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Seeing Visual Culture - Coggle Diagram

- - - - Main goal is to show that metaphors of life are not stable. Key takeaway - there are cultural practices of light which change how we think about it. Light creates atmosphere of knowledge and experience.
      - Light is source of celebration.
      - Shows of metaphors of light relate to
        understanding.
      - Talks about scepticism, stoicism, christian theology, enlightenment.
      - Laying out a series of competing theories and reckoning of light to truth
      - Normann Zammit, Blue Learning
  - - - Plato's cave is about being trapped in unknowledge and wanting to stay there. The central drama of the story is
        
        Unschackled prisoner going to the light
        
        Drama of concealment, what ends someone will go to stop your beliefs being crushed
    - - Tyrannical. fascist regimes are highly attuned to images and convincing people to believe images they want to believe but which were not real.
        Those with the power to manipulate images will inevitably lord over those without this power, and will create a hierarchical structure.
  - - - The shadow eventually becomes a real person and makes the protaganist his shadow and imprisons him
        
        The shadow can be a metaphor for the soul
  - - - How the shadow has always been integral to theories of art and knowledge, and investigates the complex psychological meanings we project into shadows.
      - "Previously art historians took a long time in paying attention to shadows because shadows are, so to speak, heavy, dark, and ugly. Perhaps this is because for the Greeks, the shadow was one of the metaphors for the psyche, the soul. A dead person’s soul was compared to a shadow, and Hades was the land of shadows, the land of death."
      - From Plato’s cave to Duchamp’s widow
  - - - Whiteness as the symbol of many things like nature, fate and universe
      - Whiteness as a color and the absence of color.
  - - - His most fascinating theories explore the psychological impact of different colors on mood and emotion -- ideas derived by the poet's intuition, which are part entertaining accounts bordering on superstition, part prescient insights corroborated by hard science some two centuries later, and part purely delightful manifestations of the beauty of language.
  - - - Blue depicts sorrow of not being able to get pregnant. Protagonist always physically wrapped in colour and scarves.
        
        The color in the movie is immersive
      - The indigo hues were intensified post production, resonates with the African textiles.
      - Story of immigration, deepen color by connecting other stories of crossing oceans bringing color with you.
        
        Story is about marginalization, what happens to this young couple in city where diversity doesn't correspond to community.
  - - - Claims the tyranny of white is colour and asks Why has color been excluded from artistic discourse? Why is color marginalized
  - - - Dorothy's fall into color is actually her falling to be unconscious. The immersion of color is an entrapment. Dorothy and her companions fall prey into color. This is a kind of color contamination.
    - - Color itself is a kind of container - an enclosure. The bubble in the movie and the rainbow itself. Sings about beyond the moon and rain. Adds to metaphor of the rainbow.
        
        The bubble spins toward Dorothy after she falls on land.
        The color creates the imaginary world. The magic of the objects come from an extraordinary amount of color.
  - - - In ‘Darkening,’ Simpson continues to thread dichotomies of figuration and abstraction with vast and enthralling tableaux that subsume spliced photos and fragmented text, abstracted beyond comprehension.
      - Equally arresting and poetic, the paintings engage viewers with layers of paradox, capturing the mystifying allure of an arctic landscape in inky washes of blacks, grays, and startling blues.
      - Water earth and sky, blue adds life. Simpson wants to know about liquid color. Aerial transcendence to liquidity. Contemporary artists who was in black and white photography. She is layers, finds images from various publications and presents on fibre glass. Essentially a collage but its printed on each other.
    - - Places images of black women behind melting ice bergs. The blue in the icebergs and oceans give a sense of death.
        
