Academic literature on the topic 'Photography and blindness'
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Journal articles on the topic "Photography and blindness"
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Baker, George. "Sharing Seeing." October 174 (December 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.
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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic seeing instantiates. Ultimately, Lockhart's relational practice of photography-connecting each photograph she makes to prior images, while never fully duplicating or replicating them-provides a model for understanding the relational dynamics of photographic spectatorship. The essay also discusses Paul Strand, Roland Barthes's Camera Lucida, Kaja Silverman's World Spectators, “straight photography,” and Michael Fried.
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Dokumaci, Arseli. "Vision Portraits." Film Quarterly 76, no. 2 (2022): 48–54. http://dx.doi.org/10.1525/fq.2022.76.2.48.
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In his most recent documentary feature Vision Portraits, award-winning filmmaker Rodney Evans follows the stories of four artists – choreographer and dancer Kayla Hamilton, writer Ryan Knighton, photographer John Dugdale and Evans the filmmaker – who are either born sighted (or, like Hamilton, partially sighted) as they negotiate their way out of sightedness into blindness. This article analyzes how Vision Portraits depicts becoming blind as a “rite of passage”, that is, a process in which the wisdom, expertise and embodied knowledge of blind people initiate the newcomers into blindness, guiding them in the process, and showing how blindness, contrary to societal assumptions, can in fact be a bliss, and how arts (including visual arts such as photography and filmmaking) can be practiced regardless of the “absence” of sight or how much there is left of it.
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Fomenko, Andrey N. "Beyond the Threshold of the Visible: The Photographic Objects of Alexander Ugay." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 263–87. http://dx.doi.org/10.21638/spbu15.2021.206.
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One of the features of photography is the fact that the process of formation of the image is invisible — in contrast to painting. It is as if photography, which makes the world more visible, evades visual control. The transition to digital techniques partly reduces this “dark side” of photography, but it also allows us to make better sense of analogous photography and reflect on its dual nature. Alexander Ugay, a contemporary artist from Kazakhstan, who in his practice shifts from photography as an image to photography as an object, substance and process, is an example of such a reflection; the thematization of the nature of the medium is combined in his practice with the theme of memory and oblivion. In his Objects of Memory (2013), he photographed the back of pictures from several archives of the Stalinist camps — the procedure that emphasizes the material and ephemeral character of the prints. The iconic aspect is almost entirely excluded from Time Capsule (2011 — present time) that reveals the self-destructive nature of the act of taking picture. The series of “obscuratons” (2017–2018) — complex pinhole cameras with a lot of holes — is a preliminary result of this reflection of photographic dialectics of the visible and the invisible. Every obscuraton functions alternately as a devise for creating an image (equivalent to human vision) and as an object integrated in some environment side by side with the other things. The polemics with an idea of total visual control can be read here; the machines of vision prove to be machines of blindness. The general impression is that the sole purpose of the emphasis on physical and chemical processes, the use of the particular iconographic resources and references to historical realities have a single goal in Ugay’s projects: the dissolution of meanings and disintegration of forms.
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McCulloch, Douglas. "Shot in the Dark: Blindness and the Zero Point of Photography." Afterimage 39, no. 6 (May 1, 2012): 7–10. http://dx.doi.org/10.1525/aft.2012.39.6.7.
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Howie, Elizabeth. "Contesting plant-blindness with photography: Michael “Nick” Nichols’s portrait of a giant sequoia." photographies 14, no. 3 (September 2, 2021): 521–35. http://dx.doi.org/10.1080/17540763.2021.1960411.
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Nouzeilles, Gabriela. "Theaters of Pain: Violence and Photography." PMLA/Publications of the Modern Language Association of America 131, no. 3 (May 2016): 711–21. http://dx.doi.org/10.1632/pmla.2016.131.3.711.
