Ocularcentrism  

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Venus at the Opera (1844) by Grandville (French, 1803 – 1847)
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Venus at the Opera (1844) by Grandville (French, 1803 – 1847)

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Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.
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Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.

Ocularcentrism is the privileging of vision over the other senses. The term was first attested in 1986[1].

It can be seen in much 20th-century art. As Martin Jay notes in "The Disenchantment of the Eye: Surrealism and the Crisis of Ocularcentrism":

"The eye was, in fact, a central Surrealist image, and indeed can be discerned in much 20th-century visual art. Anticipated by Odilon Redon's haunting images of single eyes as balloons, flowers or Cyclops staring towards heaven, artists like de Chirico, Ernst, Dali, Man Ray and Magritte developed a rich ocular iconography."

Somewhere this preponderance developed into anti-ocularism. Narratives such as Story of the Eye by Georges Bataille and Un Chien Andalou profess anti-ocularism.

See also

Other -centrisms




Unless indicated otherwise, the text in this article is either based on Wikipedia article "Ocularcentrism" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on original research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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