Abstract

There has been much recent debate about the nature of the omnivoyant image that introduces Nicholas of Cusa’s De visione Dei. In this paper, I argue that Cusa’s concept of contraction and his ‘radical perspectivism’ lead us toward stretching the concept of omnivoyance beyond a simple dichotomy between a phenomenology of the image and a phenomenology of the icon. Instead of putting such emphasis on what is seen by the omnivoyant, we should think an omnivoyant optics starting from the material milieu from which it sees. To this end, I define the concept of omnivoyance through the concept of the elemental. Using both the concept of an element derived from Presocratic Ionian philosophy and recent French and American continental philosophy, I put these discourses into conversation with Cusa in several ways: the way omnivoyance functions as a substratum of contracted seeing rather than as a transcendence, its operation as a pure frontality without objectifiable aspects, and the way in which omnivoyance implies not only a gaze that sees ‘all and each’ but also a plurality of modes of vision. To help us understand this enlarged concept of omnivoyance, I use the example of animal vision, particularly the gaze of the whale. With respect to cetacean vision, I deploy Melville’s metaphysical speculations in Moby Dick as our primary guide.