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3 books match the query 'Visual perception in art'

cover of Mirror Affect: Seeing Self, Observing Others in Contemporary Art

Mirror Affect

Seeing Self, Observing Others in Contemporary Art

Cristina Albu

University of Minnesota Press, 2016

For decades, contemporary artworks with reflective properties have stimulated public forms of spectatorship. According to Cristina Albu, these artworks, which can include elements such as mirrors, live video feedback, or sensors, draw attention to affective interdependence and mechanisms of social control. 

In Mirror Affect, Albu provides a historical account of mirroring processes in contemporary art and offers insight into the phenomenological and sociopolitical concerns that have inspired artists to stage processes of affective, perceptual, and behavioral mirroring between art viewers. Beginning with the 1960s, Albu charts the rise of interpersonal modes of art spectatorship. She reveals contemporary artists’ strategic use of reflective and responsive interfaces to instill doubt in visual representation and appeal to active scrutiny of the changing social dynamics. She suggests that the mirroring processes envisioned by contemporary artists such as Joan Jonas, Dan Graham, Lynn Hershman Leeson, Olafur Eliasson, and Rafael Lozano-Hemmer trigger visual disjunctions to upset narcissistic inclinations. They invite viewers to see themselves in relation to others and to ponder their role within complex social systems.

From sculpture and performance to art and technology projects, video art, and installation art, Mirror Affect analyzes forms of interpersonal spectatorship, revising and expanding current historiographies of participatory art.

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cover of Treasuring the Gaze: Intimate Vision in Late Eighteenth-Century Eye Miniatures

Treasuring the Gaze

Intimate Vision in Late Eighteenth-Century Eye Miniatures

Hanneke Grootenboer

University of Chicago Press, 2013

The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes that were exchanged by lovers or family members. Worn as brooches or pendants, these minuscule eyes served the same emotional need as more conventional mementoes, such as lockets containing a coil of a loved one’s hair. The fashion lasted only a few decades, and by the early 1800s eye miniatures had faded into oblivion. Unearthing these portraits in Treasuring the Gaze, Hanneke Grootenboer proposes that the rage for eye miniatures—and their abrupt disappearance—reveals a knot in the unfolding of the history of vision.
 
Drawing on Alois Riegl, Jean-Luc Nancy, Marcia Pointon, Melanie Klein, and others, Grootenboer unravels this knot, discovering previously unseen patterns of looking and strategies for showing. She shows that eye miniatures portray the subject’s gaze rather than his or her eye, making the recipient of the keepsake an exclusive beholder who is perpetually watched. These treasured portraits always return the looks they receive and, as such, they create a reciprocal mode of viewing that Grootenboer calls intimate vision. Recounting stories about eye miniatures—including the role one played in the scandalous affair of Mrs. Fitzherbert and the Prince of Wales, a portrait of the mesmerizing eye of Lord Byron, and the loss and longing incorporated in crying eye miniatures—Grootenboer shows that intimate vision brings the gaze of another deep into the heart of private experience.
 
With a host of fascinating imagery from this eccentric and mostly forgotten yet deeply private keepsake, Treasuring the Gaze provides new insights into the art of miniature painting and the genre of portraiture.
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cover of Vector Media

Vector Media

Leonardo Impett

University of Minnesota Press, 2026

Dispelling the notion of “generative” AI

Neural networks are designed to dissolve all media into the vector space—a universal space of commensurability. In Vector Media, Leonardo Impett and Fabian Offert parse theories of automatic vision to trace contemporary artificial intelligence’s technical ideology of epistemic reduction, where sensory data is turned into abstracted forms of meaning. Under this regime, bias is not just a question of what is represented but of the logic of representation itself. Drawing on Phil Agre’s notion of a critical technical practice, Vector Media reveals how artificial intelligence systems embed new epistemologies of media beneath the surface of their architectures.

Analyzing the techniques underpinning large multimodal artificial intelligence models like DALL-E, Midjourney, Flux, or Stable Diffusion, Impett and Offert offer the concept of neural exchange value: the value cultural artifacts acquire not through meaning or context but through their capacity to function as vectors. In such a system, commensurability becomes a condition of existence: what matters is not what something is but that it can be embedded. Rather than focusing solely on datasets, Vector Media proposes a critical study of vector spaces—and the machine cultures they produce—as a necessary complement to prevailing approaches in AI critique.

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