The eye is one of the most remarkable achievements of evolution, and has evolved up to 40 times in different parts of the animal kingdom. In humans, vision is the most important sense, and much of the brain is given over to the processing of visual information. In this Very Short Introduction, Michael Land describes the evolution of vision and the variety of eyes found in both humans and animals. He explores the evolution of colour vision in primates and the workings of the human eye, to consider how that contributes to our visual ability. He explains how we see in three dimensions and the basic principles of visual perception, including our impressive capacity for pattern recognition and the ability of vision to guide action. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

A simple introduction to eyes and how they are used.

"Who am I?" ask captions alongside close-ups of colorful animal eyes. As readers guess which animal belongs to each eye, they will discover that each animal has a unique and amazing way of seeing. Snakes have clear eyelids that cannot ever open or close. Some sea creatures have hundreds of eyes around the edges of their shells. Many animals can see colors that are invisible to humans. Brimming with vivid and engaging photographs, this book also includes a clear explanation of how human eyes work, a labeled diagram of a human eye, a glossary, and an index.

This book is a comprehensive, in-depth, and up-to-date resource on eye pathology that will be of great practical value for ophthalmic and general pathologists and ophthalmologists. Congenital abnormalities, inflammatory conditions, infections, injuries, degenerative diseases, and tumors are all covered with the aid of more than 700 images. In the case of tumors, the wide variety of neoplasms that occur in the eyelid, conjunctiva, retina, uveal tract, lacrimal gland and sac, orbit, and optic nerve are comprehensively reviewed, and the most recent knowledge on the relation between genetics and prognosis is presented. Entries on specific diseases are organized in a standard way, with information on etiology, epidemiology, clinical presentation, pathological characteristics, differential diagnosis, therapy, and prognosis. The authors are all recognized experts and members of the European and American ophthalmic pathology societies.​

“This charming and brilliant novel is superbly plotted and will win over readers . . . Phoebe’s voice is dead on and authentic, as are those of her friends. The author's masterful prose and style serve the story instead of merely taking center stage . . . This author and novel are ready for prime time and the big time.” —Publishers Weekly, BookLife Prize Critic’s Report Meet Phoebe Katz, a twelve-year-old foster kid from New York City who’s been bounced around the system her entire life. Things happen around Phoebe, but it’s not like they’re her fault! But when a statue of Athena comes to life, Phoebe gets the stunning news she’s the daughter of Zeus, has a twin brother named Perseus—and was sent away from ancient Greece as a baby to stop a terrible prophecy that predicted she would one day destroy Olympus. Athena warns Phoebe to stay in hiding, but when the vengeful god Ares kidnaps her beloved social worker, Phoebe has no choice—she has to travel back to ancient Greece and rescue him! There, Phoebe and her friends Angie and Damian discover a new prophecy, one that may fix everything. The catch: Phoebe has to collect talismans from six Greek monsters, including the fang from a nine-headed hydra, a talon from the Nemean lion, and a feather from the sphinx. No problem for a girl with the power to call up lightning bolts and change the weather! But can Phoebe collect them all and stop the prophecy before she destroys Olympus?

"I am not going to let my blindness build a brick wall around me. I'd give my eyes one hundred times again to have the chance to do what I have done, and what I can still do."-Brad Snyder speaking with First Lady Michelle Obama On the night Osama bin Laden was killed, US Navy Lieutenant Brad Snyder was serving in Afghanistan as an Explosive Ordnance Disposal officer with SEAL Team Ten. When he learned of SEAL Team Six's heroics across the Pakistani border, Brad was thankful. Still, he knew that his dangerous combat deployment would continue. Less than five months later, Brad was engulfed by darkness after a massive blast caused by an enemy improvised explosive device. Suddenly Brad was blind, with vivid dreams serving as painful nightly reminders of his sacrifice. Exactly one year after losing his sight, Brad heard thousands cheer as he stood on a podium in London. Incredibly, Brad had just won a gold medal in swimming at the 2012 Paralympic Games. Fire in My Eyes is the astonishing true story of a wounded veteran who refused to give up. Lieutenant Brad Snyder did not let blindness build a wall around him-through tenacity and courage, he tore it down.

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.