t you saw depended upon where you were when. What you saw was relative to your position in time and spac

When we "see" a landscape, we situate ourselves in it. If we "saw" the art of the past, we would situate ourselves in history. When we are prevented from seeing it, we are being deprived of the history which belongs to us

Yet, although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing

Every image embodies a way of seeing

encomium to vision

The grip of modern ocularcentrism was perhaps nowhere as evident as in France, the culture whose recent reversal of attitudes is thus perhaps all the more worthy of study.

We should, however, recall that our mind can be stimulated by many things other than images -by signs and words, for example, which in no way resemble the things they signify

We must take care not to assume -as our philosophers commonly do -that in order to have sensory awareness the soul must contemplate certain images4 transmitted by objects to the brain; or at any rate we must conceive the nature of these images in an entirely different manner from that of the philosophers.

rays

Nor will you find it strange that by means of this action we can see all sorts of colours. You may perhaps even be prepared to believe that in the bodies we call 'coloured' the colours are nothing other than the various ways in which the bodies receive light and reflect it against our eyes.

And since the construction of the things of which I shall speak must depend on the skill of craftsmen, who usually have little formal education, I shall try to make myself intelligible to everyone; and I shall try not to omit anything, or to assume anything that requires knowledge of other sciences.

Carrying our vision much further than our forebears could normally extend their imagination, these telescopes seem to have opened the way for us to attain a knowledge of nature much greater and more perfect than they possessed .

mple warrant for this generalizatio.!l in Greek religion, and philosophy.

Although there have been dissenting voices-William Ivins's was the most persistent6-it is generally agreed that classi-cal Greece privileged sight over the other senses,

ow that the scattered verbs employed during the Homeric period to designate aspects of visual practice coalesced into only a few during the classical era, suggesting an essentializing of vision itself.8 The Greek gods were visibly manifest to humankind, which was encouraged to depict them in plastic form, They were also conceived as avid spectators of human actions, as well as willing to provide the occasional spectacle them­selves. The perfection of idealized visible form in the Greeks' art accorded well with th-::ir love of theatrical performance. The word theater, as has often been remarked, shares the same root as the word theory, theoria, which meant to look at attentively, to behold.'> So too does theorem, which has allowed some comment�tors to emphasize the privileging of vision in Greek mathematics, with its geometric emphasis.10 The impor­tance of optics in Greek science has also been adduced to illustrate its partiality for sight. Even the Greek idealization of t

the visual organ proper is composed of water, yet vision appertains to it not because itis so composed, but because it is translucent- a property common alike to water and to air

Of the two last mentioned, seeing, regarded as a supply for the primary wants of life, and in itsdirect effects, is the superior sense; but for developing intelligence, and in its indirectconsequences, hearing takes the precedence

he visual organ proper really were fire, which is the doctrine of Empedocles, a doctrine taughtalso in the Timaeus, and if vision were the result of light issuing from the eye as from a lantern,why should the eye not have had the power of seeing even in the dark

But in animals which havealso intelligence they serve for the attainment of a higher perfection

mirror

longer

or the imperfections of

one of the most extraordinary aspects of vision, most broadly conceived, is the ex­perience of being the o� Here the range of possibilities is • exceptionally wide, extending from the paranoid's fantasy of being under constant hostile surveillance to the exhibitionist's narcissistic thrill at be­ing the cynosure of all eyes

Unlike the other senses of smell, touch, or taste, there seems to be a close, if complicated, relationship between �·ifili.1::i and\fanguag<;, both of which come into their own at approximately the same moment of maturation

inevitable entanglement of vision and what has been called "visuality"-the distinct historical manifestations of visual experience in all its possible modes.25 Observation, to put it another way, means observ­ing the tacit cultural rules of different scopic regimes.

the boundary between the "natural" and the "cultural" component in what we call vision

f the eye's powers are appreciated by science, so too are its limitations

As a diurnal animal standing on its hind legs, the early human beiag developed its sensorium in such a way as to give sight an ability to differentiate and assimilate most external stimuli in a way supe­rior to the other four senses.

blind spot

mage," which can sig­nify graphic, optical, perceptual, mental, or verbal phenomena.24

visually imbued 'cultm;i-and social practices, which may vary from culture to culture and ep-�h to ep:h. So�;y;es these can be construed in grandiose terms, such as a massive sh

ubiquity of visual metaphors

�ular��!.�

9:30

DISCUSSION

BRIEF

Ultimately, for Rose, rap is the voice of urban African American youth in an era of neglect and crisis.

MESSAGE

However,

This stabili- zation of stratification is institutional discrimination-discrimination built into the existing structure of societal institutions such as schools, churches, banks, and hospitals. Stokely Carmichael and Charles Hamilton (1967) stress the institutional racism implied the economic, social, and political domination of African Ameri- cans in the United States

William Julius Wilson (1987) suggests that historic and contemporary discrimi- nation, such as racial formation and institutional discrimination, are a decisive factor in the creation of an underclass in the urban inner city.

unkyard of dreams

his paper suggests that political and gangsta rap music artists of the late 1980s and early 1990s were utilizing a bold form of oppo- sitional culture in protest and condemnation of perceived racial formation, insti- tutional discrimination, and urban decay in the inner cities. The message of resistance and social critique within the voices of these rappers, in fact, may have been an effective herald of the Los Angeles riots of 1992. Instead of seeking the cause of the rioting among the rioters (Sears 1993), political and gangsta rappers urged that America focus on inner city poverty, institutional discrimination, and governmental neglect2 for oppositional culture does not emerge in a vacuum or without cause.

A second aspect to the sucker concept must be mentioned here. This is the notion that one is a sucker if one who is outside the dominant value system, or social strata, lives by the values of that dominant system.

American GangsterDr

Conversation

            past others <--> you <--> future others

Withobviouscontempt,hecounters:"inthemain,thereallydangerousgangster,thekiller,wasapttobesomethingofadandy."1

dandy

olding thecream:cororeareaori:Cuiiaer::~Jiin #! ~ .. ~~~~,9ffi1~~!fefvt~~

mventory of oods.