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Studies about the influence of sound and ambient environments on understanding and the affects, prior to intentional acts of consciousness, are employed to rectify self-fragmentation exemplified in Heidegger and Augustine. Due to a visual bias that suppresses his auditory disposition in Being and Time, Heidegger gestures toward Dasein’s fulfillment in social-being yet also recoils from it. To ameliorate this impasse, his underdeveloped modification of existence is revisited by way of Augustine’s attunement to rhetoricity during his conversion experience. As a result of embracing a shared ambient space, he brings care for others as oneself into the realm of “the with” and thereby verifies the significance of an auditory way of being-in-the-world to the formation of communities.

The idea of this paper was developed in our minds by seeing a lot of things which could be transformed, to create friendly objects for the people. To create and build a sensory design means to have a lot of inventiveness, to learn about the psychological and physiological challenges. It is about the senses of human being to communicate with others and, of course, with the environmental world. We have agreed that the most important things are touch and sight. In this paper we have developed a few objects which are in accordance with the term of sensory design. We have learned interesting information about sensory design from other authors and we have presented a few of their creations. [ABSTRACT FROM AUTHOR]

This paper discusses claims that the use of non-human animals in vision research has led to our understanding and treatment of various ocular conditions in humans. It is shown that such use is not necessary and that the most important means of understanding vision is through ethical and humane studies on humans. Results of research using non-human animals confuses the situation because of differences between species.

Most research on air chemistry and human health has focused on negative consequences of air pollution from cities, rural dust, mining, or industrial sites. Research on nature tourism and nature therapy, in contrast, focuses on positive benefits of air quality for physical and mental health, e.g., via "clean air clean water" holidays. Aeroanions and terpenoids in forests have received particular attention, especially in China, Japan, and Korea. We review and analyse several hundred articles published in English and Chinese. With a few recent exceptions, English-language research has tested indoor negative ion generators, and concluded that they have no measurable health benefit. It has tested terpenoids in indoor aroma marketing. Chinese-language research, in contrast, has analysed fine-scale components of outdoor environments that affect concentrations of aeroanions and terpenoids: ecosystem, latitude, altitude, temperature, proximity to water, and individual plant species. Historically, health outcomes have been taken for granted, with little rigorous testing. Air quality research has shown that aeroanions can become attached to fine water droplets, e.g., after rain in forests, or in mists produced locally by waterfalls. We hypothesise that the health benefits of aeroanions in natural environments may arise through the scavenging of airborne particulates by negatively charged mists, creating especially clean, dust-free air. We propose that this particularly clean-tasting air, contrasting strongly with polluted urban air, creates positive effects on human mental health and perhaps, also on pulmonary physical health. Mechanisms and outcomes remain to be tested. We also propose testing psychological health effects of airborne terpenoid scents from forest trees. [ABSTRACT FROM AUTHOR]

The idea of this paper was developed in our minds by seeing a lot of things which could be transformed, to create friendly objects for the people. To create and build a sensory design means to have a lot of inventiveness, to learn about the psychological and physiological challenges. It is about the senses of human being to communicate with others and, of course, with the environmental world. We have agreed that the most important things are touch and sight. In this paper we have developed a few objects which are in accordance with the term of sensory design. We have learned interesting information about sensory design from other authors and we have presented a few of their creations.

While fidelity is a crucial aspect of Jacques Derrida's thinking as it pertains to issues of faith, ethics, and responsibility, this key position in deconstructionist discourse has hardly yet been brought to light. Less still have the biopolitical resonances of Derrida's work, with its careful attention to the terms and stakes of life particularly in his later writing, been considered as a deconstructionist practice of fidelity and infidelity in its own right. In pursuing these threads, this essay argues that thinking a deconstructionist ethics through fidelity and biopolitics makes possible the crafting of a new philosophical weave for catching our responsibilities to others – to the very otherness of life itself – that Derridean hospitality opens up. Taken together in this way, a deconstructionist fidelity to life otherwise, to a biopolitics to come, makes possible an infidelity to political order as we know it that explodes the limitations of biopolitical theory. In squinting, blinking, tearing up, and listening, the borders of life are blurred in an ambivalent ethics of a transness within which life itself is made to waver and arrive anew. [ABSTRACT FROM AUTHOR]

