The overall dominance of white, cisgender, straight malecentered media remains largely unchanged and it is still considered the ”default” or ”universal” perspective. As a result, filmmaking is often limited to representing only a narrow view of humanity. Female representation both in front and behind the camera has been significantly impacted by this dominant perspective. A feminist approach to cinema practices is therefore crucial to challenge and reconstruct the cinematic system, allowing for more diverse and inclusive perspectives to emerge. Cinema is a powerful mass media industry that shapes its audience’s sensibilities, thoughts, emotions, perceptions, and reactions, while broadening the possibilities of human experiences through the screen. The producer plays a crucial role in overseeing the entire filmmaking process and striving to achieve the best possible outcome for the film. Given the significant impact that cinema has on society and the influential position of the producer in the filmmaking process, this study seeks to encourage film and TV producers, regardless of gender, to represent women with equal rights and opportunities. By embracing the female gaze, filmmakers can create more inclusive, diverse, and equitable films for all. This research asks: Have I, a female producer from Latin America, internalized the dominant white, cisgender, heterosexual, and male perspective? In what ways does this perspective manifest in my own role as a producer? And how can we producers creatively and practically challenge this perspective?

I denna essä undersöker jag blickarnas betydelse i förskolan i relation till de yngsta barnen. För att få en kontrast som förtydligar och tillför mer komplexitet får mitt umgänge med hästar och ridning vara med. I min undersökning av blickarna utgår jag från en glidande skala mellan en varm mjuk blick och en kall hård blick. En klok erfaren pedagog vet vilken blick som passar när och kan snabbt läsa av olika situationer. Metoden för undersökandet blir egna erfarenheter, reflektioner över deltagande observationer där också barns teckningar blir ett medel för att få fatt på deras blickar på pedagogerna samt essäskrivandet. Essäskrivandet blir en undersökande metod som låter de egna reflektionerna, de deltagande observationerna och teorin bilda en väv av reflektioner och skapar nya tankar.  Det finns inte mycket forskning om blickens betydelse i förskolan, mer om hur vi använder blicken i olika sammanhang, både barn och pedagoger. Det finns studier om hur barn med funktionsnedsättningar som berör ögonkontakt agerar och om hur man använder blicken i olika situationer. Inom den praktiska kunskapens teori finns det forskning om blickar inom sjukvården som kan kallas kliniska men där de kombinerar faktakunskap med erfarenhet för att fatta kloka beslut. De teoretiska perspektiv som jag använder i min analys är filosofen Hannah Arendt och då främst hennes tankar om politiskt handlande och hur vi binds samman av en väv av relationer samt filosofen Maurice Merleau-Ponty och hans tankar om att jaget/subjektet och kroppen inte kan skiljas åt, vi är en kropp och vi har en kropp. Att kategorisera blickar är svårt och redan idén om den mjuka och den kalla blicken färgar tankarna. Med utgångspunkt i mitt material har jag valt ut några olika typer av blickar som man kan resonera runt, som också blir olika beroende på vilken som tar initiativet, barnet eller pedagogen. Jag låter blickarna speglas i omständigheter och mina valda filosofiska perspektiv samt mina erfarenheter med barnen men ibland också med hästar.  Blickar har betydelse både som de är direkt öga mot öga och som metaforer för ett sätt att förhålla sig till världen. Den här essän hoppas att kunna lyfta betydelsen av att diskutera hur vi använder våra blickar. / In this essay I examine the importance of the eyes in preschool in relation to the youngest children. To get a contrast that clarifies and adds more complexity, my interaction with horses and riding is included. In my examination of the gazes, I start from a sliding scale between a warm soft gaze and a cold hard gaze. A wise, experienced educator knows which gaze is suitable when and can quickly read different situations. The method of investigation becomes own experiences, reflections on participatory observations where children's drawings also become a means of catching their eyes on the educators and essay writing. Essay writing becomes an investigative method that allows one's own reflections, participatory observations and theory to form a web of reflections and create new thoughts. There is not much research on the importance of the gaze in preschool, more on how we use the gaze in different contexts, both children and educators. There are studies on how children with disabilities that concern eye contact act and on how to use the gaze in different situations. Within the theory of practical knowledge, there is research on gazes in healthcare that can be called clinical but where they combine factual knowledge with experience to make wise decisions. The theoretical perspectives that I use in my analysis are the philosopher Hannah Arendt and then mainly her thoughts on political action and how we are bound together by a web of relationships and the philosopher Maurice Merleau-Ponty and his thoughts that the self/subject and the body cannot be separated, we are a body, and we have a body. Categorizing glances is difficult and the very idea of the soft and the cold gaze colors the thoughts. Based on my material, I have selected a few different types of glances that you can reason around, which also become different depending on who takes the initiative, the child, or the educator. I let my eyes be reflected in circumstances and my chosen philosophical perspectives as well as my experiences with the children but sometimes also with horses. Glances are important both as they are directly face to face and as metaphors for a way of relating to the world. This essay hopes to highlight the importance of discussing how we use our gazes.