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The Photograph is violent.—Roland Barthes, Camera LucidaWho are you, who will look at these photographs, and by what right, and what will you do about it?—James Agee, Let Us Now Praise Famous MenIn His Entry for Eye in Le Dictionnaire Critique (1929-30), Georges Bataille Refers to the Human Compulsion to Look as a response to a “blind thirst for blood,” triggered by the spectacle of extreme violence, including torture. But why, Bataille wonders, would someone's “absurd eyes be attracted, like a cloud of flies, to something so repugnant?” (19). He attributes to the human eye the cannibalistic disposition that comes from our “inexplicable acuity of horrors” and from the disturbing fascination that the eye itself exerts over our sensibility. The extreme seductiveness of the eye, Bataille hints, is probably “at the very edge of horror” (17). He connects the unstable edge that separates such contradictory responses with the idea of the eye as a critical tool, in which “critical” refers to the act of discerning and the act of cutting—as shown in the infamous opening of Tuis Buñuel and Salvador Dalí's film Un chien andalou (“An Andalusian Dog” [1929]), when the eye of a young woman is sliced open by a razor in front of the camera. This violence against embodied (and sexualized) vision points not only to the notion of the eye as a misleading mimetic apparatus but also to the image of the eye as a hole or gap. The split eye is resignified as ocular replication, which, unexpectedly, triggers the proliferation of images and the loss of sight that come from seeing too much. Indeed, the swarm of eyes that populates Bataille's visual imagery grimly alludes to the compulsion to watch violent acts to the point of blindness.
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Gajiwala, Uday R., Swapnil Pachchigar, Dhaval Patel, Ishwar Mistry, Yash Oza, Dhaval Kundaria, and Shamanna B R. "Non-mydriatic fundus photography as an alternative to indirect ophthalmoscopy for screening of diabetic retinopathy in community settings: a comparative pilot study in rural and tribal India." BMJ Open 12, no. 4 (April 2022): e058485. http://dx.doi.org/10.1136/bmjopen-2021-058485.
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ObjectivesThe impending and increasing prevalence of diabetic retinopathy (DR) in India has necessitated a need for affordable and valid community outreach screening programme for DR, especially in rural and far to reach indigenous local communities. The present study is a pilot study aimed to compare non-mydriatic fundus photography with indirect ophthalmoscopy for its utilisation as a feasible and logistically convenient screening modality for DR in an older age, rural, tribal population in Western India.Design and settingThis community-based, cross-sectional, prospective population study was a part of a module using Rapid Assessment of Avoidable Blindness and DR methodology in 8340 sampled participants with ≥50 years age. In this study, the diabetics identified were screened for DR using two methods: non-mydriatic fundus photography on the field by trained professionals, that were then graded by a retina specialist at the base hospital and indirect ophthalmoscopy by expert ophthalmologists in the field with masking of each other’s findings for its utility and comparison.ResultsThe prevalence of DR, sight threatening DR and maculopathy using indirect ophthalmoscopy was found to be 12.1%, 2.1% and 6.6%, respectively. A fair agreement (κ=0.48 for DR and 0.59 for maculopathy) was observed between both the detection methods. The sensitivity and specificity of fundus photographic evaluation compared with indirect ophthalmoscopy were found to be 54.8% and 92.1% (for DR), 60.7% and 90.8% (for any DR) and 84.2% and 94.8% (for only maculopathy), respectively.ConclusionNon-mydriatic fundus photography has the potential to identify DR (any retinopathy or maculopathy) in community settings in Indian population. Its utility as an affordable and logistically convenient cum practical modality is demonstrable. The sensitivity of this screening modality can be further increased by investing in better resolution cameras, capturing quality images and training and validation of imagers.Trial registration numberCTRI/2020/01/023025; Clinical Trial Registry, India (CTRI).
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O’Brien, Kieran S., Raghunandan Byanju, Ram Prasad Kandel, Bimal Poudyal, Mariya Gautam, John A. Gonzales, Travis C. Porco, et al. "Village-Integrated Eye Worker trial (VIEW): rationale and design of a cluster-randomised trial to prevent corneal ulcers in resource-limited settings." BMJ Open 8, no. 8 (August 2018): e021556. http://dx.doi.org/10.1136/bmjopen-2018-021556.
