This is a Studio Elective course that cross lists with Core. In this seminar we will be concerned with the phenomenon of vision. The specifics of the sense of vision are closely related to processes of understanding, thought, and linguistic interpretation. Seeing is an activity in which the eye and brain work together, and hence it raises questions relating to the theory of consciousness. We will approach these questions on the basis of texts, cinematic materials, and experiments we conduct ourselves. The texts on which we will work include “classical” ones by authors such as Charles Baudelaire and Maurice Merleau-Ponty but also more recent theoretical approaches by Serge Daney, for example. We will study more closely the connection of image and language using the example of Hollis Frampton’s film Nostalgia, which suggests that vision must be seen as having an aspect of imagining. What we see and how we see are determined by memories and expectations. Our vision can be connected to imaginations—that is an extension of what has actually been seen—but this is just the flip side of the fact that our vision operates very selectively. Ludwig Wittgenstein demonstrated this in simple experiments on the psychology of perception that employed ambiguous images and from it developed a theory of aspect vision. Max Imdahl emphasized that our normal vision is an act of recognizing. He distinguished this from “seeing vision,” which focuses attention on the visible as visible, that is, on the visual nature of the world. We will ask how a visual world is derived from specific sensory impressions, how things that are not present to the senses mix with the visible, but also how, conversely, things present to the senses remain unnoticed owing to the selectivity of perception. From these issues follows the question of how the visual perception of each of us relates to the visual perception of others.