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How did faulty or failing eyesight affect the style and technique of writers and artists. How did it affect the way they convey their visual impressions. In a classic study, first published in 1970 and thoroughly revised in 1988, Patrick Trevor-Roper combines his professional knowledge of ophthalmology with his extensive familiarity with art and literature to fascinatingly examine the work of painters, sculptors, poets and prose writers. Looking at the effects of myopia, cataracts, colour blindness, squints and total blindness he speculates on what the impact would have been on artists had they worn glasses. Illustrated with colour reproductions and a wealth of black and white photos, this was a true labour of love from a highly cultured man, erudite and stimulating.
How did faulty or failing eyesight affect the style and technique of writers and artists. How did it affect the way they convey their visual impressions. In a classic study, first published in 1970 and thoroughly revised in 1988, Patrick Trevor-Roper combines his professional knowledge of ophthalmology with his extensive familiarity with art and literature to fascinatingly examine the work of painters, sculptors, poets and prose writers. Looking at the effects of myopia, cataracts, colour blindness, squints and total blindness he speculates on what the impact would have been on artists had they worn glasses. Illustrated with colour reproductions and a wealth of black and white photos, this was a true labour of love from a highly cultured man, erudite and stimulating.
"On Blinking" opens a dossier on seeing. It looks not only to the epistemological sense of what it means to see or the hermeneutical sense of what is the meaning of that which is seen but attends to various sites of knowledge-photography, literature, and philosophy. And in doing so, it questions the privileging of presence and sight in Western thought. Thus, this book, through the essays- "Emerging Sight, Emerging Blindness" (Brian Willems); "Augen, Blicke, Stätten" (Julia Hölzl); "At the risk of love" (Jeremy Fernando); and "Suspended in a Moving Night: Photography, or the Shiny Relation Self-World" (Jessica Aliaga Lavrijsen)- attempts to address the question what is seeing.
In this book a leading researcher and artist explores how we see pictures and how they can communicate messages to us, both directly and indirectly by making allusions to objects in space or to stored images in our minds. Originally published in 1990, Dr Wade provides fascinating examples of pictures that communicate hidden messages, either by implying something else, or by a shape or portrait which is carried covertly within another design. He analyses image processing stages in vision, demonstrating that the various stages may be related to styles in representational art. He shows how the way we have been taught to look at and recognise objects, affects the way we see them. The book lavishly illustrates with original examples of visual allusions and includes detailed practical advice on how photographers and designers can create them. Essential reading for photographers, designers, artists, people in film and television, and anyone involved in visual science , visual communication and advertising.
Now available in English for the first time, The Visibility of the Image explores the development of an influential aesthetic tradition through the work of six figures. Analysing their contribution to the progress of formal aesthetics, from its origins in Germany in the 1880s to semiotic interpretations in America a century later, the six chapters cover: Robert Zimmermann (1824-1898), the first to separate aesthetics and metaphysics and approach aesthetics along the lines of formal logic, providing a purely syntactic way of using signs, regardless of objective content; Alois Riegl (1858-1905), who went on to further develop aesthetics on the model of formal logic, creating a theory of style in response to Zimmermann's call for an aesthetics oriented toward formal logic; Heinrich Wölfflin (1864-1945), who represents a step toward an understanding of consciousness by using pictures as cognitive tools; Konrad Fiedler (1841-1895), the Saxon philosopher who considered the possibility that some kinds of images are made and viewed not for what they show, but for their visibility's sake alone; Maurice Merleau-Ponty (1908-1961), responsible for taking up the connections between the problems of reducing the range of potential meanings and contexts of a given image down to just the picture surface; Charles William Morris (1901-1979), who set out to establish whether a picture with no objective reference, such as an abstract painting, still counts as a sign, and if so, in what sense. Bringing these thinkers together and interlinking their ideas, Lambert Wiesing presents an engaging history of formal aesthetics, while reconstructing the philosophical foundations for the appearance of new image forms in the 20th century, including the video-clip, abstract collage, digital simulation and virtual reality. Using this original approach, The Visibility of the Image introduces the rise of modern image theory and provides a valuable account of our engagement with pictures in the 21st century.