Copyright of Çankaya University Journal of Humanities & Social Sciences is the property of Cankaya University Journal of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines a key element of the theological imagery of Greek Isaiah--the depiction of the salvation of God. Through a close comparison of selected passages of Isaiah in Hebrew and Greek, I seek to clarify the contributions of Greek translation to the creation of a version of Isaiah that would become not only the primary mode of reading the prophet in Greek-speaking diaspora Judaism but also the default linguistic field for much theological reflection in early Christianity. One avenue of the impact of the Greek translator's work is assessed through a survey of the reception history of the distinctly Greek version of Isaiah in Luke-Acts, where the imagery of salvation as a public spectacle becomes a central theme. I argue that sustained attention to the Greek version of Isaiah as a distinctive text in its own right is a necessary prolegomenon for studies of Lucan intertextuality and, indeed, Lucan theology. [ABSTRACT FROM AUTHOR]

Faced with the exaltation of sight as a perfect divine creation, so evident in the Uso de los antojos (1623) by Daza de Valdés, and faced with the satirical–burlesque tone of popular literature, dogmatic theology considered it inappropriate to praise a sense that deviated human understanding and made it difficult to comprehend the sacramental mysteries in depth. Through different fragments of literature produced in seventeenth-century Seville, we will see how the Church constructed, parallel to the scientific and popular discourses, a catechetical rhetoric that sought to deny physical sight and any device intended to enhance or restore it. The idea was to promote a knowledge of God guided by faith, allegorized as a blindfolded woman. Thus, we will see how the glasses and the blindfold capitalized two discourses that could feed back on each other and at the same time evidence the porosity of baroque literature towards the new advances in physics. [ABSTRACT FROM AUTHOR]

Copyright of Burdur Theology Journal / Burdur İlahiyat Dergisi is the property of Burdur Mehmet Akif Ersoy Universitesi lahiyat Fakultesi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The practice of nocturnal navigation in the Mediterranean Sea could be inferred from both archaeological and written records. While there is sufficient proof that the ships and their crew were quite familiar with nighttime sailing, current scholarship has not satisfactorily investigated how the reduction of visibility could have affected the nautical practice. For this reason, the aim of this contribution is twofold: (1) to evaluate to what extent visibility was reduced at night, and (2) to understand what kind of strategies (if any) could be put in place to overcome the difficulties of a low level of visibility. Amongst the strategies, we will also assess the impact on visibility of fixed and portable lighting devices, such as torches and pierced amphoras, as documented by the archaeological and literary evidence. [ABSTRACT FROM AUTHOR]

Most research on air chemistry and human health has focused on negative consequences of air pollution from cities, rural dust, mining, or industrial sites. Research on nature tourism and nature therapy, in contrast, focuses on positive benefits of air quality for physical and mental health, e.g., via “clean air clean water” holidays. Aeroanions and terpenoids in forests have received particular attention, especially in China, Japan, and Korea. We review and analyse several hundred articles published in English and Chinese. With a few recent exceptions, English-language research has tested indoor negative ion generators, and concluded that they have no measurable health benefit. It has tested terpenoids in indoor aroma marketing. Chinese-language research, in contrast, has analysed fine-scale components of outdoor environments that affect concentrations of aeroanions and terpenoids: ecosystem, latitude, altitude, temperature, proximity to water, and individual plant species. Historically, health outcomes have been taken for granted, with little rigorous testing. Air quality research has shown that aeroanions can become attached to fine water droplets, e.g., after rain in forests, or in mists produced locally by waterfalls. We hypothesise that the health benefits of aeroanions in natural environments may arise through the scavenging of airborne particulates by negatively charged mists, creating especially clean, dust-free air. We propose that this particularly clean-tasting air, contrasting strongly with polluted urban air, creates positive effects on human mental health and perhaps, also on pulmonary physical health. Mechanisms and outcomes remain to be tested. We also propose testing psychological health effects of airborne terpenoid scents from forest trees.

