.<\/p>\n\n\n\n
\n\u2014 \u2013 \u2014 \u2013 \u2013 \u2014 \u2014 \u2014 \u2013 \u2014 \u2014<\/em><\/p>\n<\/blockquote>\n\n\n\n
.<\/p>\n\n\n\n
.<\/p>\n\n\n\n
\n\u201cLate\u00adly, she\u2019s been see\u00ading things differently\u201d<\/em><\/p>\n<\/blockquote>\n\n\n\n
.<\/p>\n\n\n\n
Who is she, though? A prophet, awok\u00aden, touched by God? A new\u00adly elect\u00aded leader of the peo\u00adple on a quest to over\u00adthrow kings? A queen, tired of the car\u00adnage, now keen on striv\u00ading for peace? An under\u00adfund\u00aded ambi\u00adtious sci\u00aden\u00adtist who has final\u00adly put it all togeth\u00ader under her micro\u00adscope or a scared con\u00adfused child, trem\u00adbling under the cov\u00aders after a haunt\u00ading dream? <\/p>\n\n\n\n
.<\/p>\n\n\n\n
Is she even human? Maybe she\u2019s the lens at the back of a sniper\u2019s rifle, hav\u00ading sec\u00adond thoughts while the com\u00adman\u00adder is yelling take the bloody shot? Or maybe the sniper is a revamped drone called Lucy, that can assess all alone, the col\u00adlat\u00ader\u00adal dam\u00adage of a locked-on target?<\/p>\n\n\n\n
.<\/p>\n\n\n\n
Depend\u00ading on where she\u2019s stand\u00ading, all these may apply. Depend\u00ading on how she looks at it. And the odd thing about it all is that she might not even have eyes. And yet she sees quite fine. <\/p>\n\n\n\n
.<\/p>\n\n\n\n
Does her vision make her weak\u00ader or ten times stronger? Is her \u201csee\u00ading dif\u00adfer\u00adent\u00adly\u201d a mark of exclu\u00adsion or a sign of divin\u00adi\u00adty? Is it a dis\u00adtor\u00adtion or an aug\u00admen\u00adta\u00adtion? Vision can mean delu\u00adsion or fore\u00adsight, it can imply a whole\u00adsome grasp or a par\u00adtial glance through a crack; a col\u00adlec\u00adtive pic\u00adture put togeth\u00ader by a frag\u00adment\u00aded many, or a collective\u2019s blind faith in a sin\u00adgle p.o.v that binds them.<\/p>\n\n\n\n
.<\/p>\n\n\n\n
By now, vision is such a preva\u00adlent metaphor that it can be all these things at once. More than any\u00adthing, it implies one\u2019s posi\u00adtion, one\u2019s cir\u00adcum\u00adstance and situation\u2014and one\u2019s abil\u00adi\u00adty to inter\u00adpret situations\u2014within a dynam\u00adic of power\u2014a dynam\u00adic that often\u00adtimes dates way-way back.<\/p>\n\n\n\n
.<\/p>\n\n\n\n
Here\u2019s what a few vision\u00adar\u00adies said about vision:<\/p>\n\n\n\n
<\/em>\u201cThe field of vision has always seemed to me com\u00adpa\u00adra\u00adble to the ground of an archae\u00ado\u00adlog\u00adi\u00adcal exca\u00adva\u00adtion.\u201d <\/em>Paul Vir\u00adilio<\/p>\n\n\n\n
<\/em> \u201cVision is always a ques\u00adtion of the pow\u00ader to see \u2013 and per\u00adhaps of the vio\u00adlence implic\u00adit in our visu\u00adal\u00adiz\u00ading prac\u00adtices. With whose blood were my eyes craft\u00aded?\u201d<\/em> Don\u00adna Haraway<\/p>\n\n\n\n
.<\/p>\n\n\n\n
So with all that in mind, when a vision\u00adary nego\u00adti\u00adates, when she set\u00adtles, is she more prag\u00admat\u00adic, more cal\u00adcu\u00adlat\u00aded? Or does it mean she lost her edge, is her vision now impaired, not as sharp? In oth\u00ader words, what exact\u00adly are \u201ccom\u00adpro\u00admised visions\u201d? Then again, what types of vision aren\u2019t? <\/p>\n\n\n\n
.<\/p>\n\n\n\n
