[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-134557-en":3,"doc-seo-134557-105":31,"detail-sidebar-cat-0-en-105":92},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":28,"seo_description":14,"update_tm":29,"read_time":30},134557,3985741905716,"Kyle","https://ap-avatar.wpscdn.com/davatar_994ba38a5ba835b3df7d355c54d3ed8d",2,"Literature","Diaz - The Anxiety of Op: Towards a Theory of Art and Non-Visual Senses","The essay examines “Op” art as a challenge to the traditional hierarchy of the senses that privileges visual judgment, using Bridget Riley’s Current and the MoMA exhibition The Responsive Eye as key reference points. Rather than treating Op as either a pedagogy of vision or a vehicle of sensory disturbance, it argues that bodily sensate presence is never fully absorbed into purely cognitive, largely linguistic modes of interpreting sensation. It also situates Op within perceptual operations linking retinal perception and cognition.","The anxiety of Op: towards a theory of art and non-visual senses  \nIt is an often implicit presupposition in the history of aesthetics, and the history of painting in particular, that the authority of visual judgment ranks highest in a hierarchy of the senses. Using Bridget Riley’s painting ‘Current’ as a case study, the various arguments about Op that position it either as a pedagogical project of educating vision, or a means of sensory derangement, are considered. It is argued instead that in Op the sensate presence of the body is never fully sublimated to cogitation and its generally linguistic modes of translating sensory experience.  \nby eva díaz  \nhe eye loses its pre-eminence in the very area in which it is dominant: in painting’.1 In 1965 Bridget Riley’s painting Current (Fig.1) was featured on the cover of the catalogue of the exhibition The Responsive Eye, organised by the Museum of Modern Art, New York (MoMA).2 The  \nlanguage of a ‘responsive eye’ departs from a prevalent presupposition in the history of aesthetics: that the authority of visual judgment ranks highest in a hierarchy of the senses.3 In contrast, a responsive, receptive eye is affected by the world, as the nose literally inspires, comingling external stimuli with the body in order to perceive. Although sometimes grouped together as ‘Op’, works employing this affective notion of vision are perhaps kin to what Josef Albers, another The Responsive Eye artist, termed ‘perceptual art’: a dynamic operation toggling between the biological fact of retinal apperception and the cognitive processes that interpret those experiences.4  \nCurrent is among several of Riley’s works that employ parallel lines in sets, a technique in which one or more similar but slightly misaligned patterns create visual illusions of depth and vibration, using a so-called  \nT  \nAn earlier version of this essay was delivered at a symposium on 14th May 2022 occasioned by the retrospective British Riley: Perceptual Abstraction at the Yale Center for British Art, New Haven (YCBA). I am grateful to the symposium’s participants and organisers, including the YCBA’s Director, Courtney J. Martin, and Associate Director of Research, Jemma Field, as well as James Meyer, Curator of Modern Art, the National Gallery of Art, Washington, the respondent to my talk.  \n1 M. Serres: The Five Senses: A Philosophy of Mingled Bodies, London 1985/2016, p.37.  \n2 W.C. Seitz: [exh. cat.](exh. cat. The Responsive)[ The Responsive](exh. cat. The Responsive)[ ](exh. cat. The Responsive)[Eye](Eye), New York (Museum of Modern Art) . St Louis (City Art Museum), Seattle (Art Museum), Pasadena (Art Museum) and Baltimore (Museum of Art) 1965–66.  \n3 See M. Jay: ‘In the realm of the senses’, American Historical Review 116 (2011), pp.307–15; Serres, op. cit. (note 1); D. Howes, ed.: Empire of the Senses:  \nThe Sensual Culture Reader, Oxford and New York 2005. For Serres and others, considering the human sense of smell has been the main counterpoint to reassessing the dominance of vision. For a history of philosophical thought with respect to the senses, see A. Le Guérer: Scent: The Essential and Mysterious Powers of Smell, New York 1994, pp.141–54 and 159–203; J. Drobnick: ‘Toposmia: art, scent, and interrogations of spatiality’, Angelaki:  \nJournal of the Theoretical Humanities  \n7 (2002), pp.31–47; and idem, ed.: The Smell Culture Reader, Oxford and New York 2006. See also C. Classen, D. Howes and A. Synnett: Aroma: The Cultural History of Scent, London and New York 1994.  \n4 A note on nomenclature: in the 1960s few artists favoured the name‘Op’ as a means to categorise their work, particularly given its seemingly pat derivation from ‘Pop’ and its faddishness in the media. Other artists  \n1. Current, by Bridget Riley. 1964. Synthetic polymer paint on board, 48.1 by 149.3 cm. (Museum of Modern Art, New York; Scala, Florence).  \nperiodic structure.5 Like moiré, in which superimposed groups of lines seem to quiver and vibra","cbCail0sMsNaZeNU","https://ap.wps.com/l/cbCail0sMsNaZeNU","pdf",682464,5,1,8,"English","en",105,"# The sensory hierarchy behind Op\n## Responsive vision and the body\n## Current and perceptual art\n## Periodic structures, moiré, and illusion","[{\"question\":\"What traditional idea about the senses does the essay question?\",\"answer\":\"It questions the aesthetic presupposition that visual judgment holds the highest authority within a hierarchy of the senses.\"},{\"question\":\"How does the essay reinterpret “Op” art beyond existing arguments?\",\"answer\":\"It rejects viewing Op solely as education of vision or as sensory derangement, arguing instead that bodily sensate presence is not fully sublimated into cognitive, often linguistic, interpretation.\"},{\"question\":\"Why are Riley’s parallel-line techniques important to the argument?\",\"answer\":\"They produce depth and vibration illusions through slightly misaligned patterns and related color contrasts, showing how perception operates within the limits of retinal processing.\"}]","Diaz - The Anxiety of Op: Towards a Theory of Art and Non-Visual Senses | PDF",1787268416,12,{"code":4,"msg":32,"data":33},"ok",{"site_id":25,"language":24,"slug":34,"title":13,"keywords":35,"description":14,"schema_data":36,"social_meta":87,"head_meta":89,"extra_data":91,"updated_unix":29},"diaz-the-anxiety-of-op-towards-a-theory-of-art-and-non-visual-senses","",{"@graph":37,"@context":86},[38,54,69],{"@type":39,"itemListElement":40},"BreadcrumbList",[41,45,48,51],{"item":42,"name":43,"@type":44,"position":21},"https://docshare.wps.com","Home","ListItem",{"item":46,"name":47,"@type":44,"position":11},"https://docshare.wps.com/document/","Document",{"item":49,"name":12,"@type":44,"position":50},"https://docshare.wps.com/document/literature/",3,{"item":52,"name":13,"@type":44,"position":53},"https://docshare.wps.com/document/diaz-the-anxiety-of-op-towards-a-theory-of-art-and-non-visual-senses/134557/",4,{"url":52,"name":13,"@type":55,"author":56,"headline":13,"publisher":58,"fileFormat":61,"inLanguage":24,"description":14,"dateModified":62,"datePublished":63,"encodingFormat":61,"isAccessibleForFree":64,"interactionStatistic":65},"DigitalDocument",{"name":9,"@type":57},"Person",{"url":42,"name":59,"@type":60},"DocShare","Organization","application/pdf","2026-09-03","2026-08-20",true,{"@type":66,"interactionType":67,"userInteractionCount":20},"InteractionCounter",{"@type":68},"ViewAction",{"@type":70,"mainEntity":71},"FAQPage",[72,78,82],{"name":73,"@type":74,"acceptedAnswer":75},"What traditional idea about the senses does the essay question?","Question",{"text":76,"@type":77},"It questions the aesthetic presupposition that visual judgment holds the highest authority within a hierarchy of the senses.","Answer",{"name":79,"@type":74,"acceptedAnswer":80},"How does the essay reinterpret “Op” art beyond existing arguments?",{"text":81,"@type":77},"It rejects viewing Op solely as education of vision or as sensory derangement, arguing instead that bodily sensate presence is not fully sublimated into cognitive, often linguistic, interpretation.",{"name":83,"@type":74,"acceptedAnswer":84},"Why are Riley’s parallel-line techniques important to the argument?",{"text":85,"@type":77},"They produce depth and vibration illusions through slightly misaligned patterns and related color contrasts, showing how perception operates within the limits of retinal processing.","https://schema.org",{"og:url":52,"og:type":88,"og:title":13,"og:site_name":59,"og:description":14},"article",{"robots":90,"canonical":52},"index,follow",{"doc_id":7,"site_id":25},{"code":4,"msg":5,"data":93},[94,98,101,105,109,114,119,123,128,131,135],{"id":21,"doc_module":4,"doc_module_name":47,"category_name":95,"show_sort_weight":96,"slug":97},"Story & Novel",90,"story-novel",{"id":11,"doc_module":4,"doc_module_name":47,"category_name":12,"show_sort_weight":99,"slug":100},80,"literature",{"id":53,"doc_module":4,"doc_module_name":47,"category_name":102,"show_sort_weight":103,"slug":104},"Exam",70,"exam",{"id":20,"doc_module":4,"doc_module_name":47,"category_name":106,"show_sort_weight":107,"slug":108},"Comic",60,"comic",{"id":110,"doc_module":4,"doc_module_name":47,"category_name":111,"show_sort_weight":112,"slug":113},6,"Technology",50,"technology",{"id":115,"doc_module":4,"doc_module_name":47,"category_name":116,"show_sort_weight":117,"slug":118},7,"Healthcare",40,"healthcare",{"id":22,"doc_module":4,"doc_module_name":47,"category_name":120,"show_sort_weight":121,"slug":122},"Research & Report",30,"research-report",{"id":124,"doc_module":4,"doc_module_name":47,"category_name":125,"show_sort_weight":126,"slug":127},9,"Religion & Spirituality",20,"religion-spirituality",{"id":126,"doc_module":4,"doc_module_name":47,"category_name":129,"show_sort_weight":126,"slug":130},"World Cup","world-cup",{"id":132,"doc_module":4,"doc_module_name":47,"category_name":133,"show_sort_weight":132,"slug":134},10,"Lifestyle","lifestyle",{"id":136,"doc_module":4,"doc_module_name":47,"category_name":137,"show_sort_weight":20,"slug":138},19,"General","general"]