Ways of Seeing

The research entitled Photography: conversation with pictures, between light and darkness, aims to answer the question : What are the ways of seeing and how are they given? Thus, the proposal is to discuss what is the seeing and what are the ways of seeing, especially regarding images, and propose new possibilities to perceive and relate to the images. The look of blind photographers artists Teco Barbero, Pete Eckert and Evgen Bavcar is the starting point for articulating concepts, notes, contextualizing and question the oculocentrista beliefs that the world thinks the imagery as belonging only to the visionaries. The theoretical foundation is rooted in the study of the visual culture to think that corroborate the view, photography and reflection of visually impaired people enabled by the field, and discuss issues such as image, its production and some possible ways of seeing and relating to the images. The photograph is placed on debate to advance the reflection on the ways of seeing, perceiving, thinking and create the view beyond. And think the description and language as articulators for the visually impaired relationship with photography and images in general way. When entering the world of language, translation emerges as a possibility to reflect on ways of building the images for the visually impaired. The structure of the thinking process of the seeing, perceive and relate to the imaging, is woven from the poetics of 'see', ' review ' and ' transverse ' metaphor proposed by Manoel de Barros. Also relies, in the possibilities of translation, Flusser, entering the field of visual culture studies. The field research, observation and data collection was performed with a group of visually impaired and bachelors in travel photography Visual Literacy extension, Senac - SP, where students learn how to shoot and handle the camera, doing exercises to increase awareness, perception and imaging, as well as discussion and reflection on the photographic and image production. Research indicates, among other issues, that the seeing is not something unique of the eye and that it is built from the experiences, experiments, and especially the perceptions coming from the senses. The view is a construction that relies on vision, and is completed in sensations, memories and imagination. Seeking to expand the discussion on the ways of seeing, are listed the reports, processes and photographic works of Lelo Araújo, Ana Domingues and grandson Josiah. Analysis and interpretations that cover the production of these blind photographers are not woven, since the purpose of the research is to reflect upon the possibilities of seeing in its wealth of forms and manifestations, thus increasing the knowledge about the image.

John Berger’s warnings around the gaze in Ways of Seeing and the discourses surrounding NASA’s Blue Marble, the 1972 image of the whole Earth from space, propose a visual practice based on vision as inculcating an alienating objectivity. I return to these foundational texts from 1972 in order to produce symptomatic readings that suggest a background for certain attitudes around digital images. Introducing Donna Haraway’s notion of diffraction multiplies the interpretive identities of such texts and pushes against over identifications that limit a text’s contemporary resonance, as I explain through my discussion of Ways of Seeing and then model through various approaches to Blue Marble. My analysis identifies how attributes of each object contribute to the disappearance of the image as something one looks at, but by reclaiming vision, a new kind of critical visuality becomes available, particularly as it applies to digital culture, as I address in my conclusion.

We create images on the basis of  what has impact us in the past.In the process of creating Images we associate our brain               with the visual processing that are activated               when we are in that space of the Image. This                     makes our imaginings to compete with the               incoming visuals information around us.The             sheer amount of Stimuli of the Outside               world, can easily overwhelmed our           imagination and lead to distractions. Seeing             comes before words . The child looks and                 recognizes before it can speak. When a child                 is ask to draw any subject, its imagination is                   independent on the perception of being             practically correct. As we grow older we               gain more awareness of the things around us.                 This Growing awareness leads to drawing             with realistic perceptions. We map how we               see reality.  