We admit, as an edi\u00adto\u00adr\u00adi\u00adal team, we so far couldn\u2019t meet around one world\u00adview. The way we see it, though? It\u2019s up to you to show us.<\/p>\n\n\n\n
\u2014 \u2013 \u2014 \u2013 \u2013 \u2014 \u2014 \u2014 \u2013 \u2014 \u2014 \u2013 <\/p>\n\n\n\n
.<\/p>\n\n\n\n
.<\/p>\n\n\n\n
In the sec\u00adond issue of Work\u00ading Titles, we asked the widest array of both aca\u00add\u00ade\u00adm\u00adic or non-aca\u00add\u00ade\u00adm\u00adic con\u00adtrib\u00adu\u00adtors to respond to this provo\u00adca\u00adtion, for\u00admu\u00adlat\u00aded above, which lies some\u00adwhere between poet\u00adry and elu\u00adci\u00adda\u00adtion. Out of the count\u00adless pro\u00adpos\u00adals we col\u00adlect\u00aded, we now present 14 contributions. <\/p>\n\n\n\n
\u2014 \u2013 \u2014 \u2013 \u2013 \u2014 \u2014 \u2014 \u2013 \u2014 \u2014 \u2013 \u2014 \u2013 \u2013 \u2014 \u2014<\/p>\n\n\n\n
.<\/p>\n\n\n\n
.<\/p>\n\n\n\n
Edi\u00adto\u00adr\u00adi\u00adal team for issue No. 02:
Xenia Mura Fink, Angela Matthies, Ann-Kathrin Mu\u0308ller, Gabriel S Moses<\/p>\n\n\n\n.<\/p>\n\n\n\n
Sup\u00adport\u00aded by Bauhaus-Uni\u00adver\u00adsit\u00e4t Weimar, Pro\u00adfes\u00adsor\u00adship Arts and Research<\/p>\n\n\n\n
.<\/p>\n\n\n\n
Pub\u00adlished by Work\u00ading Titles, c\/o Bauhaus-Uni\u00adver\u00adsit\u00e4t Weimar, Ph.D.-Studiengang<\/p>\n\n\n\n
.<\/p>\n\n\n\n
Kun\u00adst und Design, Geschwis\u00adter-Scholl-Stra\u00dfe 7, 99423 Weimar<\/p>\n\n\n\n
\u2013 \u2014 \u2014 \u2013 \u2014 \u2014 \u2013 \u2013 \u2014 \u2013 <\/p>\n\n\n\n
\u2013 \u2014 \u2014 \u2013 \u2014 \u2014 \u2013 \u2013<\/p>\n\n\n\n
.<\/p>\n\n\n\n
.<\/p>\n\n\n\n
.<\/p>\n\n\n\n
For pre\u00advi\u00adous issues, go here<\/em><\/a><\/b><\/strong><\/strong><\/p>\n<\/div>\n\n\n\n
\nESSAYS<\/h2>\n\n\n\n
\u2014 \u2013 \u2014 \u2013 \u2013 \u2014 \u2014 \u2014 \u2013 \u2014 <\/em><\/p>\n\n\n\n
<\/p>\n\n\n\n
After 32<\/a><\/h2>\n\n\n\n
Brynn Hig\u00adgins-Stir\u00adrup<\/em><\/p>\n\n\n\n
<\/p>\n\n\n\n
- Making Visible the Invisible \u2014 The Art of Seeing Black Holes <\/a><\/h2>\n\n\n\n
Angela Matthies<\/em><\/p>\n\n\n\n
<\/p>\n\n\n\n
Zoom! Shake the
{conference} Room<\/a> <\/h2>\n\n\n\nGabriel S Moses<\/em><\/p>\n\n\n\n
The Denied Image<\/a><\/h2>\n\n\n\n
Gian\u00adlu\u00adca Cosci<\/em><\/p>\n\n\n\n
<\/p>\n\n\n\n
In the Pipeline:
A Bottom-Up Look
at Social Inequity<\/a> <\/h2>\n\n\n\nGilad Perel\u00adman<\/em><\/p>\n\n\n\n
<\/p>\n\n\n\n
The Uncertainty of Vision<\/a><\/h2>\n\n\n\n
John Hill\u00adman<\/em><\/p>\n\n\n\n
Soiled Sights<\/a><\/h2>\n\n\n\n
Kirsty Bade\u00adnoch and Tea\u00adgan Dorsch<\/em><\/p>\n\n\n\n
Situating the Gaze:
Towards an Embodied Ecological Approach to Screendance<\/a><\/h2>\n\n\n\nLux Eter\u00adna and Sarah Pini<\/em><\/p>\n\n\n\n
About Optical Empowerment.
How to Train Your Eyes While Exposed to Monumental
Dystopia<\/a><\/h2>\n\n\n\nMaria Sideri<\/em><\/p>\n\n\n\n
Figurprobleme.
Ein Erfahrungsbericht aus der k\u00fcnstlerischen Praxis<\/a><\/h2>\n\n\n\nClau\u00addia R\u00f6\u00dfger<\/em><\/p>\n\n\n\n
Do You See What I See? Revisioning Ireland\u2019s Orange Halls<\/a><\/h2>\n\n\n\n
Philip Arneill<\/em><\/p>\n\n\n\n
To Watch Others Play:
A Subjective and Trans-Disciplinary Exchange<\/a><\/h2>\n\n\n\nSimona Zemaityte and Pao\u00adlo Fazzari<\/em><\/p>\n\n\n\n
Risky Objects:
Illustrating Situated Body Image Experience<\/a><\/h2>\n\n\n\n