In geography, maps are a tool of placement which locate both the cartographer and the territory made cartographic. In order to place objects in space, the cartographer inserts his own judgment into the scheme of his design. During the Early Modern period, maps were no longer suspicious icons as they were in the Middle Ages and not yet products of science, but subjects of discourse and works of art. The image of a cartographer’s territory depended on his vision—both the nature and placement of his gaze—and the product reflected that author’s judgment. This is not a study of maps as such but of Early Modern literature, cartographic by nature—the observations of the author were the motif of its design. However, rather than concretize observational judgment through art, the Early Modern literature discussed asserts a reverse relation—the generation of the material which may be observed, the reality, by the views of authors. Spatiality is now an emerging philosophical field of study, taking root in the philosophy of Deleuze & Guattari. Using the notion prevalent in both Postmodern and Early Modern spatiality, which makes of perception a collective delusion with its roots in the critique of Kant, this thesis draws a through-line across time, as texts such as Robert Burton’s An Anatomy of Melancholy, Thomas More’s Utopia, and selections from William Shakespeare display a tendency to remove value from the standard of representation, to replace meaning with cognition and prioritize a view of views over an observable world. Only John Milton approaches perception as possibly referential to objective reality, by re-inserting his ability to observe and exist in that reality, in a corpus which becomes less generative simulations of material than concrete signposts to his judgment in the world.

Gaze is an important social signal in interactions between humans, but also in interactions between humans and artificial agents such as robots, autonomous vehicles, or even avatars presented via displays. It can help to recognize to which persons or objects the interaction partners direct their attention and to infer their intentions to act. By consciously directing the gaze, it is possible to point to a specific position. In many works, arrows are used as learned, artificial directional cues for comparison with gaze cues. Three studies on different aspects of gaze perception form the core of this thesis. Study 1 deals with the estimation of gaze target positions in videoconferencing settings. For this purpose, pictures of persons ('senders' of gaze) who looked at certain positions on a screen were shown. The task of the subjects ('receivers' of the gaze) was to estimate these positions and mark them on their own screen by mouse click. The results show that the precision of such estimates is greater in the horizontal direction than in the vertical direction. Furthermore, a bias of the estimates in the direction of the senders' face or eyes was found. Studies 2 and 3 investigated the influence of cues on visual attention control using a so-called spatial cueing paradigm. After the appearance of a central cue, the participants' task was to respond to target stimuli away from the center of the screen by pressing keys. Whether the cue direction predicted the target position depended on the condition. In Study 2, schematic faces were compared with arrows. Data obtained when cues were used that always pointed in the opposite direction of the target, suggests that the direction of action of arrows is more easily overridden than that of gaze directions. A dynamic, geometric cue stimulus was investigated in Study 3. Here, a blue disc with two red lines moving from the center to the side served as a cue. This abstract stimulus resulted in a reaction time advantage in the direction of movement of the lines. After several trials, videos were shown in which a human avatar wearing a blue helmet, also with red lines, was shown from behind. When he looked sideways and turned his head, the lines moved in the opposite direction to his gaze. This was intended to elicit an alternative interpretation of the abstract cue as the back of the helmet. The results show a partial reduction of the initial effect of the abstract cue. This suggests that stimuli that do not resemble eyes can be learned as gaze and used as cues. In context of human-machine interactions the three studies provide fundamental insights into the human ability to estimate gaze orientation and the effect of gaze cues, which are particularly relevant for the design of gaze displays.:Contents Bibliographische Beschreibung