John Berger being a English art critic, novelist, painter and poet in 'Ways of Seeing' goes through the ages diving through his words to show how our way of seeing have changed through the time. As he starts by saying 'Seeing comes before words. The child looks and recognizes before it can speak' and explains how we are effected by our knowledge while we see and explains the way we see things is effected by what we know or what we believe" and goes more deeper into this concept by various means. As I was going through this essay I found writer trying to show us how we look at things and how we and our way of seeing have changed because of modern technology and science. Through many examples writer tries to show how really we see at the first place then secondly he explains what really happens when we see further when he talks about the uniqueness of art from ancient time being just displayed at one place at a time and with the development of camera and television arts being reprinted and displayed at many places at the same time and television publishing art all over the world at everyone's house have been well explained from its positive and negative prospective. Clearly writer puts his arguments in front by giving different examples of art , portrait, and many more paintings from all around the world. He explains that when we view a painting we do not always see what the painter intended for us to see. Then he gives an example of Vincent Van Gogh's 'Wheatfield with Crows'. When we view this painting we think of sun, a farmers harvest. but when we come to know about this picture being the last picture that Van Gogh painted before he killed himself gives different changed point of view of the painting. As we go through this essay as writer being an experienced art critic says 'the means of reproduction are used politically and commercially to disguise or deny what their existence make possible. But some time individuals use them differently.' by saying this he explains the possibilities of art taking different form in personal level. And on the other hand he also feels happy of modern technologies that have destroyed the authority of art and to remove it and feel good that they surround us as language surround us as they have entered the main stream of life. In the final few paragraph Berger discusses on language of art as art of the past no longer exists as it once did, its authority is lost, in its place there is a language of images what matters now is who uses that language for what purpose and by this he gives the final stroke to this essay by warning our age for being aware on what path we are going and where it may lead.

Εργασία δευτέρου εξαμήνου για το μάθημα Άξονες Έρευνας: Τέχνη, Κοινωνία και Πολιτική του ΔΠΜΣ «Τέχνη και Δημόσια Σφαίρα», Α.Π.Θ. – Συντονιστής: Γιάννης Σταυρακάκης

Οι συνδυασμοί, συνεργασίες, συνδιαλλαγές, συγκινήσεις, πώς και γιατί μας επηρεάζουν, το συγκείμενο του απεικάσματος, δηλαδή, ήταν η Ποιητική του. Σε αυτό φαίνεται να συγκλίνουν όλες οι πηγές που μελετήσαμε για την πρόσληψη του Berger (γραμματεία, οπτικοακουστικά τεκμήρια άλλων και αυτοπορτραίτα, χρήστες/χρήστριες Youtube), όπως προσπαθούμε να δείξουμε με ενδελεχή αν και φυσικά όχι εξαντλητική παράθεση.

This article o ers a philosophical account of a range of urban phenomena that are integral to the visual fabric of the modern city and, at the same time, external to the visual order administered by the city’s rulers. Explaining why the common terms of “gra ti” and “street art” are too narrow for discussing the plurality of the illicit visual forms that populate the city’s space, I coin the alternative term “streetography” and aim at a new understanding of its visual e cacy. This is done by showing that the key for deciphering the streetograph’s unique visuality is its form of embeddedness in the street and, in a corollary manner, the form of visual experience—the kinds of viewing—that the street opens for the urban viewer.
Streetographs always operate within the city’s given visual order and as such the question of their e cacy is addressed here in terms of the streetograph’s relationship to that hegemonic visual rule whose basic traits are also clari ed. Developing an understanding of this relationship, the article thus addresses the following questions: What kind of resistance can streetographs provide to the kind of optics that governs the modern urban space? Can streetographs evoke an alternative kind of spectatorship that disrupts the sovereign’s imagination? And, more speci cally, in an epoch in which streetographs are regularly absorbed into capitalist aesthetics— advertising, cinema, social media—how can they allow us to rethink the possibility of resisting the measure of a global capitalist visual system?

The present chapter traces how the rabbis in the tractate of Hagigah developed the biblical commands concerning cultic pilgrimage into laws for a bygone Jerusalem temple pilgrimage to see and be seen by God. Our investigation points to how the desire for, and loss of, the sight of God’s face punctuates and centers the Babylonian Talmud tractate of Hagigah. The biblical commandment to "see the face of God three times a year" allowed the rabbis to conjure forms and narratives of pilgrimage in an age of Greek and Roman "visual piety" but without the Jerusalem temple. The chapter shows how in varying ways earlier and later rabbis construct a pilgrimage of reciprocal vision (in which pilgrim and god mutually behold and are beheld), particularly in the Babylonian Talmud which emphasizes "homovisuality."

