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THE MEDIATION OF THE GENDERED GAZE.
One more key theoretical issue remains to be touched on: the implications of gender for our understanding of remediation. Among the best known illustrations of the Renaissance theory of linear perspective is the Dürer woodcut in which the male draftsman objectifies and mathematically dissects his female model (cf. Alpers 1982, 186185, 187; Haraway 1997, 182-183). (See fig. 3.1.) In this image, the artist’s desire for immediacy is evident in his clinical gaze, which seems to want to analyze and control, if not possess, its female object. The woodcut suggests the possibility that technologies of transparent immediacy based on linear perspective, such as perspective painting, photography, and film, or computer graphics and virtual reality, may all be enacting the so-called male gaze, excluding women from full participation as subjects and maintaining them as objects.
THE MEDIATION OF THE GENDERED GAZE.
One more key theoretical issue remains to be touched on: the implications of gender for our understanding of remediation. Among the best known illustrations of the Renaissance theory of linear perspective is the Dürer woodcut in which the male draftsman objectifies and mathematically dissects his female model (cf. Alpers 1982, 186185, 187; Haraway 1997, 182-183). (See fig. 3.1.) In this image, the artist’s desire for immediacy is evident in his clinical gaze, which seems to want to analyze and control, if not possess, its female object. The woodcut suggests the possibility that technologies of transparent immediacy based on linear perspective, such as perspective painting, photography, and film, or computer graphics and virtual reality, may all be enacting the so-called male gaze, excluding women from full participation as subjects and maintaining them as objects.
Source type: pictureInfo: Der Zeichner des liegenden Weibes, in: Underweysung der Messung mit dem Zirckel und Richtscheyt (auch: Emotivität des Weibes)
Original size: 2775x1029 px. Edit