        The intense coldness presents an atmosphere of race. The climate poses threat to survive. But racism is wind and coldness that mixes between climate and weather.
      - The is an inhospitable environment, it is beautiful but it will kill you.
      - Black skin and light skin cannot be filmed to gather without adjusting the camera.
      - Robin Coste Lewis, Using Black to Paint Light: Walking Through a Matisse Exhibit Thinking about the Arctic and Matthew Henson
      - Says there are blue or blues in the nocturnal. Part of the idea of nocturnal blue are weird exceptionalities. There is a sense of a strange kind of work to do as everyone is alone. Feels safe in the pocket of night. She is moving from blue to blues
  - - - Blue is the prevalent color in this movie. It is shown whenever there is mourning, grief or sadness. Thereby associating the color blue with these feelings
    - - A way of holding on to loss.
        Blur is color of darkness and beings to the dark.
  - - - Film about freedom and release
    - - Color can transport you out of reality to a spiritual place that is transcendent. Jarman wanted to make a new world where refugees from the dark could star their journey
      - Yves Klein, “The Evolution of Art towards the Immaterial” (1959), in Color, 120-122
        
        Blue is the invisible becoming visible, has no dimensions and is beyond the dimensions of which other colors partake. Closest you get to invisibility.
- - - - Essentially their race makes them invisible
        
        For Rankine, suffering stems from either being seen too much or too less.
      - The photographer presumes Claudia is angry in a photo and presumes she looks in a way she doesn't really look. The misunderstanding is deemed her fault. Why is his discomfort about caludias face, caludias fault?
        Who is at fault for what is seen when someone looks at you?
  - - - Ralph Ellison collaborated w photographer Gordon Parks. Parks focused on poverty, civil rights and human rights. First Black man to direct a Hollywood feature film.
  - - - As long as we recognize white skin, and rendered invisible will be seen as the default experience. He suggests
      - We need to establish an equal code fo representation on screen, make whiteness visible and critique the default of whiteness.
      - Claims that whiteness per say is never explicitly represented in film. Whiteness itself is seen to have no culture. It gets naturalized.
    - - Both Dyer and Loyo understand whiteness as constructed. Race is cultural and racial identities are performed. Film is a medium hat put performing bodies on visual display.
      - Taking colour as a relational category
        
        "white' in the personas of female stars is mainly studied in relation
        
        to black and other visual elements (lighting, framing, and staging)
        
        analysis the use of colour as racial trope conveying meanings
        
        than racial difference in a number of female star images
  - - - as the editors suggest, the mass media "has hostilely presented BLM"
      - M4BL in general and BLM in particular in ways that simplify its ideas, downplay its
      - organizational capacity, shade over its intersectional potency, and demonize the
      - young black bodies whose availability to unaccountable state violence is the oldest
      - and most consistent American reality since the European invasion,"
  - - - People of color must put on a facade to fit in
- - - - Too often people with sight don’t see any- thing! It’s a reciprocal process—we enrich each other’s worlds."
        Another memoir talks about Voices and smells revealing people's depths
        
        Faced with such findings and reports, neurolo- gists began to concede that there might be a cer- tain flexibility or plasticity in the brain
        
        What the blind see
        
        With the reallocation of the visual cortex to touch and other senses, these can take on a hy- peracuity that perhaps no sighted person can imagine. Bernard Morin, the blind mathemati- cian who in the nineteen-sixties had shown how a sphere could be turned inside out, felt that his achievement required a special sort of spatial perception and imagination.
        
        Important studies of adaptation in the brain were begun in the nineteen seventies by, among oth- ers, Helen Neville, a cognitive neuroscientist now working in Oregon. She showed that
        they had been trans- formed, "reallocated," in Neville’ s term, for processing visual language. Comparable studies in those born blind, or early blinded, show that the visual areas of the cortex, similarly, may be reallocated in function, and used to process sound and touch.
        