Critical remarks on Geo Maher's Anticolonial Eruptions

The mise en abyme trope was introduced into western criticism as a narrative concept of visual self-reflexivity in the arts by A. Gide in 1893, representing the relationship of a larger and smaller image or text in a work of art. My essay begins by considering the trope in its original artform of painting, primarily in the western baroque. But the essay's main subject – one little studied in the Russian context – is the mise en abyme as a visual trope in early Russian modernist writing: A. Bely's Petersburg (1913), V. Mayakovsky's 'From Street to Street' (1913), B. Pasternak's 'The Mirror' (1917), and Yu. Olesha's later Envy (1927). The key component of mise en abyme in literature is a text inside a text, consisting of reflections as if in a mirror, and juxtaposed recursiveness that engages the correlation of part and whole. As they involve a correlation of the verbal and visual, literary mise en abymes require close reading by the reader as viewer, who often knows little about the trope; hence my emphasis on close reading of mise en abymes in the selected literary and visual works. I focus especially on two reflective surfaces, the traditional mirror and modern window, requiring the reader's "power of sight." [ABSTRACT FROM AUTHOR]

The portrayal of the enslaved woman Fotis in Apuleius' Metamorphoses exposes the intersection of gender, sexuality, and slavery. Apuleius' novel allows a window into interactions beyond the relationship of slaveholder and the enslaved person over whom s/he claimed dominium. Centering Fotis in Apuleius' narrative shows how a discourse of slavery worked: an enslaved woman is made present as a body that may be sexualized and surrounded with fantasies of sex and violence. The sexual episodes of Lucius and Fotis reveal an aesthetic, facilitated by the system of slavery, of consuming bodies, watching bodies consumed by violence, and framing effacement and degradation as romance, an operation of power at the core of chattel slavery. [ABSTRACT FROM AUTHOR]

The idea for this issue began percolating in the very early stages of Refract’s existence. I attended the Venice Biennale in 2017 with my partner, infant, and in-laws. I soon became aware of the several roles I inhabited: I was at once a contemporary visual culture thinker honing my critical eye, a new parent managing a balance of feedings and jet-lagged nap schedules, and an in-law guiding my family in a country that inspires many to bask in the visual. I juggled these roles while also trying to fulfill our collective desires for the quintessential family trip to Italy. This exercise invited a reflection on the practice of translation of experience and access (of age, of interest, of comfort, of cost), in addition to language and culture.

Objective -- The aim of the study was to establish the prevalence of hearing and sight impairment, and the differences in relation to school grade and sex in school children in the area of the Jajce municipality. Materials and Methods -- Screening of sight and hearing impairment in school children took place in 2018 and 2019. Vision screening covered a total of 1002 students from 1st to 5th grades, and hearing screening 768 students from 2nd to 5th grades in all central and district (rural) schools in the area of the municipality of Jajce. Results -- Of the total number of students covered by the vision screening, in 163 (16%) some impairment was noticed, and they were sent for further diagnostic testing by a specialist. In relation to sex, there was a higher percentage of girls, 60%, than boys, 40%. In relation to screening of hearing, 44 (6%) of the students were sent for further diagnostics, of which 57% were boys and 43% girls. During the vision screening, 5% of the students were wearing dioptric glasses. In relation to age, the largest number of students were in first grade, 14 (27%), then in second grade, 10 students (19%). Conclusion -- In this study, the results showed that a large percentage of school children were found with hearing and vision impairment, which indicates the pressing need to continue running these preventive programmes. [ABSTRACT FROM AUTHOR]

This article examines what happens when we listen to E. M. Forster's A Passage to India (1924), suggesting that sound has several important functions in the novel, which relate both to the conflicts between the different cultural groupings and to the existential questions that underpin the plot. In making a distinction both between eye and ear, and then between hearing and listening, the article argues that the individual characters are in many ways defined by how they perceive the world around them. The article discusses, first, how eye and ear are contrasted in the novel, suggesting that vision is associated with control and sound with connection. Two central sound "events" are then examined: the echoes in the Marabar Caves and the Hindu celebration at Mau. While the echoes suggest inwardness and seclusion, the article argues that listening in "Temple"—and in the novel at large—offers a path towards connection. [ABSTRACT FROM AUTHOR]