Now updated and expanded to cover the latest technologies, this full-color text on clinical refraction uses an easy-to-read format to give optometry students and practitioners all the important information they need. Also covers a wide range of other aspects of the eye exam, including anterior and posterior segment evaluations, contact lens, ocular pharmacology, and visual field analysis. Four new chapters cover wavefront-guided refraction, optical correction with refractive surgeries, prosthetic devices, and patients with ocular pathology. - Offer precise, step-by-step how-to's for performing all of the most effective refractive techniques. - Presents individualized refractive approaches for the full range of patients, including special patient populations. - Contriubtors are internationally recognized, leading authorities in the field. - New full-color design with full-color images throughout. - Completely updated and expanded to include current technologies. - A new chapter on Optical Correction with Refractive Surgeries, including keratoplasty, traditional refractive surgeries (e.g. LASIK and PRK), crystalline lens extraction with and without pseudophakia, the new presbyopic surgery, etc. - A new chapter on Wavefront Guided Refraction provides information on the advantages and limitations the Hartmann-Shack Method for objective refraction plus aberrometry and the refraction and the use of in the correction of the eye with spectacles, contact lenses, and refractive surgery. - A new chapter on Patients with Ocular Pathology reflects the most current knowledge of patients with ocular pathologies. - Provides information on Optical Correction with Prosthetic Devices, including corneal onlays, stromal implants, phakic intraocular lenses, etc. - Includes new chapters and/or discussions on such topics as: Aberrations of the Eye, Refractive Consequences of Eye Pathology, Diagnosis and Treatment of Dry Eye, Diagnosis of Pathology of the Anterior Segment, Diagnosis of Glaucoma, and Diagnosis of Pathology of the Posterior Segment. - Visual Acuity chapter expanded to include the effect of refractive error on visual acuity and statistics on how much of a change in visual acuity is significant. - Objective Refraction, Corneal Topography, and Visual Field Analysis chapters include the addition of new electro-optical and computer techniques and equipment. - Chapters on Multifocal Spectacle Lenses and Contact Lenses now cover newer progressive addition lenses and contact lenses that are now on the market. - Electrodiagnosis chapter revised to take a more clinical approach.
A travelogue full of adventure, A Place to Belong is the story of a young teenage boy's search for self worth and faith in a cruel world. Paul Miller was eight years old when his parents took him on a mystifying, zigzagging journey, from Detroit to Florida, to California and back again. His father's tenuous grip on reality becomes as changeable as the landscapes they travel through. Paul's simple questions are ignored or answered by the back of his Father's hand. Paul jumps the roof-tops of Detroit slums, butts heads with the gangs of Los Angeles and gets caught up in a world of petty theft. Life hangs by bus fare, the surprising kindness of a loving family, a filthy motorist with a penchant for young boys, the kiss of a young girl. Along the way, Noah, a wise fisherman, shows Paul that God isn't some imperious judge sitting on top of a throne, but can become your best friend, a buddy you can talk to. " But can such a simple view account for all the misery Paul experiences?" In this captivating and at turns humorous story, a young man travels into the depths of despair and back again to find a place he can call home. "I got hooked and couldn't stop. This is a splendidly written story and quite a story to tell. So candid, unpretentious, and courageous." David Morris, Senior Editor Guideposts Books. "Miller tells a remarkable story, one that is in a sense an American Angela's Ashes but with the added element of faith as a factor in surviving an incredibly rough childhood." Michael Wilt, Editor, Nimble Spirit.
The surge of evolutionary and neurological analyses of art and its effects raises questions of how art, culture, and the biological sciences influence one another, and what we gain in applying scientific methods to the interpretation of artwork. In this insightful book, Matthew Rampley addresses these questions by exploring key areas where Darwinism, neuroscience, and art history intersect. Taking a scientific approach to understanding art has led to novel and provocative ideas about its origins, the basis of aesthetic experience, and the nature of research into art and the humanities. Rampley’s inquiry examines models of artistic development, the theories and development of aesthetic response, and ideas about brain processes underlying creative work. He considers the validity of the arguments put forward by advocates of evolutionary and neuroscientific analysis, as well as its value as a way of understanding art and culture. With the goal of bridging the divide between science and culture, Rampley advocates for wider recognition of the human motivations that drive inquiry of all types, and he argues that our engagement with art can never be encapsulated in a single notion of scientific knowledge. Engaging and compelling, The Seductions of Darwin is a rewarding look at the identity and development of art history and its complicated ties to the world of scientific thought.