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Seeing Visual Culture - Coggle Diagram

- - - - White painting [seven panel]
    - - White Painting
    - - White Painting [four panel]
    - - White Painting [three panel]
    - - White Painting [two panel]
  - - - Dry pigment and synthetic resin on thin canvas mounted on panel 39 1/2 x 20 inch Centre Georges Pompidou - Musée national d'art moderne, Paris, France © The Estate of Yves Klein c/o ADAGP, Paris
    - - "An empty gallery space. Nothing more, nothing less. You’d expect to find something, something even tiny. However the space itself is the exhibit. The work called La spécialisation de la sensibilité à l’état matière première en sensibilité picturale stabilisée, is quite a mouthful for such a minimalistic piece. "
  - - - Robert Fludd’s 1617 Utriusque Cosmi Maioris scilicet et Minoris Metaphysica, Physica, atque Technica Historia (The Metaphysical, Physical, and Technical History of the Two Worlds, Namely the Greater and the Lesser).
  - - - Untitled #11 (Bent Branches), 2017
    - - Untitled #12 (The Marsh), 2017
    - - Untitled #4 (Leaves and Porch) 2017
    - - Untitled #14 (Site of John Brown's Tannery), 2017
    - - Untitled #2 (Trees and Farmhouse), 2017
    - - Untitled #18 (Creek and House), 2017
    - - Untitled #1 (Picket Fence and Farmhouse), 2017
    - - Untitled #25 (Lake Erie and Sky), 2017
    - - The author discusses the photgraphy taken by Dawoud Bey and the relevance regarding the racial disparity in the United States. They discuss the meanings and answer questions for the reason of the location of the photographs.
      - "Bey’s photographs imagine the point of view of runaways and the times and spaces they navigated in claiming their freedom. Once again, although the prints are uniformly dark, they are not unreadable."
- - - - Oliver Sacks looks at how blind people use other senses to "see" the world and what the use to compensate for their senses.
      - "If we are sighted, we build our own images, using our eyes, our visual information, so in- stantly and seamlessly that it seems to us we are experiencing "reality" itself. One may need to see people who are color-blind, or motion-blind, who have lost certain visual capacities from cerebral injury, to realize the enormous act of analysis and synthesis, the dozens of subsystems involved in the subjectively simple act of seeing."
    - - This essay comments on W.J.T. Mitchell’s statement that ‘Visual culture entails a meditation on blindness, the invisible, the unseen, the unseeable, and the overlooked’. If visual studies entails a meditation on blindness, it is this article’s hope that it will avoid some of the missteps of similar meditations of the past.
      - "What these blind authors have in common is an urgent desire to represent their experiences of blindness as something besides the absence of sight. Unlike the Hypothetical, they do not feel themselves to be deficient or partial – sighted people minus sight – but whole human beings who have learned to attend to their non-visual senses in different ways."
    - - "Molyneux stipulated that the patients must be both totally and congenitally blind, and his modern followers slavishly comply. Researchers worry that a person who became blind even only a few years after birth might retain some visual memories which would influence their post-operative perceptions. The problem for researchers is that total congenital blindness is relatively rare in the industrialized world today, occurring in only about three births in ten thousand."
    - - This story is about a mysterious valley in South America where a community grew up, separated from the rest of civilisation. A disease struck the community which meant that people went blind, until each new generation was born completely sightless. Then a man who has the ability of sight then goes through a cycle of superiority over the sightless village, but ends up being inferior to all.
      - " But he heeded these things no longer, but lay quite still there, smiling as if he were content now merely to have escaped from the valley of the Blind, in which he had thought to be King."
    - - The author tells his story with the claim that he is an “invisible man.” His invisibility, he says, is not a physical condition—he is not literally invisible—but is rather the result of the refusal of others to see him. He says that because of his invisibility, he has been hiding from the world, living underground and stealing electricity from the Monopolated Light & Power Company.
      - "That invisibility to which I refer occurs because of a peculiar disposition of the eyes of those with whom I come in contact. A matter of construction of their inner eyes, those eyes with which they look through their physical eyes upon reality."
    - - This article addresses an expansive approach to the ‘visual’, including discussions of the forms of invisibility generated within the visible, the power of the unseen, or of blanks, holes and chairs kept empty.
      - "In the history of stage symbolism, the empty chair may be a common way of handling grief: as a sign of absence or loss − of a murdered victim, a missing beloved, an invisible guest, or someone who never shows up. It may also be a symbol of absurdity, longing and loneliness. Sit and wait, wait in silence."