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IntroductionCorneal opacity is a leading cause of blindness worldwide. In resource-limited settings, untreated traumatic corneal abrasions may result in infection and ultimately, opacity. Although antimicrobial treatment of corneal ulcers may successfully cure infections, the scarring that accompanies the resolution of infection can still result in visual impairment. Prevention may be the optimal approach for reducing corneal blindness. Studies have employed community health workers to provide prompt administration of antimicrobials after corneal abrasions to prevent infections, but these studies were not designed to determine the effectiveness of such a programme.Methods and analysisThe Village-Integrated Eye Worker trial (VIEW) is a cluster-randomised trial designed to assess the effectiveness of a community health worker intervention to prevent corneal ulcers. Twenty-four Village Development Committees (VDCs) in Nepal were randomised to receive a corneal ulcer prevention programme or to no intervention. Female Community Health Volunteers (FCHVs) in intervention VDCs are trained to diagnose corneal abrasions, provide antimicrobials and to refer participants when needed. An annual census is conducted over 3 years in all study VDCs to assess the incidence of corneal ulceration via corneal photography (primary outcome). Masked outcome assessors grade corneal photographs to determine the presence or absence of incident corneal opacities. The primary analysis is negative binomial regression to compare the incidence of corneal ulceration by study arm.Ethics and disseminationThe University of California San Francisco Committee on Human Research, Nepal Netra Jyoti Sangh and the Nepal Health Research Council have given ethical approval for the trial. The results of this trial will be presented at local and international meetings and submitted to peer-reviewed journals for publication.Trial registration numberNCT01969786; Pre-results.
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Kim, Hyeong-Min, Kwangsic Joo, Jinu Han, and Se-Joon Woo. "Clinical and Genetic Characteristics of Korean Congenital Stationary Night Blindness Patients." Genes 12, no. 6 (May 21, 2021): 789. http://dx.doi.org/10.3390/genes12060789.
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In this study, we investigated the clinical and genetic characteristics of 19 Korean patients with congenital stationary night blindness (CSNB) at two tertiary hospitals. Clinical evaluations, including fundus photography, spectral-domain optical coherence tomography, and electroretinography, were performed. Genetic analyses were conducted using targeted panel sequencing or whole exome sequencing. The median age was 5 (3–21) years at the initial examination, 2 (1–8) years at symptom onset, and 11 (5–28) years during the final visit. Genetic mutations were identified as CNGB1 and GNAT1 for the Riggs type (n = 2), TRPM1 and NYX for the complete type (n = 3), and CACNA1F (n = 14) for the incomplete type. Ten novel variants were identified, and best-corrected visual acuity (BCVA) and spherical equivalents (SE) were related to each type of CSNB. The Riggs and TRPM1 complete types presented mild myopia and good BCVA without strabismus and nystagmus, whereas the NYX complete and incomplete types showed mixed SE and poor BCVA with strabismus and nystagmus. This is the first case series of Korean patients with CSNB, and further studies with a larger number of subjects should be conducted to correlate the clinical and genetic aspects of CSNB.
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Pieczynski, Janusz, and Andrzej Grzybowski. "Review of Diabetic Retinopathy Screening Methods and Programmes Adopted in Different Parts of the World." European Ophthalmic Review 09, no. 01 (2015): 49. http://dx.doi.org/10.17925/eor.2015.09.01.49.
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Introduction:One of most common diabetic complications is diabetic retinopathy (DR). Sight-threatening DR can be avoided when diagnosed early and treated in a timely fashion. The aim of this study is to review current worldwide DR screening programmes and studies.Methods:A PubMed platform search was performed to find clinical trials or studies of current DR screening methods.Results:Direct and indirect ophthalmoscopy is still used, but digital photography of the retina seems to be the most efficient, objective and cost-effective.Conclusions:DR screening programmes are developed all over the world. They help to detect early sight-threatening DR, treat it in a timely fashion and in this fashion help to avoid expensive, advanced treatment or even prevent to develop blindness among working age people.
