jamry-Dziurla, Ana João Santos, and Lucía Páramo-Rodríguez. "Exploring Research Priorities of Parents Who Have Children With Down Syndrome, Cleft Lip With or Without Cleft Palate, Congenital Heart Defects, or Spina Bifida Using ConnectEpeople: A Social Media Coproduction Research Study." Journal of Medical Internet Research 21, no. 11 (November 25, 2019): e15847. http://dx.doi.org/10.2196/15847.

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Background Using social media for research purposes is novel and challenging in terms of recruitment, participant knowledge about the research process, and ethical issues. This paper provides insight into the recruitment of European parents of children with specific congenital anomalies to engage in coproduction research by using social media. Secret Facebook groups, providing optimal security, were set up for newly recruited research-aware parents (RAPs) to communicate privately and confidentially with each other and for the research team to generate questions and to interpret findings. Objective This study aimed to use social media for the recruitment and engagement of parents in research and to determine the research priorities of parents who have children with Down syndrome, cleft lip with or without cleft palate, congenital heart defects, and spina bifida. Methods The design was exploratory and descriptive with 3 phases. Phase 1 included the recruitment of RAPs and generation of research questions important to them; phase 2 was a Web-based survey, designed using Qualtrics software, and phase 3 included analysis and ranking of the top 10 research questions using an adapted James Lind Alliance approach. Simple descriptive statistics were used for analysis, and ethical approval was obtained from the Ethics Filter Committee of the Institute of Nursing and Health Research, Ulster University. Results The recruitment of 32 RAPs was a sensitive process, varying in the time taken to consent (mean 51 days). However, parents valued the screening approach using the State-Trait Anxiety Inventory as a measure to ensure their well-being (mean 32.5). In phase 1, RAPs generated 98 research questions. In phase 2, 251 respondents accessed the Web-based survey, 248 consented, and 80 completed the survey, giving a completeness rate of 32.3% (80/248). Most parents used social media (74/80, 92%). Social media, online forums, and meeting in person were ranked the most preferable methods for communication with support groups networks and charities. Most respondents stated that they had a good understanding of research reports (71/80, 89%) and statistics (68/80, 85%) and could differentiate among the different types of research methodologies (62/80, 78%). Phase 3 demonstrated consensus among RAPs and survey respondents, with a need to know the facts about their child’s condition, future health, and psychosocial and educational outcomes for children with similar issues. Conclusions Social media is a valuable facilitator in the coproduction of research between parents and researchers. From a theoretical perspective, ocularcentrism can be an applicable frame of reference for understanding how people favor visual contact.

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Sappey, Jennifer, and Glenda Maconachie. "Ocularcentric Labour: “you don’t do this for money”." Articles 67, no. 3 (September 28, 2012): 505–25. http://dx.doi.org/10.7202/1012541ar.

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This article is a response to Lansbury’s call (2009) in this journal for a re-conceptualization of work and employment. It supports Lansbury’s belief that the employment relationship cannot be understood in isolation from wider social change. Building on the tradition of emotional labour and aesthetic labour, this study introduces theoretically and empirically the concept of “ocularcentric labour” (the worker seeking the adoring gaze of the client as the primary employment reward). This paper seeks to establish: the empirical generalizability of ocularcentric labour; its conceptual differentiation with aesthetic and emotional labour; and the implications of ocularcentric labour for industrial relations and collective interest representation. Through a study of the employment relationship in the commercial health and fitness industry in Queensland (Australia), we identify this new type of labour as one in which the worker’s primary goal is to seek the psycho-social rewards gained from exposing their own body image. This quest shapes the employment relationship (both the organization of work and the conditions of employment). We argue that for many fitness workers the goal is to gain access to the positional economy of the fitness centre to promote their celebrity. For this they are willing to trade-off standard conditions of employment and direct earnings, and exchange traditional employment rewards for the more intrinsic psycho-social rewards gained through the exposure of their physical capital to the adoration of their gazing clients. As one worker said “You don’t do this for money.” Significantly, with ocularcentric labour the worker becomes both the site of production and consumption. The study draws on quantitative and qualitative data captured from the Australian health and fitness industry with one snapshot taken in 1993 and another in 2008. The conclusion draws together the key conceptual and empirical points and findings and examines the implications for the conceptualization of IR in the contemporary economy.

