Chapter Five
Sight Itself
Visual rhetoric has typically looked at things seen, not the act of seeing. But rhetoricians must follow the path of light and neural pulses through bodies if we are actually going to understand the rhetorical functions of the visual.

Figure 9. Macro Photography of human eye. January 4, 2017. Photograph. Unsplash. @V2osk.
And now for a magic trick: What do you see in the figures below?
You’ve likely seen these images, or other ambiguous figures, before, which means you know this is a trick question. Depending on how you look at the picture, it might look like a rabbit, facing to the right with ears extending left. Or, you might see a duck, facing left with a slightly open beak. Once you know that it might resemble either, you’re more likely to be able to switch back and forth between views.1



Figure 54. Three ambiguous figures, right to left.
1) W. E. Hill. My Wife and My Mother-in-Law, 1915. Illustration. Library of Congress.
2) Rabbit and Duck, 1892. Illustration. Wikimedia Commons.
3) Charles Allan Gilbert. All is Vanity, 1892. Illustration. The Illusions Index.
If you’ve seen any of these ambiguous figures before, you’ve likely encountered them as a game. The ways that sight can “play tricks” on us are, indeed, often fun. However, they also have a lot to tell us about why sight is itself a rhetorical function. The variations in how these images are perceived shows that sight works within the complex of physiological functioning, neurological structures, and sociocultural training. This complex of influences is much more persistent and subtly influential than the direct instruction to notice both a rabbit or a duck. Thanks to those factors, for example, if it’s Easter, you’re more likely to see the rabbit, but if it’s October, you might see the duck first.2
Sometimes, the results of sight itself as a rhetorical function are fun and innocuous; sometimes, they are deadly. And therefore this chapter will be a jarring one as we explain the rhetoricity of sight itself from within that complexity—including the dangerous slip from rabbit-duck to a split-second decision about whether someone stopped for speeding is reaching into their pocket for a wallet or a gun. The rhetorical function of sight itself is at work across the whole spectrum of ways that viewers can be fooled by their own sense of vision.
Over time, such errors and discrepancies in vision have been the subject of research in physics, physiology, and eventually, psychology, where the gaps between sight and reality provided rich ground for establishing a growing and distinct discipline. As Nicholas Wade explains, perception was thought to have no physiological explanation in the nineteenth century, and the problem of optical illusions—an emergent form from popular print culture, often for the purposes of humor or games—was taken up more seriously as evidence of the need for the new discipline of psychology.3 Ultimately, psychological research also failed to fully explain visual error—or the broader, as yet understood, mechanisms of sight. How humans see, and why seeing is so manipulable, remain open questions. From the biological, physical, and social sciences to the arts and humanities.
For all that sensation is presently de rigueur in the humanities, it can be easy to forget that vision is a sense. Perhaps because the “pictorial turn” preceded the “affective turn” or because the legacy of Western modernity has turned vision into a matter of disembodied cognition, recent humanistic work on sensation, embodiment, and feeling has tended to prioritize senses other than vision. Though there are important recent exceptions, within rhetorical studies, “visual rhetoric” and “sensory rhetorics” have largely gone in separate directions.4 But, we argue, understanding the rhetorical function of the visual requires attending to its bodily, sensory nature—no matter how clear or accurate that vision is. Illusion, as it opens vision to ambiguity through somatic means, paradoxically allows us to bring sight itself before your eyes. As Bejamin Firgens writes, to notice visual illusions "is to notice the illusory foundations of our sensoria that we usually ignore in favor of our preferred sureties about the world."5 Or, in the terms of this book, visual illusions make clear that—via embodiment—sight itself is a rhetorical function.

Figure 55. 3D Model of an eye. 2017. Image. Sketchfab. Tom Hodes.
Habitually (and ironically), visual analysis and criticism tend to presume a thinking, largely disembodied viewer. But recent visual scholars remind us that viewers are feelers as much or more than thinkers. “We do not see with our eyes alone,” Janet Vertesi notes, “Learning to see requires both bodily skills and instrumental techniques.”6 Tina Campt, likewise, treats seeing as a multisensory act that extends well beyond interpretation of stimuli. Campt “challenge[s]... the equation of vision with knowledge”7 and proposes “listening to images” as a means for gaining “access to the affective registers through which these images enunciate alternate accounts of their subjects.”8 Sight is a matter of sensory input that, in the process, implicates and incorporates full bodies—including the neural pathways of the brain.
If rhetoricians don’t grapple with sight’s embodied nature, we will miss a great deal of what makes the visual rhetorical. The visual is fully embedded in physical, cognitive, social, and cultural matrices. What lookers see, how they see, and what they do with sight all informs the rhetorical function of sight itself. And the many matrices at work when viewers create certainty out of ambiguity are ideal for illuminating the details of that embodied rhetorical function. Sight is about bodies as complex, situated, and visceral. It is also about bodies as habituated and trained. Sight itself is riddled with ambiguity, with bias, and with rhetoricity.