    - - The author discusses Jeremy Bentham's Panopticon, a building with a tower at the center from which it is possible to see each cell in which a prisoner or schoolboy is incarcerated. Visibility is a trap. Each individual is seen but cannot communicate with the warders or other prisoners. The crowd is abolished. The panopticon induces a sense of permanent visibility that ensures the functioning of power.
      - "But the Panopticon was also a laboratory; it could be used as a machine to carry out experiments, to alter behavior, to train or correct individuals."
    - - "Our eyes are fleshy things, and for most of human history our visual culture has also been made of fleshy things...One could use them to make a photograph, or to print pictures on the pages of a magazine. The advent of screen-based media in the latter half of the 20th century wasn’t so different: cathode ray tubes and liquid crystal displays emitted light at frequencies our eyes perceive as color, and densities we perceive as shape."
      - Lake Tenaya Maximally Stable External Regions; Hough Transform 2016
      - “Goldfish” Linear Classifier, ImageNet Dataset 2016 & ?“Fire Boat”Synthetic High Activation, ImageNet Dataset 2016
      - “Disgust” Custom Hito Steyerl Emotion Training Set
    - - https://youtu.be/iTUAhkzVa0M
    - - https://vimeo.com/125475136
    - - A far-ranging look at the biases in how we see things, focusing on the use of police body cameras.
  - - - This article is a personal anecdote taking the reader back to the infamous car chase of the O.J. Simpson trial in the nineties and transitioning this story to the light of Los Angeles. The author makes vivid and detailed comparisons to the light in this city in a positive manner.
      - "The heat rising from the ground in most places - or, rather, the resultant interplay of pockets of hot and cold air, acting like distorting lenses in the atmosphere up above - is in turn what makes the stars shimmer and twinkle at night."
    - - In contrast to Weschler's feelings about the light of Los Angeles, Didion argues the opposite when it comes to the light that shines over this city. In other words, the light from the sun isn't as perfect as Weschler describes it as.
      - "The Santa Ana, which is named for one of the canyons it rushes through, is a foehn wind, like the foehn of Austria or Switzerland* and the hamsin of Israel...Whenever and wherever a foehn blows, doctors hear about headaches and nausea and allergies, about "nervousnes," about "depression.""
    - - "In addition to the meaning it has in the context of imperative dazzling, the shutting of the eyes can also represent the introduction of introversion, of inner contemplation, the free act of turning one's gaze inward."
    - - Socrates presents the famous metaphor in Western philosophy, which is the allegory of the cave. This metaphor is meant to illustrate the effects of education on the human soul. Education moves the philosopher through the stages on the divided line and ends with the formation of what we should think of this allegory.
      - Socrates: "Then education is the craft concerned with doing this very thing, this turning around, and with how the soul can most easily and effectively be made to do it. It isn't the craft of putting sight into the soul. Education takes for granted that sight is there but that it isn't turned the right way or looking where it ought to look, and it tries to redirect it appropriately."
      - Illustration of Plato's Allegory of the Cave
    - - This is an interview between Christopher Turner and Victor I. Stoichita regarding Stoichita's writings of ancient philosophers, specifically discussing their views on shadow.
      - "In exploring the writings of Plato, Pliny, Leonardo, and Piaget, Stoichita explains how the shadow has always been integral to theories of art and knowledge, and investigates the complex psychological meanings we project into shadows."
      - "I think for the western mentality, accepting that representation originated in the absence of light, in a dark spot, was difficult to accept."
      - Illustration from Ars Magna Lucis et Umbrae, Athanasius Kircher’s seminal 1646 treatise on light and shadow. In explaining the principle of the camera obscura, the illustration associates the image and the shadow with the devil.
    - - This story is about a learned man and his shadow, his attempt to visualize and fulfill his own writings about Beauty, Truth and Goodness, and it is the story of the act of writing itself: the storyteller's attempt to maintain the potential for Poetry in a reality dominated by appears.
      - " It is true I did not think much about it while I was with you, but you will remember that I was always much larger at sunrise and sunset, and in the moonlight even more visible than yourself, but I did not then understand my inner existence."