This study discusses the changing ways of seeing in the visual culture from the
traditional period to the digital age through self-portraits which were once painted with
brushes, later taken with cameras and finally, taken with smartphones. With this aim, the
ways of seeing and habits inherited from the European oil painting tradition will be presented.
Selfie taken with smartphones is referred to as “digital object” or “new self-portrait” in
some sources as the word ‘selfie’ is derived from ‘self-portrait’. Selfie is a widely used phototaking
technique in Turkey and all around the world. In parallel with the rapidly developing
and wide-spreading technology, it is undoubtedly the most popular form of photography
among the young and the old alike.
This “new self-portrait” of today traces its roots back to the European oil painting tradition.
The study presents a historical journey starting with a number of traditional oil paintings in
which the artists reflected their self-portraits and continuing with the significant self-portrait
photographs produced with the invention of photography, and finally moving towards the
selfies taken with smartphones. This journey will show that mirrors had once been the helping
device for the artists; and that today, with the developing technology, the front-facing
cameras of the smartphones have turned into mirrors.
The study will reveal the similarities and the differences between the traditional selfportraits
and the new self-portraits of today in terms of ways of seeing.

"Göz her daim güçlü bir anlam taşıyıcısı olmuştur. Günümüzde ise, özellikle XXI. yüzyılın başından itibaren hayatın en mahrem alanlarını dahi istila eden kameralar, görme biçimlerimizi temelinden etkileyecek değişimleri de beraberinde getirir. Hayatın her anının izlenebilir ve kaydedilebilir olması, zamana ve mekâna dair algımızı dönüştürerek bizi bakışın etiği tartışmasının daha da çok içine çeker. Görünen ile mahrem arasında salınan göz, çağdaş bir kurmaca metne nasıl yansır sorusundan hareketle, bu çalışma, Sema Kaygusuz’un ilk romanı Yere Düşen Dualar’da gözün serüveninin ve yazarın bakışın etiğine dair sorgulamalarının izini sürmeyi amaçlar."

دقیقا نمیدانم که یک معرفی کتاب چه فرقی با یک خلاصه از کتاب دارد؟ این ها با ریویو چه تفاوتی دارند و باید چطور نوشت تا لذت خواندن متن اصلی کم نشود و از طرفی هم مخاطب مشتاق به خواندن شود. به هر حال با همه ی ندانم نمیدانم هایم فکر کردم حداقل نوشتن یک معرفی/خلاصه/تبلیغ اینطوری به خودم کمک میکند تا یک بار دیگر کتاب را ورق بزنم و مطالب را دسته بندی کنم.

The Western Ghats is a contentious landscape described in the familiar language of disciplines and boundaries, a language that has influenced the way in which development and environmental projects have been designed. It is possible the contentions arise from a particular ontology, created by a way of seeing the Ghats that divides nature from culture, relying on a view from above that distances one from place, an outsider's view. This way of seeing differs from an understanding that emerges when engaging in the Ghats on foot. This paper grapples with this difference through a literary engagement with one of Kuvempu's epic novels, Malegalalli Madumagalu. The novel reveals two different ontologies through an unraveling of text and imaging: one that privileges the colonial eye requiring skies and eyes to be clear, and another that privileges a local experience structured by the everyday practice of walking in a monsoon terrain.