The Fuller Brooch is considered the earliest English representation of the five senses. The central character, representing sight, is thought to also hold one or more figurative meanings, linked to ideas and concepts that were current in King Alfred's cultural context. These figurative meanings were presumably meant to be emphasised and clarified by the two objects this figure is holding. So far, however, these have not been satisfactorily interpreted, with most scholars tentatively identifying them as plants or cornucopias. This study makes a case for these objects to be torches, embodying the concept of light, so central in the theme of the oculi mentis 'eyes of the mind' and in Alfred's ideas of wisdom and learning. The relevance of divine light in the Alfredian cultural framework emerges clearly from the translations into English of the Soliloquia, of the Consolatio Philosophiae and of the Regula pastoralis. Evidence also emerges from the iconography of the inluminatio 'illumination' of the oculi mentis for the acquisition of divine wisdom featuring in the Utrecht Psalter (and its later copies), and from the iconographical connection between torches, light and God that can be seen in the historiated initial of one of the hymns of the Durham Hymnal. [ABSTRACT FROM AUTHOR]

Faced with the exaltation of sight as a perfect divine creation, so evident in the Uso de los antojos (1623) by Daza de Valdés, and faced with the satirical–burlesque tone of popular literature, dogmatic theology considered it inappropriate to praise a sense that deviated human understanding and made it difficult to comprehend the sacramental mysteries in depth. Through different fragments of literature produced in seventeenth-century Seville, we will see how the Church constructed, parallel to the scientific and popular discourses, a catechetical rhetoric that sought to deny physical sight and any device intended to enhance or restore it. The idea was to promote a knowledge of God guided by faith, allegorized as a blindfolded woman. Thus, we will see how the glasses and the blindfold capitalized two discourses that could feed back on each other and at the same time evidence the porosity of baroque literature towards the new advances in physics.

In this paper, I examine the ideas regarding image reception that can be extracted from the De altera uita, a theological treatise written by the Iberian bishop Lucas de Tui in ca. 1230. In this book, he devotes one chapter to rejecting the changes that were taking place at the time in the image of the Crucifixion, especially concerning the variation in the number of nails and the shape of the cross. I will show that this text provides illuminating references regarding image reception, mainly through Lucas's concerns about the visual misleading of the faithful and their devotional responses to artworks. By examining this work, which I will set against the theological and devotional background of its time, I will argue that this treatise reflects the importance of sight within the religious experience of late-medieval Europe. [ABSTRACT FROM AUTHOR]

Rapport defines a certain kind of relationship, one that is not close. Rapport, in other words, defines the closeness and relatability that a relationship should have. This article engages the question, can blindness and sight develop a rapport? It is this question of rapport that animated the 2021 Pop-Up workshop of my play, Rainbow on Mars with Toronto immersive theatre company, Outside the March. The question of building a rapport was not only asked of the entities/characters Blind and Sight but also of the theatre itself and of its audiences. How might blindness and sight come together in the theatre in such a way that does not simulate blindness (blind folds, absence of stage lighting, etc.) nor privilege sight (audio description through headsets for blind patrons only)? This article explores the building of rapport between blindness and sight through the play Rainbow on Mars and the development of, what I call, Immersive Descriptive Audio. [ABSTRACT FROM AUTHOR]

This article reflects upon my short visual recording Eyedrops: A Monoculogue (2021). It describes the thinking process of creative avoidance (both making something new, but recycling ideas and materials which already exist, both in the mind and close to hand); pleasure in making (the haptic joy of production); considerations of performance; being audience to one's own work when exhibited alongside other work responding to the same initial call; re-presenting the work in a workshop context. While it draws upon interdisciplinary theoretical writing to provide phenomenological and ekphrastic considerations of the work, moving between the three-point dynamic which links and divides viewing positions: the image (screen), subject (eye) and the object (puppet), it employs an immediacy of writing, which resists the usual considerations of academic scholarship in a move to free up thinking and to expose the emotional and experiential, questioning what it is to 'see'. [ABSTRACT FROM AUTHOR]