Dissertations / Theses on the topic "Photography and blindness"
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MOTA, SERGIO LUIZ RIBEIRO. "WHAT LEADS SIGHT TO BLINDNESS: LITERATURE, FILM, PHOTOGRAPHY AND OTHER VISUAL MEDIA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4832@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEm O que destina o olhar à cegueira, discutem-se algumas representações do olhar cego como condição contemporânea, em textos ficcionais e teóricos, filmes e outras mediações imagéticas. Um dos objetivos do estudo é procurar respostas para as perguntas: de que maneira falar de cegueira diante da predominância de uma civilização da imagem? Ou estar diante de um olhar que se deforma ao perceber um mundo onde as imagens são cada vez mais numerosas, porém mais diversificadas e mais intercambiáveis? Na investigação de diversos textos, percebem-se as implicações do olhar deformado na experiência acelerada das imagens contemporâneas. É esta reflexão crucial que ecoa ao longo do texto, na revisão de algumas perspectivas possíveis para pensar o problema da cegueira como ganho, como outro ponto de vista, como nova possibilidade de visão, como antídoto para o acúmulo sem limite do excesso. E ainda: tendo o cuidado de não repetir os clichês do gênero que descobrem a espantosa capacidade de os cegos exercitarem sua percepção diante do mundo que se lhes apresenta como retrato de uma negação: a negação do visual.
In What leads the look to blindness we find discussions about some representations of the blind look as a contemporary condition in fictional and theoretical texts, films and other images mediations. One of the essays goals is to look for answers to the following questions: how to talk about blindness in a civilization where the image is predominant? Or how to confront ourselves with a world vision that is ever transforming while facing images that are always increasing, though more diversified and interchangeable? .In the process of reviewing several texts on the subject we find the implications of the transformed vision in the accelerated experience of contemporary images. This is the crucial reflection that echoes in the text, in the review of some possible perspectives to think the blindness issue as a gain, as another point of view, as a new possibility of seeing, as an antidote to the unlimited excess. Yet more: taking care of not repeating the gender clichés when unfold the amazing ability the blind have when exercising their perception before the world that presents itself as a denial portrait: the visual denial.
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Caldas, Maria Cecília Caxambú. "Olha o que eu vi : vivência de fotografia com pessoas com deficiência visual." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284594.
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Orientador: Lúcia Helena ReilyDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-21T22:15:38Z (GMT). No. of bitstreams: 1 Caldas_MariaCeciliaCaxambu_M.pdf: 1214871 bytes, checksum: 8d8338ba8b72c4e7da9634aa2d289d9e (MD5) Previous issue date: 2012
Resumo: A pesquisa trata sobre fotografia para deficientes visuais - indivíduos cegos e com baixa visão. Relatos na literatura mostram que a pratica fotográfica para deficientes visuais acrescenta experiências com as quais esses indivíduos anteriormente não tinham oportunidade de contato. O objetivo desta pesquisa foi investigar a relação de pessoas com deficiência visual com a fotografia. A partir da perspectiva dos participantes da pesquisa, nosso intuito foi apreender o que consideram significativo para a pessoa com deficiência visual, considerando como foco a fotografia. Buscamos entender como as falas sobre a produção fotográfica de interlocutores não deficientes (aquelas pessoas que descrevem as imagens para os deficientes visuais) encaminham novas possibilidades de compreensão das imagens. Os métodos usados no estudo foram trazidos de praticas de outros casos similares dentro desta temática, investigados durante o desenvolvimento do estudo, incluindo: observação de grupos e de exposições, atuação pratica e interlocução verbal com públicos especiais. Os resultados mostram que a associação entre a descrição verbal e o toque que segue a trajetória das linhas principais em relevo na imagem contribui para o acesso a fotografia, uma atividade presente no cotidiano de todas as pessoas. Essa pratica ajuda a abrir caminhos, não somente para a fotografia propriamente dita, mas também para a compreensão das múltiplas imagens que se apresentam diariamente para todas as pessoas na vida moderna
Abstract: This study addresses the issue of photography for people with visual impairments - blindness and low vision. Reports in the literature show that the practice of photography enables people with visual impairments to have experiences that they would not ordinarily have had. The aim of this study was to investigate how people with visual impairments can relate to photography. Based on the perspective of the participants in the study, our aim was to apprehend what they consider to be meaningful for persons with visual impairments regarding photography. We attempted to understand how enunciations about photographic production by the non disabled communication partner (those persons that described the images for the participants with visual impairments) generated new possibilities for understanding the images. The methods used in the study were borrowed from practices used in similar cases regarding this theme, and were investigated while the study was underway. They included observation of groups and exhibits, workshop practicum and verbal exchanges with special groups. The results showed that the association between verbal description and touching a trajectory of the main lines in relief on the image helped to enable access to photography, an activity that is present in the everyday lives of everyone. This practice can significantly open pathways not only to photography itself, but also to the understanding of multiple images that present themselves daily to all people in modern life
Mestrado
Artes Visuais
Mestre em Artes
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Kaszynski, Elizabeth. "The Myth of Emmetropia: Perception in Rhetorical Studies." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149616/.