    - - Famed stage stress Elisabeth Vogler (Liv Ullmann) suffers a moment of blankness during a performance and the next day lapses into total silence. Advised by her doctor to take time off to recover from what appears to be an emotional breakdown, Elisabeth goes to a beach house on the Baltic Sea with only Anna (Bibi Andersson), a nurse, as company. Over the next several weeks, the two women find themselves experiencing a strange emotional convergence.and
- - - - Maria Popova discusses Johann Wolfgang von Goethe's - German poet, artist, and politician - Theory of Color and what emotions derive with each color that is used in displaying/creating art. *
      - "One of Goethe's most radical points was a refutation of Newton's ideas about the color spectrum, suggesting instead that darkness is an active ingredient rather than the mere passive absence of light."
      - Color wheel designed by Goethe in 1809
    - - Daston and Galison chart the emergence of objectivity in the mid 19th century sciences and show how the concept differs from its alternatives, truth-to-nature and trained judgement. This is a story of lofty epistemic ideals fused with workaday practices in the making of scientific images.
      - "Most difficult of all, according to Purkinje, was the trained ability to separate objective from subjective visual impressions, which required the scientists to progress through a series of ever-more-demanding exercises in self-observation, until complete visual passivity was attained, so as to see "as the primitive [Naturmensch] sees a painting, as a mere surface of various colors."
    - - David Batchelor’s Chromophobia revolves around the problem of color in the Western cultural imaginary of the last two centuries. He argues considering color in regards to aesthetics and history of art.
      - "Colour, then, is not only low down the hierarchy of a painter’s skills and resources, as it had been in Academic training from the start; it is down there because that position corresponds to colour’s lowly place in the moral hierarchy of the universe."
    - - The author discusses the perspective of color through the eyes and minds of children. Through their point of view, he discusses the intensity and emotion that goes into choosing colors in their daily lives, whether that's through a painting or looking out into the outside world.
      - "Children like the way colors shimmer in subtle, shifting nuances (as in soap bubbles), or else make definite and explicit changes in intensity, as in oleographs, paintings, and the pictures produced by decals and magic lanterns. For them color is fluid, the medium of all changes, and not a symptom."
    - - The author looks closely at America’s most popular art and our perceptions of it. He explores Hollywood’s stars, directors, and most famous film, as well as his perspective on Godard, Bergman, and other European directors.
      - "Fantasy is precisely what reality can be confused with. It is through fantasy that our conviction of the worth of reality is established; to forgo our fantasies would be to forgo our touch with the world."
    - - When a tornado rips through Kansas, Dorothy (Judy Garland) and her dog, Toto, are whisked away in their house to the magical land of Oz. They follow the Yellow Brick Road toward the Emerald City to meet the Wizard, and en route they meet a Scarecrow (Ray Bolger) that needs a brain, a Tin Man (Jack Haley) missing a heart, and a Cowardly Lion (Bert Lahr) who wants courage.
  - - - “Submerged” by Lorna Simpson 2018 Ink and screenprint on gessoed fiberglass 274.3 x 243.8 x 3.2/108 x 96 x 1 1/4
      - “Blue Dark” by Lorna Simpson 2018 Ink and screenprint on gessoed fiberglass 259.1 x 365.8 x 3.5/ 102 x 144 x 1 3/8
      - “Darkened” by Lorna Simpson 2018 Ink and screenprint on gessoed wood 274.3 x 243.8 x 3.2/ 108 x 96 x 1 1/4
      - “Darkening” by Lorna Simpson 2018 Ink and screenprint on gessoed wood 274.3 x 243.8 x 3.2/108 x 96 x 1 1/4
    - - "Driving, driving, driving. Living, living, living. A young daughter, who lives in a blue room at home, is dreamy and is holding a silver and blue wrapper of a lollipop recently devoured out of the window."
    - - A woman struggles to find a way to live her life after the death of her husband and child.
    - - "Nevertheless, throughout the centuries, color - tainted, humiliated, and conquered - prepares a revenge, an uprising that will be stronger than anything. Thus the history of the very long war between line and color begins with the history of the human world."
    - - "Time is what keeps the light from reaching us. The images is a prison of your soul, your heredity, your education, your vices and aspirations, your qualities, your psychological world."
    - - Filmmaker Derek Jarman narrates a reflection of his losing battle with AIDS against the backdrop of a blue screen.
    - - "From the knees down: this odd sensation, not nothing, but something, just not legs. If ice were not cold perhaps. Or the memory of a leg. I cannot feel my legs, but I can feel their memory."
    - - "Simpson’s photographic work has always been exceptionally strong in demonstrating the taut relation between images of the Black woman’s body and language that pulls her body into politics, saga, elegy, and poetry. "