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López-Quinones, Antonio. "Visibilidad variable en el documental: los límitos del ocularcentrismo en Invisibles." Bulletin of Hispanic Studies 87, no. 2 (January 2010): 241–57. http://dx.doi.org/10.3828/bhs.2009.15.

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Moya, Laura, José Ángel Bergua, and Marcos Ruíz. "Multicorporalidad frente a ocularcentrismo: de la ciudad ojo-individuo a la ciudad sensorial-participada." Cuadernos de Trabajo Social 33, no. 1 (January 10, 2020): 127–40. http://dx.doi.org/10.5209/cuts.60741.

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Algunos autores/as, como Jay (1988, 2003, 2007, 2008), Levin (1988, 1993) o Jenks (1995), han investigado acerca de la influencia del ocularcentrismo en la cultura occidental. Otros/as, como Pallasmaa (2006), han especificado esta influencia en el ámbito arquitectónico y urbanístico. Finalmente, a partir de la década de los ochenta, la antropología sensorial cuestionó el visualismo del pensamiento y cultura occidentales, haciendo hincapié en trascender este sesgo con el fin de conectar con la experiencia cultural de los sujetos no occidentales. Sin embargo, y atendiendo a los avances en esta última disciplina, las taxonomías de los sentidos en las culturas responden a un orden cultural y social determinado por la asignación de mayor o menor valor a nuestros sentidos. ¿Y si cuestionamos dicha taxonomía ocularcéntrica dentro de nuestra propia cultura occidental, valiéndonos de las experiencias de los cuerpos que resisten a dicha jerarquización? En este artículo se analiza cómo se gestó el ocularcentrismo en la Modernidad y cómo continúa siendo el principal paradigma en la construcción de las ciudades. Más tarde, atendiendo al desmontaje de dichas taxonomías de la mano de la antropología sensorial y utilizando la multiplicidad de tecnologías que en nuestro tiempo permiten la sinestesia e interdependencia de los sentidos, se presenta un proyecto multisensorial para habitar la ciudad. Este proyecto tiene por objetivo facilitar a los participantes habitar los espacios urbanos de maneras diversas, alejadas de las formas normalizadas de interacción.

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López-Quinones, Antonio Gómez. "Visibilidad variable en el documental: los límitos del ocularcentrismo en Invisibles." Bulletin of Hispanic Studies 87, no. 2 (January 1, 2010): 241–57. http://dx.doi.org/10.1353/bhs.0.0136.

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Warren, Kristina. "Sound Technologies as Agency-Granting Prosthesis to Vocal Body." Leonardo Music Journal 28 (December 2018): 30–33. http://dx.doi.org/10.1162/lmj_a_01039.

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Western voice is historically de-agentialized, that is, gendered female, opposed to performer self-listening, de-privileged relative to composition and rendered ocularcentric by recording technologies. However, by employing sound technologies as prosthesis to the vocal body, and by self-listening to manage the body-prosthesis relationship, contemporary extended voice practitioners figure as cyborgs reclaiming vocal agency, that is, input into mediation of and by one’s technologized vocal body.

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Ribeiro, Clarissa. "Data incarnations: Nesting complex inherited and learned behaviours." Technoetic Arts 19, no. 3 (November 1, 2021): 253–68. http://dx.doi.org/10.1386/tear_00067_1.

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What happens when humans and birds engage each other through a collaboration-as-fantasy mediated by computers? Could such an exercise be modelled in a way that helps us to transcend the techno-ocularcentric fetishes for precision and certainty which demarcate our time? From Edgar Wind’s notion of 'incarnation' ‐ as the place where empirical experience and metaphysical foundation meet in the single cognitive and experiential act ‐ this article bridges the analogue with the digital, navigating nature’s strategies to embody inherited and learned complex behaviours in the design of nests, in what I call data-nests.