The relationship between the eye and seeing is one of the most studied areas of ancient philosophy. The Aristotelian relationship between the eye and seeing in the context of energeia assigned the eye the most competent and specialized position among the senses. On the other hand, the analogy Plato made between the good, the sun, the light and the eye is a more remarkable point. Plotinus, on the contrary, puts this question in a different focus in the Enneads: Do things that are far away appear to be smaller, and do things that are far removed from us seem to be at a short distance from us, while things that are near appear to be as large as they actually are and to have the distance from us that they actually have? Plotinos tries to find an answer to this question by explaining it in five different ways. As commentators like Kalligas and Armstrong have pointed out, he is close to the fourth explanation, which he compares to the relationship between color and dimness. Through this trace, I will try to transfer the relationship between sight and the visible object to the relationship between the intellect and the intelligibles. In this way, I will compare the distance between the visible object and the sight with the distance between thinking and what is thought. At this point, I would like to focus on the word speculation, which is the scholastic equivalent of the word theoria. Finally, I will conclude that in the noesis activity without sense data, our knowledge of the eidos is most comprehensive and most distant from visible objects. [ABSTRACT FROM AUTHOR]

This article reviews an assembled archive of the literature published to date on the sensory dimensions of the COVID-19 pandemic. Just as sensory scholars have often highlighted periods of sensory revolution, we find that the recent pandemic has augured some notable shifts, albeit often on the more micro and domestic scale. We present a five-sense sensorium that offers an overview of how the senses have been engaged with by scholars during the pandemic, and what the major issues and themes have been. Drawing on the literature, we suggest that there have been shifts in our sensate experiences and an increased awareness of the sensory dimensions of daily life that may usually go unnoticed. However, we also note the many sensory-related inequalities have been revealed over this period, which continue to unfold unevenly as the pandemic continues. We argue that going forward sensory scholars ought to attend to these questions of inequality, as well as tracking the possible undoing of some of the sensory revolutions that may have taken place so far. [ABSTRACT FROM AUTHOR]

This article examines a number of practices of observation as represented in contemporary Canadian dystopias in light of technological developments as seen by transhumanist thought. It argues that the transhumanist scopic practices that underlie their science-fictional imaginaries are in fact dystopian, and, as such, it takes examples from dystopian literature to illustrate how the nature of sight and seeing in the techno- and image-mediated context presents dangerous pitfalls for subject formation, identity politics, and agency. The article distinguishes between “vision” as a body of ideas and “sight” as the actual ways of seeing that may be reciprocal and create bonds of affectivity or, in the case of the transhumanist predicament, be instead founded on watching as the one-sided commodifying alternative.

According to current estimations, globally, there are around 150 million people with an uncorrected refractive disorder, which means 27% of the world’s population. Approximately 1.4 million of these are children and have a milder or more severe form of visual dysfunction secondary to refractive errors. Since 1990, refractive errors are considered to be a public health problem among children and cause visual dysfunction, with a prevalence of up to 43%. Vision maturation occurs in early childhood, when all the senses and motor skills work together to acquire language, first ideas about the environment and all the elements that define the person himself. Sight is a contributory percep-tual system for the cognitive, social, sensory-motor development and for the assemblage of information about the environment. In the first years of life, the child increasingly discovers complex activities, requiring the ability to change the eyes fixation in space from one point to another and a normal binocular motility

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sensorial access to products in shop encounters constitutes a crucial aspect of the appeal to customers. This paper examines sensorial engagements with products in a specific ecology (outdoor markets) with a focus on the possible (pre)opening of a shop encounter. When passers-by stroll from one stand to another, open to local findings, unplanned discoveries, and emergent opportunities to buy, they orient to the sensory appeal of the products, becoming possible customers, stopping in front of a counter and engaging in a social interaction with sellers and other customers. The analysis focuses on multisensoriality in action, studying how customers and sellers treat the sensorial qualities of the products, the relevance of the sensory engagement of the customer with their materiality, and their involvement in the social encounter with the seller, including normative expectations related to sensing and buying. It includes a discussion of how under Covid-19 sensorial access to products was restricted and the sensorial, interactional, normative, and economic consequences of these restrictions. Based on video recordings of market encounters, and on an ethnomethodological and conversation analytic approach of multimodality and multisensoriality, the paper reflects on how appealing to the senses of sight, touch, smell, and taste is methodically orchestrated, and its consequences for the interaction with the seller, the sensorial experience, and the economic transaction. [ABSTRACT FROM AUTHOR]