Zusammenfassung 1 Introduction 1 1.1 Gaze as social cue 2 1.1.1 Joint attention 2 1.1.2 Biological and evolutionary perspective 3 1.1.3 Reflective and volitional processes 3 1.2 Cueing paradigms 4 1.2.1 Arrows predicting target position 5 1.2.2 Schematic faces that look only randomly in the direction of the target 5 1.3 Human gaze 6 1.3.1 Attention orientation and eye movements 6 1.3.2 Visual sensors in humans 6 1.4 Artificial gaze 8 1.4.1 Stationary displays 8 1.4.2 Precision of gaze direction estimation 9 1.4.3 Sensor types 9 1.4.4 Gaze of robots and mobile vehicles 10 1.5 Gaze as a communicative sensor system 11 1.6 Goals of the thesis 12 2 Summary of individual studies 14 2.1 Study 1: Gaze estimation in videoconferencing settings 14 2.2 Study 2: Attentional cueing: gaze is harder to override than arrows 15 2.3 Study 3: Effects of Interpreting a Dynamic Geometric Cue as Gaze on Attention Allocation 17 3 Discussion 19 3.1 Performance of gaze orientation estimates 19 3.2 Social cues 20 3.3 Sensor-display linkage 21 3.4 Future Perspectives 23 3.4.1 Receivers’ eye movements 23 3.4.2 Gaze in complex and interactive settings 24 3.4.3 Spatial cueing paradigm in product development 25 3.5 Conclusions 26 4 References 28 5 Appendix 36 Author’s Contributions 36 Gaze estimation in videoconferencing settings 37 Attentional cueing: gaze is harder to override than arrows 76 Accuracy 90 Cue Type 90 Cueing 90 Cue Type : Cueing 90 Effects of Interpreting a Dynamic Geometric Cue as Gaze on Attention Allocation 107 Danksagungen 130 / Blicke sind wichtige soziale Signale in Interaktionen zwischen Menschen, aber auch in Interaktionen zwischen Menschen und künstlichen Agenten wie Robotern, autonomen Fahrzeugen oder auch Avataren, die über Displays präsentiert werden. Sie können helfen zu erkennen, auf welche Personen oder Objekte die Interaktionspartner:innen ihre Aufmerksamkeit richten und auf deren Handlungsabsichten zu schließen. Durch bewusste Blickausrichtung kann gezielt in eine Richtung oder auf eine Position gezeigt werden. In vielen Arbeiten werden Pfeile als erlernte, künstliche Richtungshinweise zum Vergleich mit Blickhinweisen verwendet. Den Kern dieser Arbeit bilden drei Studien, die jeweils unterschiedliche Aspekte der Blickwahrnehmung untersuchen. Studie 1 beschäftigt sich mit der Schätzung von Blickzielpositionen in Videokonferenzsituationen. Dazu wurden Bilder von Personen ('Sender' der Blicke) gezeigt, die auf bestimmte Positionen auf einem Bildschirm blickten. Die Aufgabe der Versuchspersonen ('Empfänger' der Blicke) bestand darin, diese Positionen zu schätzen und auf dem eigenen Bildschirm per Mausklick zu markieren. Die Ergebnisse zeigen, dass die Präzision solcher Schätzungen in horizontaler Richtung größer ist als in vertikaler Richtung. Außerdem wurde eine Verzerrung der Schätzungen in Richtung des Gesichtes bzw. der Augen der Sender festgestellt. Studien 2 und 3 untersuchten den Einfluss von Hinweisreizen auf die visuelle Aufmerksamkeitslenkung mittels eines sogenannten Spatial Cueing Paradigmas. Die Aufgabe der Versuchspersonen bestand darin, nach dem Erscheinen eines Hinweisreizes in der Bildschirmmitte, der je nach Experiment und Bedingung in die Richtung des Zielreizes zeigte oder nicht, durch Tastendruck auf Zielreize neben der Bildschirmmitte zu reagieren. In Studie 2 wurden schematische Gesichter mit Pfeilen verglichen. Ergebnisse für Hinweisreize, die immer in die entgegengesetzte Richtung des Zielreizes zeigten, deuten darauf hin, dass die Wirkrichtung von Pfeilen leichter überschrieben werden kann als die von Blickrichtungen. Ein dynamischer, geometrischer Hinweisreiz wurde in Studie 3 untersucht. Hier diente eine blaue Scheibe mit zwei roten Linien, die sich von der Mitte zur Seite bewegten als Hinweisreiz. Dieser abstrakte Reiz führte zu einem Reaktionszeitvorteil in der Bewegungsrichtung der Linien. Nach einigen Durchgängen wurden Videos gezeigt, in denen ein menschlicher Avatar einen blauen Helm mit ebenfalls roten Linien trug. Der Avatar wurde von hinten gezeigt und wenn er seinen Blick zur Seite richtete und dazu den Kopf drehte, bewegten sich die Linien entgegen der Blickrichtung. Auf diese Weise sollte eine alternative Interpretation des abstrakten Hinweisreizes als Helmrückseite induziert werden. Die Ergebnisse zeigen eine teilweise Reduktion des ursprünglichen Effektes des abstrakten Hinweisreizes, was auf eine Wirkung der Induktionsvideos entgegen der ursprünglichen Wirkrichtung schließen lässt. Das weist darauf hin, dass auch Stimuli als Blicke gelernt und so als Hinweisreiz genutzt werden können, die keine Ähnlichkeit