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John Berger’s warnings around the gaze in  Ways of Seeing  and the discourses surrounding NASA’s  Blue Marble , the 1972 image of the whole Earth from space, propose a visual practice based on vision as inculcating an alienating objectivity. I return to these foundational texts from 1972 in order to produce symptomatic readings that suggest a background for certain attitudes around digital images. Introducing Donna Haraway’s notion of diffraction multiplies the interpretive identities of such texts and pushes against over identifications that limit a text’s contemporary resonance, as I explain through my discussion of  Ways of Seeing  and then model through various approaches to  Blue Marble.  My analysis identifies how attributes of each object contribute to the disappearance of the image as something one looks at, but by reclaiming vision, a new kind of critical visuality becomes available, particularly as it applies to digital culture, as I address in my conclusion.

Reclaiming vision: looking at Berger’s Ways of Seeing and NASA’s Blue Marble