visualist

Smith in his book Sensory History criticises as a 'visualist idiom' that dominates much thinking about the senses.

However, this visualist interpretation of the novel is critically deaf to the auditory and to how sound is entangled with questions of power, pedagogy, and politics.

A visualist from a young age, Toufic first showed an interest in photography at the age of 15, refining his skills at art college over the next few years.

A problem, however, Ong maintains, is that hermeneutics traditionally has been conceived in terms of visualist or textualist models for understanding, as practiced by Dilthey, Schleiermacher, and to some extent even Gadamer and Ricoeur.

Feld (1986), in writing of the Kaluli drum, suggests that there is a visualist bias in western attention to the appearance of the drum, that too much is made of its carved design as compared to its carefully adjusted sound.

Knowing Scott to be a visualist, Parkes and Wick brought with them David Franzoni's screenplay along with a color reproduction of Jean-Leon Gerome' painting Pollice Verso ("Thumbs Down"), Their strategy worked.

The storm was delayed that year, so the editors hired the young Mehrinfar as a visualist to foresee the impact of an impending hurricane.

In contrast to strongly visualist representations of ritualists in contemporary Uganda, this project approaches kusamira according to its total sensory appeal.

To cite just two examples, Herbert Schneidau admits an anti-visual bias in Ezra Pound: The Image and the Real: "In my discussion of Pound's poetics I have been at some pains to subordinate the visual, since I had discovered when I began that neither Imagist theory nor its practice were predominantly visualist" (192); and Daniel Tiffany argues in Radio Corpse that "the modernist poetic Image is equivocally, but intentionally, nonvisual, insofar as it resists, contests, and mediates the experience of visuality, but also in its preoccupation with the invisible" (21).

According to band DJ and visualist Joe Hahn: "We are working to create a special experience for our fans where each of these live performances is designed to be a transformative multimedia experience, blending our songs and art and featuring never-before-seen visual technology."

Cook has recently pointed out, Harris and Kasson's studies preceded the publication of the English version of Guy DeBord's The Society of the Spectacle (1967), a powerfully argued study that further stimulated work in the visualist vein (James W.