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Zubia, Gonzalo Federico. "“Bosque con gente”: montajes y desmontajes audiovisuales del paisaje Chaco Salteño." Folia Histórica del Nordeste, no. 30 (December 31, 2017): 165. http://dx.doi.org/10.30972/fhn.0302727.

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A partir del análisis de tres producciones audiovisuales contextualizadas en el Chaco Salteño (dos documentales y una ficción), cuyos temas refieren al desmonte y la erosión del paisaje cultural, el artículo reflexiona acerca de las continuidades y discontinuidades del (i) privilegio de la visión en la construcción del paisaje y (ii) de la escisión entre naturaleza y cultura presente en mismos. Para ello rastrea el linaje histórico del régimen escópico y el desarrollo del ocularcentrismo en occidente, sus implicancias en la construcción del paisaje y la racionalización del espacio en la episteme moderna, a la vez que contextualiza la construcción del territorio nacional y la “producción del desierto” en el Chaco Argentino. A partir de este rastreo genealógico, analiza las estrategias y recursos de montaje a través de los cuales se construye el paisaje chaqueño.

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Karnes, Kevin C. "Inventing Eastern Europe in the Ear of the Enlightenment." Journal of the American Musicological Society 71, no. 1 (2018): 75–108. http://dx.doi.org/10.1525/jams.2018.71.1.75.

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In his landmark study Inventing Eastern Europe (1994) the historian Larry Wolff documented the first attempts to partition the continent imaginatively into western and eastern domains. This partitioning, he argues, was undertaken by writers from the hubs of the European Enlightenment, who traveled into Imperial Russia and wrote about their experiences abroad. In their accounts of travel these writers “intellectually combin[ed]” easterly geographies and peoples “into a coherent whole” and compared that whole with westerly spaces, thereby “establishing the developmental division of the continent.” While Wolff's analysis retains a central place in discourse on the Enlightenment, I suggest that its picture of Europe's mapping is limited by its ocularcentric readings of period texts, and that a different picture emerges if we consider what travelers heard alongside what they saw. Focusing on accounts of listening provided by such travelers as Johann Gottfried Herder, the Hebraist Johann Joachim Bellermann, and the grammarian Gotthard Friedrich Stender, I discuss the way in which the aural registers of their experiences alternately enrich and confound ocularcentric accounts of Europe's imaginary partition. Where travelers saw foreign peoples and scenes, they sometimes heard familiar musics; where they saw an undifferentiated mass of individuals, they often heard a diversity of voices. Drawing on work in sound and media studies, anthropology, and ethnomusicology, I suggest that travelers’ habits of listening deeply inflected their ethnographic imaginings, and vice versa—a situation that reveals the inventing of Eastern Europe to have been a more complex and conflicted project than is generally acknowledged today.

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Vallee, Mickey. "The Rhythm of Echoes and Echoes of Violence." Theory, Culture & Society 34, no. 1 (July 8, 2016): 97–114. http://dx.doi.org/10.1177/0263276416648466.

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This paper contributes to non-ocularcentric theory and theorizing by way of a methodological application and extension of Henri Lefebvre’s Rhythmanalysis. It explores the cultural dynamics of echoes and history, using as an instrumental case study Steve Reich’s 1966 tape-loop composition, Come Out, to elucidate the ambivalent and contradictory relations of time, temporality, and possibility. While the focus is primarily on the text of Come Out and its context of police brutality and civil rights, it moreover contributes to an enriched and historically grounded understanding of rhythmanalysis while engaging with rhythmanalysis as a methodology, based on the expanded conception of echoes proposed.

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Kondrashova Sayko, Yelena. "Visualidades confinadas: ¿foco en el yo en el espacio digital tras la crisis del covid19?" ANIAV - Revista de Investigación en Artes Visuales, no. 9 (September 29, 2021): 39. http://dx.doi.org/10.4995/aniav.2021.14949.