mit Augen haben. Eingebettet in den Kontext von Mensch-Maschine-Interaktionen, liefern die drei Studien grundlegende Erkenntnisse zur menschlichen Fähigkeit Blickausrichtung zu schätzen und der Wirkung von Blicken als Hinweisreize, die insbesondere für die Gestaltung von Blickdisplays relevant sind.:Contents Bibliographische Beschreibung Zusammenfassung 1 Introduction 1 1.1 Gaze as social cue 2 1.1.1 Joint attention 2 1.1.2 Biological and evolutionary perspective 3 1.1.3 Reflective and volitional processes 3 1.2 Cueing paradigms 4 1.2.1 Arrows predicting target position 5 1.2.2 Schematic faces that look only randomly in the direction of the target 5 1.3 Human gaze 6 1.3.1 Attention orientation and eye movements 6 1.3.2 Visual sensors in humans 6 1.4 Artificial gaze 8 1.4.1 Stationary displays 8 1.4.2 Precision of gaze direction estimation 9 1.4.3 Sensor types 9 1.4.4 Gaze of robots and mobile vehicles 10 1.5 Gaze as a communicative sensor system 11 1.6 Goals of the thesis 12 2 Summary of individual studies 14 2.1 Study 1: Gaze estimation in videoconferencing settings 14 2.2 Study 2: Attentional cueing: gaze is harder to override than arrows 15 2.3 Study 3: Effects of Interpreting a Dynamic Geometric Cue as Gaze on Attention Allocation 17 3 Discussion 19 3.1 Performance of gaze orientation estimates 19 3.2 Social cues 20 3.3 Sensor-display linkage 21 3.4 Future Perspectives 23 3.4.1 Receivers’ eye movements 23 3.4.2 Gaze in complex and interactive settings 24 3.4.3 Spatial cueing paradigm in product development 25 3.5 Conclusions 26 4 References 28 5 Appendix 36 Author’s Contributions 36 Gaze estimation in videoconferencing settings 37 Attentional cueing: gaze is harder to override than arrows 76 Accuracy 90 Cue Type 90 Cueing 90 Cue Type : Cueing 90 Effects of Interpreting a Dynamic Geometric Cue as Gaze on Attention Allocation 107 Danksagungen 130

From the start of their lives, infants and young children are surrounded by a tremendous amount of multimodal social information. One intriguing question in the study of early social cognition is how vital social information is detected and processed and how and when young infants begin to make sense of what they see and hear and learn to understand other people’s behavior. The overall aim of this thesis was to provide new insights to this exciting field. Investigating behavior and/or neural mechanisms in early life, the three different studies included in this thesis therefore strive to increase our understanding on perception and processing of social information. Study I used eye-tracking to examine infants´ observations of gaze in a third-party context. The results showed that 9-, 16- and 24-month-old infants differentiate between the body orientations of two individuals on the basis of static visual information. More particularly, they shift their gaze more often between them when the social partners face each other than when they are turned away from each other. Using ERP technique, Study II demonstrated that infants at the age of 4 to 5 months show signs of integrating visual and auditory information at a neural level. Further, direct gaze in combination with backwards-spoken words leads to earlier or enhanced neural processing in comparison to other gaze-word combinations. Study III, also an EEG investigation, found that children between 18 and 30 months of age show a desynchronization of the mu rhythm during both the observation and execution of object-directed actions. Also, the results suggest motor system activation when young children observe others’ mimed actions. To summarize, the findings reported in this thesis strengthen the idea that infants are sensitive to others´ gaze and that this may extend to third-party contexts. Also, gaze is processed together with other information, for instance words, even before infants are able to understand others’ vocabulary. Furthermore, the motor system in young children is active during both the observation and imitation of another person’s goal-directed actions. This is in line with findings in infants, children and adults, indicating that these processes are linked at neural level.

This thesis is concerned with the importance of the gaze in fin-de-siecle Gothic. One of the ways in which the importance of the gaze manifests itself is in the central role of the onlooker like Enfield, Utterson or Lanyon in Robert Louis Stevenson's Stange case of Dr Jekyll and Mr Hyde (1886), Prendick In H.G. Well's Island of Dr Moreau (1896), or Harker in Bram Stoker's Dracula (1897). As their appelation suggests, Wells's Beast Men confound the distinction between the human and the animal, which is also the case with 'Beast Men' like Hyde and Dracula. A central concern of the thisis is the perceptual drama that is involved in looking at the spectacle of the monstrous body, for excample, as the onlooker struggles to get to grips with the challenge to representation posed by these 'Beast Men'.