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This thesis sets up the problem of sight in a visual society, with the aim to answer how the visual makes itself known. The conversation starts on visuality, and where there are gaps in understanding. The first of two case studies examines the absence of sight, or blindness, both literal and figurative. Through a study of blind photographers and their work, this chapter examines the nature of perception, and how biological blindness may influence and inform our understanding of figurative blindness. The second case study examines what the improvement of damaged sight has to say about the rhetorical nature of images. This chapter examines various means of improving sight, using literal improvements to sight to understand figurative improvements in vision and perception. The fourth and final chapter seeks to sum up what has been discovered about the rhetorical nature of sight through the ends of the spectrum of sight.
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Alexander, Henry George. "Factors associated with diabetic retinopathy requiring treatment on fundal photography in participants of the Cape Town diabetic retinopathy screening programme." University of the Western Cape, 2016. http://hdl.handle.net/11394/5498.
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Magister Public Health - MPHBACKGROUND AND RATIONALE: The Cape Town Metro District Health Service (MDHS) has introduced a Diabetic RetinopathyScreening (DRS) programme incorporating retinal fundal photography in diabetic services at primary health care (PHC) facilities. Hitherto, coverage of the DRS programme has been less than optimal in part due to volumes of diabetic patients attending PHC facilities. The aim of this study was to identify possible sub-groups of patients, attending the Cape Town DRS Programme, who are at most risk of diabetic retinopathy and might be prioritised for early diabetic retinopathy detection and subsequent sight-saving treatment. METHODOLOGY: A case-control study of risk factors for treatment-requiring diabetic retinopathy was conducted. This research sampled participants from the DRS programme provided by the MDHS eye care team to Type II diabetics attending public PHC facilities within the Klipfontein and Mitchells Plain Sub-Districts. Based on fundal images, cases were selected as those requiring ophthalmological treatment; and controls (three matched per case by area of residence) as those judged as not requiring ophthalmological treatment for diabetic retinopathy. Data on possible risk factors (clinical, laboratory) were extracted from the patients' folders. RESULT: The study included 453 participants, of whom 113 (24.9%) were cases and 340 (75.1%) were controls. Three factors were significantly associated with treatment-requiring diabetic retinopathy on multivariate analysis: Insulin dependency (OR of 2.96, 95% CI: 1.75 – 5.00); duration of diabetes of more than 10 years (OR of 3.44, 95% CI: 2.06 – 5.74) and sustained hyperglycaemia over the past six months (OR of 3.73, 95% CI: 1.69 – 8.22). A screening algorithm combining these criteria had a sensitivity of 61.2% (95% CI: 51.9 – 70.5). CONCLUSION: The findings indicate that a sub-set of patients attending the DRS programme in the Klipfontein and Mitchells Plain Sub-Districts have a greater likelihood of presenting with treatment-requiring diabetic retinopathy. Further research is required to develop a tool that is sufficiently sensitive to safely prioritise patients for fundal screening.
National Research Foundation (NRF)
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Dudragne, Julie. "Desseins polymorphes, une approche poétique de la lumière : dessiner la lumière." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010565.
