The Address of the Eye


Book Description

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.




The Eye Book


Book Description

"This is the second edition of an encyclopedic reference work of consumer health about the adult human eye. It covers common eye complaints such as dry eye, ocular migraine, device-related eyestrain, and conjunctivitis, along with newer forms of laser eye therapy and lens implants. The second edition features a new chapter on cosmetics and the eye, along with updated content about diagnostic testing, new forms of eyeglass materials, colored contacts, and therapies for medical conditions for all areas of the eye"--




The Wills Eye Manual


Book Description

A best-selling source of compact, authoritative guidance on the treatment of ocular disorders in a variety of settings, The Wills Eye Manual, 8th Edition, is the comprehensive, high-yield reference of choice for both trainees and seasoned practitioners. It provides highly illustrated information on more than 200 ophthalmic conditions along with proven clinical recommendations from initial diagnosis through extended treatment. The consistent, bulleted outline format makes it ideal for portability and quick reference.




Eye Guidance in Reading and Scene Perception


Book Description

The distinguished contributors to this volume have been set the problem of describing how we know where to move our eyes. There is a great deal of current interest in the use of eye movement recordings to investigate various mental processes. The common theme is that variations in eye movements indicate variations in the processing of what is being perceived, whether in reading, driving or scene perception. However, a number of problems of interpretation are now emerging, and this edited volume sets out to address these problems. The book investigates controversies concerning the variations in eye movements associated with reading ability, concerning the extent to which text is used by the guidance mechanism while reading, concerning the relationship between eye movements and the control of other body movements, the relationship between what is inspected and what is perceived, and concerning the role of visual control attention in the acquisition of complex perceptual-motor skills, in addition to the nature of the guidance mechanism itself. The origins of the volume are in discussions held at a meeting of the European Society for Cognitive Psychology (ESCOP) that was held in Wurzburg in September 1996. The discussions concerned the landing effect in reading, an effect, that if substantiated, would provide evidence of the use of parafoveal information in eye guidance, and these discussions were explored in more detail at a small meeting in Chamonix, in February 1997. Many of the contributors to this volume were present at the meeting, but the arguments were not resolved in Chamonix either. Other leaders in the field were invited to contribute to the discussion, and this volume is the product. The argument remains unresolved, but the problem is certainly clearer.




Speaking to the Eye


Book Description

This volume takes as its focus the paradoxical double-bind of textuality and visuality in the culture of the high and late Middle Ages and early modernity. In a series of case studies contributors explore the historical and theoretical implications of the idea that texts and images alike 'speak to the eye'. Some scholars have proclaimed the coming of a 'visual turn' to explain the boom in conferences, books, and even specialized journals that take as their topic the theoretical or historical study of visual culture. The notion of visual culture may seem self-evident, not merely from our own twenty-first-century perspective but also when applied to earlier periods of western European history. However, the nature and status of the visual media, as well as the ways in which these were received, experienced, and appropriated, underwent several major changes betweenthe twelfth and the seventeenth centuries. Contemporary sources describe and define the experience of reading texts and images as involving a mixture of visual and aural impulses that address both the inner eye and the outer senses. This volume sets out explicitly to investigate the specific, sensuous nature of this experience. It also addresses the question of whether, and if so to what extent and in which ways, this 'reading experience' was engendered.




The Eye of Midnight


Book Description

In May 1929 Maxine Campbell and her cousin William Battersea arrive at their grandfather's house in New Jersey to find that the house is empty--and soon they're caught up in the contest for an ancient Arabian relic called the Eye of Midnight, which several secret societies are willing to do anything to posses.




The Eye Test


Book Description

In a world increasingly ruled by numbers and algorithms, award-winning journalist Chris Jones makes a compelling case for a more personal approach to analytical thinking​. THE EYE TEST is a necessary course correction, a call for a more balanced, personal approach to problem-solving. Award-winning journalist Chris Jones makes the case for the human element—for what smart, practiced, devoted people can bring to situations that have proved resistant to analytics. Jones shares what he’s learned from an army of extraordinary talents, including some of the best doctors, executives, athletes, meteorologists, magicians, designers, astrophysicists, and detectives in the world. There are lessons in their mastery. Of course, there is a place for numbers in decision-making. No baseball player should be judged by his jawline. But the analytics revolution sparked by Michael Lewis’s Moneyball now threatens to replace one kind of absurdity with another. We have developed a blind faith in the machine, the way a driver overly reliant on his GPS might be led off the edge of a cliff. Not all statistical analysis is sound. Algorithms aren’t infallible, and spreadsheets aren’t testaments. Trust in them too much, and they risk becoming instruments of destruction rather than understanding. Worse, data’s supremacy in our daily lives has led to a dangerous strain of anti-expertise: the belief that every problem is a math problem, and anyone given access to the right information will find the right answer. That taste doesn’t matter, experience doesn’t matter, creativity doesn’t matter. That we can’t believe our eyes, no matter how much they’ve seen. THE EYE TEST serves as a reminder that if beauty is less of a virtue in the age of analytics, a good eye still is. This book is a celebration of our greatest beholders—and an absorbing, inspiring guide for how you might become one, too.