Football penalty kicks are having increasing influence in today’s professional game. Despite this, little scientific evidence currently exists to ascertain the mechanisms behind performance failure in this task and/or the efficacy of training designed to improve penalty shooting. In a football penalty kick it has been reported that the majority of kickers do not look to the area they wish to place the ball; preferring to focus on the ‘keeper and predict anticipatory movements before shooting. Such a strategy seems counterproductive and contradictory to current research findings regarding visually guided aiming. Coordination of eye and limb movements has been shown to be essential for the production of accurate motor responses. A disruption to this coordination not only seems to negatively affect performance, but subsequent motor responses seem to follow direction of gaze. Thus, where the eyes lead actions tend to follow. In study 1, ten participants were asked to kick a standard sized football to alternate corners of a goal, whilst looking centrally and whilst looking where they intended to hit. This disruption of eye-limb coordination brought about a 15% reduction in kicking accuracy. When participants were asked to fixate centrally, their shots hit more centrally (17cm) than when they were allowed to look where they intended to hit. These results were in spite of no significant differences between the number of missed shots, preparation time and ball speed data across conditions. We concluded that centrally focused fixations dragged resultant motor actions inwards towards more central target locations. Put simply, where the eyes looked shots tended to follow. The second study sought to test the predictions of attentional control theory (ACT) in a sporting environment in order to establish how anxiety affects performance in penalty kicks. Fourteen experienced footballers took penalty kicks under low- and high-threat counterbalanced conditions while wearing a gaze registration system. Fixations to target locations (goalkeeper and goal area) were determined using frame-by-frame analysis. When anxious, footballers made faster first fixations and fixated for significantly longer toward the goalkeeper. This disruption in gaze behaviour brought about significant reductions in shooting accuracy, with shots becoming significantly centralized and within the goalkeeper’s reach. These findings support the predictions of ACT, as anxious participants were more likely to focus on the “threatening” goalkeeper, owing to an increased influence of the stimulus-driven attentional control system. A further prediction of ACT is that when anxious, performers are more likely to be distracted, particularly if the distracter is threat related. When facing penalty kicks in football (soccer), goalkeepers frequently incorporate strategies that are designed to distract the kicker. However, no direct empirical evidence exists to ascertain what effect such visual distractions have on the attentional control, and performance, of footballers. In the third study, eighteen experienced footballers took five penalty kicks under counterbalanced conditions of threat (low vs. high) and goalkeeper movement (stationary vs. waving arms) while wearing eye-tracking equipment. Results suggested that participants were more distracted by a moving goalkeeper than a stationary one and struggled to disengage from a moving goalkeeper under situations of high threat. Significantly more penalties were saved on trials when the goalkeeper was moving and shots were also generally hit closer to the goalkeeper (centrally) on these trials. The results provide partial support for the predictions of attentional control theory and implications for kickers and goalkeepers are discussed. The previous studies showed that anxiety can disrupt visual attention, visuomotor control and subsequent shot location in penalty kicks. However, optimal visual attention has been trained in other far aiming skills, improving performance and resistance to pressure. In study 4, we therefore asked a team of ten university soccer players to follow a quiet eye (QE; Vickers, 1996) training program, designed to align gaze with aiming intention to optimal scoring zones, over a seven week period. Performance