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In this “remarkable tour de force” (Publishers Weekly)-a “ceaselessly thought-provoking book” (Kirkus Reviews)-art historian James Elkins marshals psychology, philosophy, science, and art history to show how seeing alters the thing seen and transforms the seer. Black-and-white photographs.
- Sales Rank: #454891 in Books
- Brand: Elkins, James
- Published on: 1997-07-15
- Released on: 1997-07-15
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .67" w x 5.31" l, .58 pounds
- Binding: Paperback
- 272 pages
From Kirkus Reviews
Unfocused but frequently illuminating meditations on how we see and how we don't. What the deconstructionists did for language, exposing its grave limitations and fallibilities, Elkins attempts to do for vision. As he convincingly demonstrates, ``vision is forever incomplete and uncontrollable because it is used to shape our sense of what we are.'' In Elkins's view, even the simplest, most reductive statement that can be made about seeing, ``the beholder looks at the object,'' is charged with such uncertainty and so many possible valences that it is incapable of any fixed or stable meaning. Seeing is also something that we have remarkably little control over, depending as it does on mood, thoughts, character, circumstance, etc., etc. Someone who is running late, for instance, suddenly becomes aware of a crowded world of clocks. As an art historian at Chicago's School of the Arts Institute, Elkins has a well-honed appreciation of the visual world, but he does have several substantial blind spots. He tends to cling too closely to his familiar tableaux morts, the unmoving, fixed images of paintings and photographs. Film and its shaping of vision are mentioned only in passing. Physics is similarly slighted, notably quantum mechanics and its discovery that the very act of perception can influence the results of an experiment. These omissions would not be so glaring if Elkins did not constantly try to find the telling in the trivial. Sometimes he is successful, such as in his discussions of animals' protective camouflage. But are six photographs of Chinese executions and a long discussion of the moment of death or extended disquisitions on nude models really relevant? In fairness, this is an enormous subject, and any account will be necessarily incomplete. Elkins is to be commended for shedding as much light as he does (and for elegantly abstaining from the temptations of academic jargon) in a ceaselessly thought-provoking book. (36 illustrations) -- Copyright �1996, Kirkus Associates, LP. All rights reserved.
Review
Eyes aren't windows, opening indifferently upon anything at all; eyes are in the world, and they want something out of it. Elkins takes off from this familiar phenomenological point, and goes on to explore some of the ways in which vision expects the visible, a world that is not just there to be seen, but that responds to our glances, "stares back." In a sense, Elkins reminds us, our eyes aren't ours. There are things we look at in spite of ourselves -- sexual things, above all -- and things we cannot bear to see, like death. There are also innumerable things we may in fact see but commonly overlook: the earth's shadow, for instance, or the anti-sun shining at the edge of night. This is a congenial and stimulating essay on seeing, gracefully written and full of curious matter. The pictures are telling too.
Copyright � 1996, Boston Review. All rights reserved. -- From The Boston Review
From Publishers Weekly
Because our viewing of people, places and objects is molded by thoughts of using, possessing, keeping or cherishing what is seen, we actually perceive very little of what we look at, claims Elkins. In a remarkable tour de force, this art historian uses scores of intriguing photos and illustrations (of a mermaid, ice halos in Alaska, the surface of atoms, a eunuch, a medieval Russian icon painting, etc.) to buttress his thesis that seeing depends on context, desire and expectation. Elkins, who teaches at the School of the Art Institute of Chicago, analyzes how we read the human face and discusses pathologies of vision such as blindness and glaucoma. He pays special attention to phenomena that we view with ambivalence or dread-naked bodies, executions, death (a few of the images reproduced here are grisly). He sometimes overstates his case, as when he lamely argues that we exist in "a world full of gazes" because "each object has a certain force, a certain way of resisting or accepting my look and returning that look to me." Nevertheless, his inquiry is a rewarding adventure that draws freely on psychology, literature, art history, neuroanatomy and philosophy to illuminate modes of seeing and of being.
Copyright 1996 Reed Business Information, Inc.
Most helpful customer reviews
26 of 27 people found the following review helpful.
thinking about seeing
By Ian A. MacDonald
Elkins succeeds in making the reader rethink what it means to see, to be seen, to be blind. He argues that vision is a dynamic interaction between the observer and the observed that invariably transforms both parties--even when one is inanimate. He's an art historian, but marches confidently through animal behavior, philosophy, sociology and other subjects in persuit of the meaning of vision. The resulting meditations are provocative, and usually quite rigorous, but remain clear and personal in tone and studiously avoid learned jargon.
While I felt moved by the book, quite powerfully at places, I'm not sure that I actually went anywhere. Elkins avoids all mechanistic discussion of vision--even though there is much in the physiology of seeing and the quantum physics of observation which support his thesis. Consequently, the overall discussion lacks a certain fiber even though it's fully persuasive in parts. Still, if you care about vision and imagery, you can't go wrong by reading this eloquent, passionate book. It's guaranteed to make you think before you look.
12 of 12 people found the following review helpful.
Not what I expected but still a good and interesting read!
By A Customer
I agree with the other reviewers, however I do not feel that the book deserves a low review because people's expectations were not met. I expected a more scientific explanation of seeing, but this book is not about that. I was impressed by the writing of Elkins because it is very thought provoking and insightful. I would recommend this book to someone who is interested in seeing the world in a different way, because this book will encourage you to look at things a little more carefully and realize there is much we see, do not see, try not to see and try hard to see but fail to do so. Very interesting book!!!
16 of 18 people found the following review helpful.
A post-modern view of visual perception
By A Customer
This book offers a thoughtful and disconcerting view of visual perception that runs counter to the usual modernist view that we all perceive alike, which many of us grew up with. As a graphic designer and educator, I appreciated Elkins' point of view, his approachable writing style, and even the disturbing images he uses to make his point. I recommend this book to other designers and visual communicators.
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