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<p>Este artículo parte de la situación excepcional del confinamiento en la pandemia del Covid-19 para medir el impacto del mismo sobre la producción de la imagen del yo en las redes sociales y las reflexiones artísticas sobre el yo digitalizado por parte de algunos autores. La base teórica para análisis de esta problemática es la reflexión sobre las economías visuales en entornos digitales y el ciberfeminismo, además de aportes cualitativos sobre el material que se pretende analizar. Si bien las cifras muestran una creciente dependencia del entorno digital y de las representaciones, a nivel económico y psicológico, en paralelo a una cosificación en que la información y las imágenes de los usuarios se convierten en mercancía, se abre la posibilidad de una posible resistencia a la impostura del ocularcentrismo y de una “mascarada” alternativa.</p>

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Ritchie, Ian D. "The Nose Knows: Bodily Knowing in Isaiah 11.3." Journal for the Study of the Old Testament 25, no. 87 (March 2000): 59–73. http://dx.doi.org/10.1177/030908920002508704.

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While some recent studies have enlarged our knowledge of the olfactory world of ancient Israel, exploration of the relative value of olfaction as a means of knowing has been largely neglected. Isaiah 11.3 is a passage modern exegetes have reconstructed or expurgated because its literal sense has the Messiah discerning good from evil by smell: an impossibility to the Enlightenment model of reality. But recent anthropology informs us of extraordinary olfactory discernment in African religion and the Islamic world. A brief history of exegesis confirms that Jewish commentators accepted an olfactory Messiah, but interpretation since the mid-nineteenth century, and even more prominently in the twentieth, has sought to reconstruct a hypothetical ‘original’ text, evidencing a modern ocularcentric bias.

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FRESHWATER, HELEN. "Sex, Violence and Censorship: London's Grand Guignol and the Negotiation of the Limit." Theatre Research International 32, no. 3 (October 2007): 247–62. http://dx.doi.org/10.1017/s0307883307003094.

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This article provides analysis of the short-lived London Grand Guignol (1920–2). During its brief existence, this institution became infamous – its presentation of acts of murder and violation provoked strong reactions from its audience, the press and the Lord Chamberlain's office. It has not attracted sustained scholarly analysis since, however, and this article draws upon archival material from the Lord Chamberlain's Plays and Correspondence Files, London's Theatre Museum and the Mander and Mitchenson collection in order to assess its audience's scopophilic – and often very physical – responses, as well as the ocularcentric preoccupations of the genre. The article illuminates censorious, critical and academic definitions of value, drawing upon Foucault's essay ‘A Preface to Transgression’ and the work of Georges Bataille.

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Westin, Jonathan. "Arosenius Translated. Digitisation as a Rephrasing of Meaning." Nordisk Museologi 31, no. 1 (May 31, 2021): 40. http://dx.doi.org/10.5617/nm.8823.

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To analyse and discuss the procedures through which a digital copy is brought into being as a representation of the physical original, this study offers an in-depth exploration of a single digitisation effort, that of the Ivar Arosenius Archive. Using Actor-Network Theory as a theoretical framework, this article argues that to digitise is to translate, a work that demands expert knowledge in a series of disciplines such as information science, image processing, archiving and conservation. The translation functions to rephrase the archival material with the purpose of making it mobile and conform to those protocols that define something as being digital, all while enrolling associations which strengthens it as a digital original. However, through this process, the multi-sensory archive is reduced to an ocularcentric archive, potentially losing meaning.

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Daelemans, Bert. "Healing Space: The Synaesthetic Quality of Church Architecture." Religions 11, no. 12 (November 26, 2020): 635. http://dx.doi.org/10.3390/rel11120635.

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There is a growing literature on the healing effects of buildings designed for healthcare, but publications that insist on this spiritual and healing dimension in church architecture are rare. Contemporary ecclesial buildings are often rightly criticized for their cold and soulless emptiness. However, through the analysis of four emblematic case studies, this article aims to lay bare an essential dimension of architecture that is often overlooked, a multisensory and synaesthetic dimension that engages our body even before we become aware of it. Hence, this article builds upon the recurrent plea of spatial theorists, philosophers, and architects for synaesthetic space as a reaction to a dominant ocularcentric environment. Surprisingly, contemporary church architecture seems rather propitious to deploy this inherently religious dimension that is at once healing and spiritual in a new sense, which is especially needed nowadays.

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Journal articles on the topic 'Ocularcentrism'

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