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La narration d'une pratique s'ébauche parfois par la présence d'une simple lettre, comme un humble point dévoile l'existence d'une ligne. Le "e" réapparaît au sein du dessin, le pare d'une multiplicité de significations, lui donne le poids perdu ou jamais acquis d'une esquisse autonome.La tradition du dessein se questionne par le biais d'un phénomène, dessiner la lumière, à l'heure d'une reproductibilité technique exacerbée.Le chemin sinueux emprunté par le dessin le mène au franchissement de frontière pléthorique, annonçant sa transversalité. Le mouvement immanent à la matière utilisée et l'hybridation comme notion intrinsèque à la création actuelle, toujours au service de l'élément graphique, vont faire opérer au dessin de nombreux déplacements intra et interdisciplinaires - conviant origines, idées, concepts et procédés techniques - mais aussi physiques. La réalisation de la lumière produite par l'expérience graphique, ses passages entre visible et non visible, se retrouve dans le signe et dans l'indice photographique et interroge la perception. La recherche de luminosité et de contraste, souvent traduites par la présence de noirs et de blancs, offre à l'espace plastique une palette infinie de possibles variations.Cette potentialité exhaustive requiert l'ultième acte du processus créatif, le choix, façonnant la mise en espace de la lumière en de multiples compositions graphiques.Le jeu, la phantasia et la poétique du phénomène lumineux, malgré l'évolution des procédés techniques employés, préservent la confidence qui confère au dessin se caractère intime dans lequel se silhouette un onirisme, une manière de résister. Travailler la lumière aujourd'hui dans le secret d'un acte aveugle, aveuglé, aveuglant, problématise la notion d'authenticité induisant un rapport à l'aura toujours en valse-hésitation entre apparition et disparition face à sa perte auparavant annoncéeThe narrative outline of a practice is sometimes sketched by the presence of a simple letter, like a humble dot can reveal the existence of a line.The "e" appears again in the drawing, adorns it with a multiplicity of meanings, giving it the weight never acquired of an autonomous sketch. (There is distinction in French language between the words "dessein" and "dessin" which one I play). At a time of heightened technical reproducibility and through a phenomenon - drawing the Light - the ambition and its tradition question themselves.The Drawing, on a sinuous path, crosses some excessive borders/frontiers, announcing his "transversality". The movement immanent to the material used and the hybridization as an intrinsic concept of the actual creative process, always at the service of the graphic element, will push the Drawing in many directions within and across disciplines - inviting origins, ideas, technical concepts and processes - but also physical. The light produced by the graphic experience, movements between visible and invisible, can be found not only in the sign but also in the photographic index and questions our perception.The research forn brightness and contrast in shades, often with black and white tons, gives an infinite range of potential variations to the creative/esthetic space/arena. This exhaustive potential is threatened by the ultimate act of creativity : the choice, shaping the spatial dispositions of light into multiple graphic compositions.Despite certain technical processes and their evolution, play, phantasy and light phenomenon' poetics protecting the Drawing' secret : an intimate characteristic in which onirism, as a wayto resist, appears. Working with light today - in a secret of a blind act, blinded, blinding - questions the Authenticity as a concept, creating an uneasy relationship to the aura, always between appearance and disappearance facing its previously announced loss
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Wang, Yi-Ting, and 王怡婷. "Insight in Blindness – Rethinking Photographic Images from the Perspectives of Uncanny." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/bf7pr6.
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博士國立交通大學
應用藝術研究所
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This dissertation starts from the perspectives of the Uncanny. To start, the first part re-reads and re-thinks three iconic theses: Sigmund Freud’s ‘The Uncanny’, H. T. A. Hoffman’s ’The Sandman’, and Ernst Jentsch’s ‘On the Psychology of the Uncanny’. Based on and inspired by Jentsch and Freud's separate discussion on the immanence of the uncanny, the author’s perspective is formed serving as the later interpretational basis which is grounded in the aspects of psychology and psychoanalysis. To extend, the discussion turns to the re-reading of W. J. T. Mitchell’s pictorial theory. In “What Do Pictures Want”, Mitchell denotes concisely what the picture wants and what the sensual condition of the Pictorial Uncanny is. This dissertation extends on the critical consideration of the photographic image, discussing the question, “What do photographic images want?” From the viewpoint of the blending and co-existence of Heimlich and Unheimlich, the author contemplates on the new semantics square of pictorial uncanny as the initial step. Secondly, from the following three dimensions: the body of photographic image, the life form of photographic image, and the photographic ecosystem, the author illustrates how the photographic image is cognizes as an actual life form that therefore makes people feel uncanny via three essential elements: object, image and media. To conclude, this dissertation re-thinks on the photographic image and concludes the following four opinions: 1. The uncanny of photographic is the process to see when blindfolded. 2. What the photographic uncanny wants is to uncover the concealed. 3. Nathanel’s three forms of the blind in the ‘Sandman’ are as follows: “You see through the eyes not belonging to you.”, “You cannot see that you don’t have eyes. (the gaze of the blind)” , and “You see your own eyes are watching you. (the double looks back on you)”, which can be considered as the paradox of the photographic uncanny. 4. The uncanny of photography is mingled and woven with the cognitional and sensual status, which is close to the in-between status of the longing for Heimlich and the anxiety of Unheimlich.