and gaze parameters were compared to a placebo group (ten players) who received no instruction, but practiced the same number of penalty kicks over the same time frame. Results from a retention test indicated that the QE trained group had more effective visual attentional control; were significantly more accurate; and had 50% fewer shots saved by the goalkeeper than the placebo group. Both groups then competed in a penalty shootout to explore the influence of anxiety on attentional control and shooting accuracy. Under the pressure of the shootout the QE trained group failed to maintain their accuracy advantage, despite maintaining more distal aiming fixations of longer duration. The results therefore provide only partial support for the effectiveness of brief QE training interventions for experienced performers. This series of studies are the first to explore the gaze behaviour of football penalty takers in a quest to uncover and understand anxiety’s negative influence on attentional control and performance. They are also the first to explore the efficacy of goalkeeper distractions and training in improving performance from both the goalkeeper’s and kicker’s perspective. The results of these studies conclude that when anxious, penalty takers show an attentional bias toward the ‘threatening’ goalkeeper that can be increased and utilised by a goalkeeper employing distraction techniques and that penalty takers do benefit, to some extent, from a gaze-based pre-shot routine

The purpose of this thesis is to investigate and understand the effect of a servicescape’s ambient and social conditions on consumers’ service encounter experience and their approach/avoidance behavior in a retail context. In three papers, with a total sample of over 1600 participants (including 550 actual consumers) and seven experiments, the author investigates the effect of music (ambient stimuli), employees’ self-disclosure (verbal social stimuli) and employees’ gazing behavior (nonverbal social stimuli) on consumers’ service encounter experience and approach/avoidance behavior in a retail store. Paper I comprised two experiments, and the aim was to investigate the influence of music on emotions, approach/avoidance behavior. Paper II comprised two experiments, and the aim was to investigate the effect of frontline employees’ personal self-disclosure on consumers’ reciprocal behavior. Paper III comprised three experiments, and the aim was to investigate the influence of employee’s direct eye gaze/ averted eye gaze on consumer emotions, social impression of the frontline employee and encounter satisfaction in different purchase situations. The results in this thesis show that music affects consumers in both positive and negative ways (Paper I). Self-disclosure affects consumers negatively, in such a way that it decreases encounter satisfaction  (Paper II) and, finally, eye gaze affects consumers by regulating both positively – and in some cases also negatively – consumers’ social impression of the frontline employee and their encounter satisfaction (Paper III). The conclusions of this thesis are that both ambient and social stimuli in a servicescape affect consumers’ internal responses, which in turn affect their behavior. Depending on the purchase situation, type of retail, and stimuli, the internal and behavioral responses are different. / The purpose of this thesis is to investigate and understand the effect of a servicescape’s ambient and social conditions on consumers’ service encounter experience and their approach/avoidance behavior in a retail context. In three papers, with a total sample of over 1600 participants (including 550 actual consumers) and seven experiments, the author investigates the effect of music, employees’ self-disclosure and employees’ gazing behavior on consumers’ service encounter experience and approach/avoidance behavior in a retail store. The results in this thesis show that music affects consumers in both positive and negative ways (Paper I). Self-disclosure affects consumers negatively, in such a way that it decreases encounter satisfaction (Paper II) and, finally, eye gaze affects consumers by regulating both positively – and in some cases also negatively – consumers’ social impression of the frontline employee and their encounter satisfaction (Paper III). The conclusions of this thesis are that both ambient and social stimuli in a servicescape affect consumers’ internal responses, which in turn affect their behavior. Depending on the purchase situation, type of retail, and stimuli, the internal and behavioral responses are different.