The Mind's Eye


Book Description

Omni was a jewel among popular science magazines of its era (1978–1998). Science Digest, Science News, Scientific America, and Discover may have all been selling well to armchair scientists, but Omni masterfully blended cutting edge science news and science fiction, flashy graphic design, a touch of sex, and the images of a generation of artists completely free and unburdened by the disciplines of the masters. Created by the legendary Bob Guccione, better known for founding Penthouse than perhaps any of the other facets of his inspired career in business, art, and literature, Guccione handpicked the artists and illustrators that contributed to the Omni legacy—they in turn created works ignited by passion and intellect, two of Guccione's principal ideals. The Mind's Eye: The Art of Omni is the very first publication to celebrate in stunning detail the exceptional science fiction imagery of this era in an oversized format. The Mind's Eye contains 185 images from contributing Omni artists including John Berkey, Chris Moore, H.R. Giger, Rafal Olbinski, Rallé, Tsuneo Sanda, Hajime Sorayama, Robert McCall, and Colin Hay among many more, along with quotes from artists, contributors, writers, and critics. Omni lived in a time well before the digital revolution. The images you see on these pages have taken years to track down and brought the editors in touch with many esteemed artists, amazing photographers and dusty storage lockers. Their quest is far from over; you'll notice an almost decade-long gap in the material, the contents of which were either lost or destroyed. Efforts to search throughout the universe for any images will continue and will be shared with the world at the all-things-Omni website, omnireboot.com. Stay tuned... Collected in book form for the first time ever, the striking art from this extraordinary magazine will delight fans who remember seeing the work years ago and newcomers interested in the unique aesthetic of this genre's biggest artists. "Omni was a magazine about the future. From 1978 to 1998 Omni blew minds by regularly featuring extensive Q&As with some of the top scientists of the 20th century—E.O. Wilson, Francis Crick, Jonas Salk—tales of the paranormal, and some of the most important science fiction to ever see magazine publication: William Gibson's genre-defining stories 'Burning Chrome' and 'Johnny Mnemonic,' Orson Scott Card's 'Unaccompanied Sonata,' novellas by Harlan Ellison and George R. R. Martin, 'Thanksgiving,' a postapocalyptic tale by Joyce Carol Oates—even William S. Burroughs graced its pages." —Vice magazine, Motherboard "Omni is not a science magazine. It is a magazine about the future...Omni was sui generis. Although there were plenty of science magazines over the years...Omni was the first magazine to slant all its pieces toward the future. It was fun to read and gorgeous to look at." —Ben Bova, six-time Hugo award winner




The Eye of the North


Book Description

For fans of Karen Foxlee’s Ophelia and the Marvelous Boy comes a rollicking debut about a young girl’s adventures in the far reaches of the icy north. When Emmeline’s scientist parents mysteriously disappear, she finds herself heading for a safe house, where allies have pledged to protect her. But along the way, she is kidnapped by the villainous Doctor Siegfried Bauer, who is bound for the ice fields of Greenland. There he hopes to summon a mystical creature from the depths of the ancient glaciers, a creature said to be so powerful that whoever controls it can control the world. Unfortunately, Bauer isn’t the only one determined to unleash the creature. The North Witch has laid claim to the mythical beast, too, and Emmeline—along with a scrappy stowaway named Thing—may be the only one with the power to save the world as we know it. Can Emmeline face one of the greatest legends of all time—and live to tell the tale?




Touch


Book Description

In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself. These critical, theoretical, and personal essays serve as a guide to developments in nonmainstream media art during the past ten years -- sexual representation debates, documentary ethics, the shift from analog to digital media, a new social obsession with smell. Marks takes up well-known artists like experimental filmmaker Ken Jacobs and mysterious animators the Brothers Quay, and introduces groundbreaking, lesser-known film, video, and digital artists. From this emerges a materialist theory -- an embodied, erotic relationship to art and to the world. Marks's approach leads to an appreciation of the works' mortal bodies: film's volatile emulsion, video's fragile magnetic base, crash-prone Net art; it also offers a productive alternative to the popular understanding of digital media as "virtual" and immaterial. Weaving a continuous fabric from philosophy, fiction, science, dreams, and intimate experience, Touch opens a new world of art media to readers.