The Mayor of London’s #BehindEveryGreatCity campaign is focused on tackling gender inequality in and around London. Earlier this year, UCL was commissioned to carry out a study, exploring how women experience gender in London’s out-of-home advertising.
‘The Women We See’ research collected the stories of 16 women (aged 21-65) and 22 teen girls (14-16) from a range of backgrounds to explore how they experience advertising content that they see in London’s public spaces. A quantitative survey also captured the views of 2,012 women and men on gender and diversity in London’s advertising.
While there have been some important positive changes in advertising content, the research found that gender equality and diversity in advertising remains a problem for all media channels across London. The Women We See report focuses specifically on the impact of out-of-home advertising and provides recommendations for advertisers on how to tackle this issue.
The Women We See report recommends that advertisers tackle this issue by considering
the intersecting issues of age, ability, culture, religious, ethnicity, gender and sexuality shaping Londoners’ identities and experiences.

An artwork has the power to cultivate ideas, to evoke feelings and to relive memories. Such definition of an artwork is clearly observable in the work of Francis Alys that is commissioned by 14th Istanbul Biennial in 2015. This work will deal specifically with the artwork of ‘The Silence of Ani’. The following paper arises some cultural questions about the relationship between an artwork and perceivers. By focusing on the role of ‘gaze’ and ‘ways of seeing’ over artistic appreciation including several mediators, this paper seeks to put a framework about how different senses work together in representation of a story. Since the artwork questions the social roots of devastation of Ani and the similar dimension on reconstruction of this forgotten city, this paper is also underlining the sociological ground on which divergent ways of appreciation are flourished.

Remarks on intention vs interpretation in the consideration of works of art are followed, without comment, by images of five successive stages of a painting. It is hoped that the change from reading to seeing is so abrupt as to invite both careful thought and receptive vision.

Casi dos años después la muerte de John Berger, Joshua Sperling (Nueva York, 1982) publica una fascinante biografía intelectual: A Writer of Our Time: The Life and Work of John Berger (Un escritor de nuestro tiempo. Vida y obra de John Berger; Verso). Berger –mantiene Sperling– fue un auténtico pionero en el campo de las ideas y de las formas genéricas. Fue moldeado por su tiempo –la posguerra británica, los vaivenes de la Guerra Fría, las ilusiones y desengaños de la izquierda– pero también hizo lo suyo para moldearlo. Supo como nadie navegar las contradicciones de su época y de su propia vida. A través de sus múltiples metamorfosis, siempre se mantuvo fiel al compromiso marxista, humanista y populista que asumió de joven. “El compromiso de John Berger era escribir,” dijo su amigo y colaborador Manuel Rivas en una nota necrológica. “Y todo lo que escribes te compromete”.

Obituary of John Berger (1926-2017). I fail to mention in the text that I have been introduced to Berger by the impressive Nicos Hadjinicolaou when he was a visiting professor at the art history department at the University of Hamburg in 1982. Hadjinicolaou offered an entire seminar on this writer who at the time was hardly considered a canonical art historian, and certainly not in West Germany.

"Seeing is a disciplined task,
not confined to the physical, biological
function of sight. Ocular vision is not a
necessity or even the point of departure
for the discipline of seeing. Rather, seeing
is the critical discipline of delving
beneath surface, affective, and customary
appearances; delving into the very
constitutive, constructed layers of re-presented
'reality' and theology."

"Seeing." In The Dictionary of Feminist Theologies. Edited by Letty M. Russell and J. Shannon Clarkson, 254 – 255. Westminster John Knox Press, 1996.

Excerpt from "seeing studies", in collaboration with Natascha Sadr Haghighian, commissioned by dOCUMENTA (13) and Casco Projects, Hatje Cantz Verlag (2012)

from Part 3: Spoken & Heard, a Conversation with Molly Nesbit and accompanying essay.

Within a feminist framework, I explore representations of the female corpse as manifested in fashion magazines.  The disturbing idealisation of the female corpse manifests in Western culture, in fashion magazines, as expressed in depictions of the attractive/ seductive/fine-looking female corpse.  Fashion photographs that fit this description are subverted as a strategy to undermine the aesthetic and cultural objectification of the female body.  The utilisation of the abject and the grotesque in relation to my use of ink as artistic medium is therefore an attempt to create ambiguous and conflicting combinations of attraction and repulsion.  Thelma thereby confronts the viewer with the notion of the objectification of the decease[d] feminine body as object to-be-looked-at.

