On page 3, Rose mentions that several theorists have studied the centrality of the visual in our current society. This centrality is so prevalent that Rose even tells the audience about Martin Jay’s term, ocularcentrism, for this phenomenon. Are there opposing theories that claim that the visual is not the central sense that dominates our society? I agree that the visual seems to be the strongest in our culture, but do any theories point to the auditory as being a dominating sense as well?
Rose is careful to mention that ocularcentrism occurs in contemporary Western life. Do other cultures and ways of life focus on the visual more than other senses? Which cultures do not allow the visual to dominate, and how do they function differently than ours?
Page 7 introduces the audience to the term “post-human.” Does this term imply that we are becoming less human? Are we moving away from our instincts for the sake of faster and more advanced technologies?
Since the location of seeing and experiencing a visual is important to the viewing process, according to page 15, then how did people decide that the designs and layouts for typical stages and theatres were the most conducive to the visual aspects?
In chapter 2 on page 23, Rose mentions that at times, street photography can be seen as voyeurism. Where is the line drawn between good art and offensive practices?
Page 26 mentions auteur theory, which claims that the maker or creator’s intentions is the most important part of the visual. Rose states right after that more recent work places less importance on the maker and more on the audience and its interpretations of the work. How is this shift reflected in our society? What does this shift mean for other modes of work? Why does our society now care less about the creator and more about the creation’s effects on others?
Can convergence (noted on page 36) weaken a visual’s message since it takes away the strong relationship between content and medium? It does take away many confinements, but can that have negative repercussions?
Chapter 12 deals with the ethics of photography. Can someone use photographs depicting the subjects in a negative light for research ethically, or must the photographs always shy away from offended their subjects?
How do photo-sharing websites not get into trouble for copyright or anonymity purposes?
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