This article proposes an approach to the Spanish theater of the Golden Age focused on its intersensorial spectacularity. After reviewing the point of view of playwrights such as Lope de Vega and Calderón de la Barca on the sensitive spectacle, the meta-theatrical dispute between sight and hearing is analyzed. We complete the oculocentric perspective by highlighting a synesthetic Spanish spectacularity, visible as much in anti-theatrical criticism as in other indirect testimonies (El pasajero, Suárez de Figueroa) and in metatheatrical fiction itself (Morales, Los naufragios de Leopoldo).

This paper focuses on the libretto of a « bailete » that Emperor Leopold I of Austria had staged in 1667 in his gallery of paintings. The event was in honor of his first wife, the Spanish Infant Margarita, who had just arrived in Vienna. This allegorical « bailete » depicts a twofold quarrel, which first occurs between the senses of Sight and Hearing before opposing the arts of Painting, Poetry and Music. This double dispute is then resolved by the triumph of the art of Dancing, thus crowned as the highest form of sensorial and aesthetic experience. This paper shows how unusual for those times such an affirmation of the superiority of Dancing is. In order to explain this, it first examines the changing status of Dancing in the history of the disciplines and in the first steps of the constitution of the Fine Arts system. It finally puts the art of Dancing in perspective with the political rivalry between Leopold I’s Austria and Louis XIV’s France, as expressed in the sumptuous and competing displays of festivities organized for their respective weddings to the Infant Margarita and the Infant María Teresa.

In Quevedo's poetic corpus, the function of the sight conforms to a great variety of themes, registers and perspectives and we can distinguish two basic typologies: one, with a rhetorical nature, is based on the argumentative schemes of evidentia; the other, with a thematic character, presupposes the elaboration of topical motifs through ingenious puns. Besides being important compositional techniques, strategies of visualization are also a way to contemplate the world through literary memories and establish a peculiar intertextual dialogue with the authors of the past. [ABSTRACT FROM AUTHOR]

Although countless scholars have approached the subject of racism and racialization in F. Scott Fitzgerald's 1925 masterpiece The Great Gatsby, few have identified a common theme hinted at by Tom Buchanan in his dramatic rant when he declares, "Civilization's going to pieces... the idea is if we don't look out the white race will be—will be utterly submerged"—namely, the difference between "looking" and witnessing. Throughout the novel, in fact, the many white characters' physical sight of race and their witness to racially hostile situations are the dramatic device through which they acknowledge and boast of their white supremacist beliefs. This article explores the connection between race, sight, and witnessing in Gatsby, and interrogates the significant role of white characters' witnessing of race and racialized characters' moments of witnessing throughout the text. Ultimately, it aims both to continue the extensive work concerning pernicious white supremacy in The Great Gatsby, as well as propose a new direction for this conversation by identifying the ability of Fitzgerald's characters of color both to witness situations and to act in them. [ABSTRACT FROM AUTHOR]

The article reveals a computing sequence at program implementation of the method of the internal target designation and indication for the samples of armored weapons. The authors describe the stages of the model development of an estimation of pointing accuracy on pixalized coordinates of the target image. They present the results of modeling in relation to the tank T-72B3, which is used in the army at present.

The aim of the paper is to present preliminary research results on the sight-centrism of the poetry written by Zuzanna Ginczanka. The author of the article draws attention to a paradox: it is the sight that is favoured in Ginczanka’s poems, and sight is traditionally perceived as ‘masculine’, intellectual, as opposed to ‘feminine’ senses that are more focused on touch. One of the more important features of sight-centrism in Ginczanka’s works is the observation of hues which may be found in the world. The paper investigates whether colours in this poetry change after the author of Of Centaurus moves to Warsaw. The consistency of poetic imagery placing the human being in natural landscapes rather than the urban space forces the researcher to reflect on the affiliation of Ginczanka with the Skamander group.