This article explores how blindness and 'not-seeing' play a part in the looking at, and the creation of, art. With an analysis of an early self portrait by te Dutch master, Rembrandt, 'Blinding the Viewer' argues that what cannot be physically seen is often inherent in our physical experience of painting, something which is often preseumed to be a solely visual art form.

"We have neglected the gift of comprehending things through our senses. Concept is divorced from percept, and thought moves among abstractions. Our eyes have been reduced to instruments with which to identify and to measure; hence we suffer a paucity of ideas that can be expressed in images and in an incapacity to discover meaning in what we see. Naturally we feel lost in the presence of objects that make sense only to undeluted vision, and we seek refuge in the more familiar medium of words. ... The inborn capacity to understand through the eyes has been put to sleep and must be reawakened."
Rudolf Arnheim: Art and Visual Perception, 1974, p. 1

This is https://www.academia.edu/9984501/Queen_Elizabeth_I_meets_the_Boojum without text

Related: https://www.academia.edu/10429829/Seeing_Letters_Skulls_and_Faces

2015-04-10: Friendly license for using these comparisons: CC BY-NC-ND 3.0 (https://creativecommons.org/licenses/by-nc-nd/3.0/)

2015-04-18: Father Time × 3

2016-05-08: Added one image (page 4)

What must happen so that people like me, who are visually impaired, can work more efficiently is a standardization of the website layout with each category, e.g. citation should always be in the upper left corner and have an orange button, the Download button must be in the center and of light green color with black letters in it, etc.


I find it challenging to gather all information from research articles because every provider of online scientific publications has its own layout, its own functionalities, its own format, etc. But instead of me having to remember the location of each functionality for each provider, it would be much better if all providers would use the same general layout, color coding and a minimum set of function to which each provider is welcome to add whatever deemed beneficial.


E.g. here in ResearchGate it is hard for me to find the "Message" button with my Zoomtext because it is of the same color as the background and the only way to recognize it is by the thin blue letters spelling the word "Message". Even though Academia.edu and ResearchGate.net serve the same purpose, there are a lot of differences in navigating through their sites. Therefore, providers of similar content and functions should be required to offer a user interface option that follows the same standards regarding layout, coloring, contrast enhancing, screen-reader accessibility and other accessibility functions because that way sensory impaired people must only learn once, e.g. how to access scientific journals, figures, citations, supplementary material, PDF files, etc.


Knowledge-exchange and online employment websites must provide an interface for its users to interact. All providers of such kind of interaction interfaces should be required to provide a disability communication mode, which must adhere to strict standards pertaining to accessibility, layout, color coding, use of functions like "Search", "Submit", "Download", "Message Exchange", "User Lookup", etc. Each provider should be free to choose its own communication interface features, which don't need to be standardized to maintain options for commercial innovations, but that must be in addition but never instead a clutter-free interface that allows accessing the same kind of information always the same way across all provider platforms.


Each provider of any kind of web-based functions or services must provide the option to chose any older legacy version of its software, cloud or browser-based functions so that in 20 years I can still use the same method to accomplish the same things as today.

...In wondering why my students ignore size, I noticed that one of our textbooks, Ways of Seeing doesn’t include it at all, not even in the index. The television series makes size apparent when Berger is standing in relation to works in the National Gallery London, but in the book’s visual essays or the show’s rapid cuts one image after the other, dimensions and scale are ignored. The disinclination to mention size is not some personal flaw of Berger’s but speaks to a moment and contextualizes a current culture that ignores materiality so easily. Given the significance of Ways of Seeing, some of its lapses have extended into the visual culture and media studies that he helped inaugurate. Thinking about what he didn’t talk about reflects back to us absent conversations that may still need to be had....

