Keystone's mystical sphere: covert transgressions within a disciplinary regime.
In this paper, I argue that the 'eye-training' stereoviews of the late nineteenth and early twentieth centuries are full of playful transgressions against the medical regime of ocular discipline in which they were embedded. These views were intended for diagnostic and therapeutic purposes within a p...
| Publicado en: | Early Popular Visual Culture Vol. 22; no. 4; pp. 399 - 424 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Nov2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=184035841&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 184035841 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17460654 15UY jtl: Early Popular Visual Culture issn: 17460654 maglogo: N pubinfo: dt: Nov2024 vid: 22 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 184035841 10.1080/17460654.2025.2468643 ppf: 399 ppct: 25 formats: fmt: – @attributes: type: T – @attributes: type: P size: 33.1MB tig: atl: Keystone's mystical sphere: covert transgressions within a disciplinary regime. aug: au: Bantjes, Rod affil: Sociology, St. Francis Xavier University, Antigonish, Canada su: Stereograms Visual perception Visual culture Modernity Therapeutics sug: subj: Stereograms Visual perception Visual culture Modernity Therapeutics keyword: Eye-training stereoviews geometric stereoviews labour discipline medicalization meta-pictorial stereoviews modernist art rational recreation realism social class ab: In this paper, I argue that the 'eye-training' stereoviews of the late nineteenth and early twentieth centuries are full of playful transgressions against the medical regime of ocular discipline in which they were embedded. These views were intended for diagnostic and therapeutic purposes within a project to medicalize and normalize spatial seeing. Read within that framing, they exemplify the influential claims of Jonathan Crary about stereoscopy's role in the standardization and mechanization of vision, rendering it rational and efficient within an increasingly global system of industrial mass production. But evident within the design of these views is a more complex story. Many of them, visually and conceptually, are direct descendants of early nineteenth-century stereoviews used in rational recreation. These were intended to stimulate critical thinking about how perception and optical deceptions worked and return agency and social power to the observer. Others embody some of the tropes of modernist art of the early twentieth century – mixed-media collage, spatial fragmentation and re-composition, plus a reflexive, 'meta-pictorial' logic. Rather than a dull notion of conformity to a standardized spatial regime, these views invite the idea that space is a somewhat arbitrary construction, open to the often witty and creative agency of artist and viewer. They offer a kind of effectivity within modernity that is best understood in class terms. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Early Popular Visual Culture is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Early Popular Visual Culture holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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