This thesis examines Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things. Instead of using an iconographical analysis, the thesis investigates the relationship between Bosch's art and the Devotio Moderna, which has been speculated by many Bosch scholars. For this reason, a close study was done to examine the Devotio Moderna and its influence on Bosch's painting. Particular interest is paid to the seven day prayers of the Devotio Moderna, the subjects depicted in Bosch's painting, how Bosch's painting blesses its viewer during the time of one's prayer, and how the use of gaze ties all of these ideas together.

Que signifie voir ? et en quoi l’étude d’une œuvre artistique favoriserait-elle l’examen philosophique d’une telle question ? Centré sur le problème de la vision dans l'œuvre d'Alberto Giacometti, ce travail entend mettre au jour une certaine exemplarité de l’artiste dans l’élaboration philosophique de la question de la vision, en posant les conditions d’un dialogue entre art et phénoménologie. Car la vision chez Giacometti problématise l'apparition des choses d'une manière qui bouleverse l'évidence de la constitution d'objet et ébranle la subjectivité. Voir, c’est voir apparaître, mais cette apparition n’est pas simple montée au visible d’une forme accédant à quelque stabilité objective : l’artiste nous force à penser ce que nous proposons d’appeler une « désapparition » de l’objet. L’art se donne en effet comme une forme d’inquiétude du regard, qui balance l’objet entre apparition et disparition, le retire étrangement au toucher et émeut remarquablement le sujet en lui suggérant une dimension sublime de la visibilité qui le renvoie finalement à sa propre mortalité. Sur tous ces points, la phénoménologie peut éclairer l'œuvre de l'artiste, quoique la "résistance" de cette même œuvre à l'égard des thèses philosophiques s’avère tout aussi éclairante : loin de nous amener à la simple conclusion d'une extériorité de l’art et de la philosophie, cette résistance peut en effet se comprendre comme une invitation à retravailler, d’une façon critique, la phénoménologie elle-même. / What is the meaning of seeing ? And why should an artistic work be of any help in a philosophical inquiry on such a topic ? This research is focused on the problem of vision in Alberto Giacometti’s work and intends to reveal an exemplarity of this opus in the philosophical elaboration of vision, by stating the conditions of a dialogue between Art and Phenomenology. For Giacometti’s vision raises a problem in the mere appearance of things : the obviousness of the objet’s constitution is disrupted and the subjectivity disturbed. To see is to see things appear, but this appearance is no longer the simple coming to visibility of a form attaining some objective stabilization : the artist forces us to think what we suggest to call a « desappearance » of the object. Art is then to be thought as a glaze anxiety that balances the object between appearance and disappearance, withdraws it from our touch, and strangely moves the viewer by suggesting a sublime dimension of visibility that finally brings him back to his own mortality. On all these matters, phenomenology can throw light on the artist’s work, though the « resistance » of this very work against philosophical statements turns out to be quite as enlightning : far from leading us to simply conclude that art and philosophy have nothing to do with one another, this resistance can be seen as an invitation to reconsider, critically, Phenomenology itself.