        Molyneux's question, also known as Molyneux's problem, concerns the possibility that a person born blind might immediately identify a shape previously familiar to them only by touch if they were made to see.
    - - 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 Redux
        :
  - - - Tells story of how she was driving through Malibu at night and noticed how the headlights reflect of the road.
  - - - Light and Air in La are interlinked. Smog plays a very important role. The terrain traps the polluted air in LA.
      - In Santa Monica, the heat rising from the ground, in most places is the resultant interplay of pockets of cold and hot air distorting lenses.
  - - - Setting - white room, boy moving his hand over over an another image
      - Vantage - distance, camera location
      - Backdrop - behind subject
      - Lighting - Artificial light, illuminates - head, part of farce. Shadows falling on back, hand that touches the image is extremely dark, possibly the boys mother from persona who no longer cares about him
      - Color - black and white
      - Framing - intense focus on the boys hand moving on a blurry image, everything else from the room is cut out.
  - - - not as a surprising or entertaining illusion but to make
      - eyes and mind aware of the wonders of color interaction; second,
      - to learn to utilize color deception in creative color performance.
  - - - it follows that any diversion among colors
      - in hue as well as in light-dark relationship
      - can be reduced if not obliterated visually on grounds
      - of equal qualities.
    - - Such studies provide a broad training in analytical comparison
      - and usually evoke surprising results, leading the student
      - to an intense study of color.
  - - - These yarn samples were used by opthalmologists to test for color blindness and the refinement of color perceptions.
    - - The sensory physiologist Köning measured the brightness of colors as a function of their wavelengths and absolute light intensity
      - These values were only go König's and not an experimental subject
  - - - Should make transparent and fresh surfaces rather than botchy skin
        
        Claims that colorfulness does not stimulate the animal senses because the child's uncorrupted imagination springs from the soul.
  - - - Dawoud Bey: Night Coming Tenderly, Black
- - - - Types of invisible
        
        Inability to see what's coming
        
        Censorship, cutting out what you don't want others to see
        
        Censorship in China
        
        Cutting out references to Tibet and the Dalai Lama
        
        Emptiness and absent presence
        
        Empty Chair - Absence
        
        Shows how absence can be an act of political resistance
  - - - Viewing a movie makes this condition automatic, takes the responsibility for it out of our hands. Hence movies seem more natural than reality. Not because they are escapes into fantasy, but because they are reliefs from private fantasy and its responsibilities; from the fact that the world is already drawn by fantasy. And not because they are dreams, but because they permit the self to be wakened, so that we may stop withdrawing our longings further inside ourselves.
        
        Movies convince us of the world’s reality in the only way we have to be convinced, without learning to bring the world closer to the heart’s desire
  - - - Outer ring of cells controlled by a central control tower. Each prisoner can see none of his fellow prisoners. Nor can you see the supervisor in the tower. Prisoner is fully visible to everyone in the tower. Prisoner can't see the overseer but the overseer can see them all. The guards can see the prisoner without being seen themselves.
      - Having this panoptic vision is having the power of control. Faceless gaze that transforms the whole social body into a field of perception.
      - Field of perception that is constructed by a system of oppression. Produces the inequality that is it also responds to. If you were in this prison, you would recalibrate your morals because of surveillance.
      - The Panopticon can be taken up as a way to trace surveillance tendencies in dictatorship . How vision produces coercive and coerced behaviors
  - - - Does it matter that these technologies share a history with warfare technology?
      - One companies that they look at is Axon - prepares taser. Produces electroshock weapons and body cameras. Gives body cameras to half of the police department in the country
        
        . Systems of surveillance has targeted non white bodies. the scene that we go back over and over is police officers as students learning about visual technology.
        
        Police officers narrative can be backed up. History of visual technology is seeing more than the human eye is capable of seeing.
        
        The body camera isn't there to show the presumed innocence but its there to exonerate the officer.
  - - - What does it mean to follow someone ? is it okay to make it art?
      - Stalking for art
        
        it is a beligerent act, magnifying your presence.
        
        the artist thinks he is no longer singular or a subject when he follows them.
        
        This act of stalking puts artificial limit.
  - - - Followed. a stranger and moved all the way to venice. Tries to figure out where he is staying.
      - Follows the guy around. Sometimes she was methodical, sometimes its completely arbitrary, presented in diary form.
      - Stalkers fantasy - no fulfilment but there is completion