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.

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. This title 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.

"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"--

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.

Finalist for the 2020 Kirkus Prize for Nonfiction | One of Time Magazines's 100 Must-Read Books of 2020 | Longlisted for the 2020 Porchlight Business Book Awards "An entertaining quest to trace the origins and implications of the names of the roads on which we reside." —Sarah Vowell, The New York Times Book Review When most people think about street addresses, if they think of them at all, it is in their capacity to ensure that the postman can deliver mail or a traveler won’t get lost. But street addresses were not invented to help you find your way; they were created to find you. In many parts of the world, your address can reveal your race and class. In this wide-ranging and remarkable book, Deirdre Mask looks at the fate of streets named after Martin Luther King Jr., the wayfinding means of ancient Romans, and how Nazis haunt the streets of modern Germany. The flipside of having an address is not having one, and we also see what that means for millions of people today, including those who live in the slums of Kolkata and on the streets of London. Filled with fascinating people and histories, The Address Book illuminates the complex and sometimes hidden stories behind street names and their power to name, to hide, to decide who counts, who doesn’t—and why.

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.

The Eye Book is an essential read for anyone who wears glasses, for parents of children with eye problems, for students considering training in orthoptics or optometry, and for health-care professionals looking for an overview of eye health. It is written in a lively readable style and a glossary is provided for technical and medical terms. The structure and function of the eye and the mechanisms of vision are explained in the initial chapters, with explanatory illustrations. Eye problems, eye diseases and their treatment are examined, and the function of different eye-care professionals is explained. Modern medical techniques are also described, including laser treatment, transplantation of cells, and rejuvenation therapy which may give the possibility of restoring diminished sight. The book is illustrated throughout with helpful figures and explanatory illustrations, including 17 colour plates.

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. This title 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.

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.