Books on the topic "Photography and blindness"
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author, Díaz Jorge, ed. Ojos que no ven: Look not with the eyes. Chile]: [Fodo Nacional de Desarrollo Cultural y las Artes], 2018.
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Wilde, Sanne de. The island of the colorblind. Lichtervelde: Kannibaal bvba / Hannibal, 2017.
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Imperial County. Kehrer Verlag Heidelberg, Klaus Kehrer, 2017.
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Island of the Colorblind. Kehrer Verlag Heidelberg, Klaus Kehrer, 2017.
Find full textBook chapters on the topic "Photography and blindness"
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"The Blindness of Reference." In Baudelaire and Photography, 73–82. Routledge, 2017. http://dx.doi.org/10.4324/9781315096537-9.
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Roy, David K., and Prashant Amrelia. "The screening episode: visual acuity, mydriasis, and digital photography." In Diabetic Retinopathy: Screening to Treatment (Oxford Diabetes Library), 89–100. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780198834458.003.0010.
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Early eye screening detection and treatment is fundamental in managing significant complications of chronic disease, both for improving diabetic retinopathy (DR) clinical outcomes and improving the economic burdens. Early detection and subsequent treatment can substantially reduce the risk of blindness from DR. This chapter will review the screening episode, measuring visual acuity, drop instillation, contraindications, and correct camera operation. It will review problems associated with incorrect camera operation and the NHS Diabetic Eye Screening Programme (NHSDESP) standards of acceptable image quality. This will guide the screener in obtaining clear, well-centred, gradable digital images of the retina in diabetic patients with vision better than no perception of light in both eyes, as well as providing a greater understanding of issues associated with screening.
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Cipolletta, Giorgio. "Ubiquitous Self." In Virtual and Augmented Reality in Education, Art, and Museums, 93–115. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1796-3.ch006.
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In 2013, the Oxford Dictionaries announced “selfie” as the word of the year. The dictionary defined it as “a photograph that one has taken of oneself, typically one taken with a smartphone or webcam and uploaded to a social media website.” Selfies are also a complex form of social interaction, an emerging aesthetics, thus having an irrevocable impact on self-portraiture. All visual culture revolves around the body and the body par excellence is the face. The 21st century portrait represents a kind of black mirror where we project ourselves into a kind of blindness. Mask and face are confused by an omnipresent multividuality in which the shield reveals itself and reveals other possible worlds. The face-mask melts in between Real and Virtual and the self becomes augmented.
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Flaherty, George F. "Revenge of Dust." In Hotel Mexico. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520291065.003.0003.
Full textAbstract:
Chapter 2 scrutinizes Tlatelolco, site of the October 2 massacre. Its literary, photographic, and cinematographic representations by such authors as Carlos Fuentes, Juan Rulfo, Nacho López, and Fernando del Paso, mediate between the realm of “compulsory visibility” of a modernizing Mexican state and its shadowy byproducts. The first is embodied by the discourses of transparency and hygiene of modern architecture in the Mario Pani’s Nonoalco-Tlatelolco housing complex. The second is the spectral social body inhabiting the hub of the national railroad network at Tlatelolco—that is, self-constructed settlements and tenements of the migrant underclasses, overlooked by the State and eventually displaced by the modernization projects. This blindness and exclusionary practice of the modern technocratic administration is also manifest in the highly managed character of the Plaza de las Tres Culturas erected on the Tlatelolco site, demonstrating the limited scope of de facto citizenship in Mexico. At the same time, the opacity of the site tests the limits of history writing in general.