This paper is a possible thesis topic for my undergraduate thesis. A prior paper on this subject was written that I do not have access to any longer; and this paper still is not the finalized draft - there are a fair array of inaccuracies, typos, and ideas that need to be recast compositionally. However, I felt that I should upload this paper in order to share my ideas and perhaps receive feedback.

In the argument that follows, I will pose two cases in order to help me navigate the phenomenon of veridical perception and the phenomenon of hallucination, so as to try and determine the threshold between these visual experiences. In doing so, I recognize the benefits of disjunctivism and support naive realism (out of respect to Hinton's article " Visual Experiences "), despite continuing to accept my own theory of perception, " Representational Sense Data ". In the following pages I use these theories accordingly across two main cases of seeing, in order to illustrate how the content of our veridical experience is defined through two types of contexts, as they are necessitated by the processes of veridical perception. In this way, I illustrate how the content of our visual experiences varies in how we represent the phenomenology of our experiences to ourselves and how this notion can allow for hallucination to be indiscriminable to veridical perception while at the same time accepting that it has no phenomenological basis in the present. I thenceforth support Fish's theory of hallucination, as it is laid out in his book " Perception, Hallucination and Illusion ". The theory, which defines just what a " pure " hallucination is, is the crux of my argument; it shows how a hallucination is only as indiscriminable inasmuch as its content is similar to a veridical perception (of its same kind). I reveal its merits through the positing of my two-context theory about content of veridical perception (as it constitutes sense-data) and concept (constituted into two types of higher-order processes, both of which create a third process - that is, of our attempt to reconstruct the world using language in light of indiscriminability about epistemology.)

Talk on talk on J. E. Millais' "Isabella" and on voting on what you want to see.

As for the image on the last page, see also https://www.academia.edu/11592383/The_Vanishing

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Update (2015-05-04):
Already in November 2012 Carol Jacobi wrote: "The salt cellar spilling its contents through the shadow on the white cloth in Lorenzo and Isabella, dispels doubts about whether such sexual connotations were ‘conscious’".
Source: http://www.tate.org.uk/research/publications/tate-papers/sugar-salt-and-curdled-milk-millais-and-synthetic-subject

Sehen steht am Beginn medizinischer Praxis. Dabei ist das Sehen nicht nur eine notwendige Vorstufe des diagnostischen Verstehens und therapeutischen Urteilens, es weist auch eine komplexe normative Struktur auf. Durch die Entwicklung medizinischer Bildgebung und (digitaler) medizinischer Bilder – man denke an die Magnetresonanztomographie (MRT) und die Computertomographie (CT) seit den 1970ern – hat das Thema eine neue Brisanz erhalten. Der Aufsatz spürt Normativitäten des digitalen Sehens auf verschiedenen Ebenen auf und greift dabei auf das konzeptuelle Angebot der 'Ontonorms' von Annemarie Mol zurück.

This paper offers a reading of Seneca’s EM 50, focusing on the opening anecdote, the story of the fool slave Harpastes, who suddenly became blind but thought that it was the outside had darkened rather than her sight had declined. Harpastes is fool (fatua, a condition which is worse than being stultus), mad and blind, so she represents under many respects our actual condition: for the Stoic doctrine, we all are fool (stulti) so we act like mad people, blinded by our vices. Yet her blindness is due to a physical disease, while ours is ethical, and it is due to our moral feebleness. In ascribing our vices to exterior causes, we act in a way similar to that of Agamemnon in the Iliad 19, when he ascribes his anger to a blindness (ate) caused by the gods. In our case, this is not true: we are responsible for our passions, and our mends have a cognitive root, as the letter shows. Indeed, apart for the medical metaphor, the main semantic field of the letter is that of knowing: from an analysis of this field emerges that our moral diseases come from a refuse to admit our limits, that is to know ourselves, which is the first and crucial step towards wisdom.