Theatre Design & Technology - Dec 1974 - 9

CONFESSIONS OF A BLIND DESIGNER
BEEB SALZER

HERBERT LEHMAN COLLEGEĀ· C. U. N. Y.

What follows are two distinct reactions to the
same experience: a period of nearly two years in
which I learned that I had cataracts, had them
removed, and was fitted with contact lenses. I was
still in my thirties (unusually young to develop
cataracts) and I realized that I had before me many
productive years when my visual perception would be
dependent on the artificial device of contact lenses.
One part of this article is a description of the color
tests I devised to test my own color vision. The other,
and more subjective, part is comprised of excerpts
from the journal I dictated into a tape recorder
during this time. I have interwoven the two parts,
without regard to chronological sequence, in order to
suggest the tumble of thought and emotion I was
feeling then.
The lens of the eye, by changing shape, is able to
focus images on the retina. But because the lens is a
living organism, it also has the qualities of a filter,
filtering out a small amount of predominantly cool
light. This filtering action increases with age, as a
person's lenses grow browner and yellower.
When a human lens is removed, as in cataract
surgery, the increase of blue light is startling to the
aphakic, or lensless, eye, which is one thousand
times more sensitive to the short wave lengths of
light than the normal, or phakic, eye. Also, as a
cataract grows and the lens becomes more clouded
and opaque, less light reaches the retina, so that
when the lens is finally removed, the contrast is
heightened.
Three years ago then I was an artist with
cataracts, looking forward to the time when I could
correct my color vision with artificial filters in the
form of colored contact lenses. As a consequence, I
devised a method of testing my normal color vision.
The -results were more successful for me psychologically than scientifically, and I realize now that I
tested myself more out of the need to regain
confidence than out of practical necessity.
The tests provided a guide, if only within
approximate boundaries, of what my normal color
vision was. Moreover, I found that seeing more of
the spectrum was a disturbing rather than a
liberating experience, and was happy to retreat, in
time, to the familiar wave lengths and spectral
balance of the past.
An article in the November, 1969 Archives of
Ophthalmology titled, "Color Perception in Unilateral Aphakia," describes the tests made by an artist
painting with a normal eye and then duplicating the

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THEATRE DESIGN AND TECHNOLOGY

same painting with an aphakic eye. The article is
illustrated with the two paintings as well as color
chips selected by the artist. Discounting the inaccuracies of color printing, the results show a predictable
contrast between phakic and aphakic sight. However,
since cataracts usually occur in both eyes, although
at different rates of growth, I suspect the so-called
normal eye in the published tests and in my own
tests was not registering "normal" color because of
its incipient cataract. Whether or not the artist
involved in these tests felt as I did about returning to
his old spectral balance is not recorded.
My cataracts started slowly but towards the end
progressed rapidly. No one seems able to predict
their course, whether they will continue, remain at a
level for awhile, speed up, or slow down. I was
fortunate because mine developed quickly and my
doctor was concerned with my mental, occu pat ional,
and physical state. He did everything he could to
keep me working as long as possible and to get me
back to work as soon as possible. Even so, the
situation was not easy to accept.
From my Journal, September: What the devil is "functional
vision"? If the doctor had only functional use of his hands, I
wouldn't let him near me to operate. But he said that I would
have functional vision, even as my cataracts developed. I'd be
able to read and to drive, to get around on my own pretty well;
to see well enough to be considered a fairly normal person. But
for someone who has used his eyes all of his life for his main
source of information ... who has used sight as his contact with
the world, the reality of functional vision is not good enough.
Until I was faced with the reduction of a faculty such as
sight. I did not imagine the degree of my dependence on it.
The simple lillie acts that I used to take for granted have
become extremely difficult. To paint a color sketch of a set, I
find that I need two pairs of glasses, one for working close to
the illustration board, another for seeing the materials on my
painting table. My eyes are changing so quickly that bifocals
are impractical. I dip a brush in water and put it into the
palelle to mix a color wearing my intermediate glasses, then
switch to my close-range glasses in order to see my brush
strokes.
Every sketch takes twice as long. I do every stroke with an
unfamiliar hesitancy. I mix every color knOWing that it will have
to be right the first time because a repetition ')f the process will
be too painful. The work can't be mindless or flamboyant or
even spontaneous. It must be considered, thought out. And it
will be merely functional, to go with my functional vision.

After the first operation left me with one phakic
and one aphakic eye, I experimented with color
perception. Available to me were familiar tools; gel
books and Color Aid swatches. I developed a
technique of quickly covering and uncovering alternate eyes, so that a flashing effect would occur and
allow me to compare and balance what each eye was
seeing. By substituting various gels or swatches, I
tried to make each eye see the same color. In th is
way I could compare the degree of color imbalance

DECEMBER. 1974

9



Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1974

Contents
Theatre Design & Technology - Dec 1974 - 1
Theatre Design & Technology - Dec 1974 - 2
Theatre Design & Technology - Dec 1974 - 3
Theatre Design & Technology - Dec 1974 - Contents
Theatre Design & Technology - Dec 1974 - 5
Theatre Design & Technology - Dec 1974 - 6
Theatre Design & Technology - Dec 1974 - 7
Theatre Design & Technology - Dec 1974 - 8
Theatre Design & Technology - Dec 1974 - 9
Theatre Design & Technology - Dec 1974 - 10
Theatre Design & Technology - Dec 1974 - 11
Theatre Design & Technology - Dec 1974 - 12
Theatre Design & Technology - Dec 1974 - 13
Theatre Design & Technology - Dec 1974 - 14
Theatre Design & Technology - Dec 1974 - 15
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Theatre Design & Technology - Dec 1974 - 17
Theatre Design & Technology - Dec 1974 - 18
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Theatre Design & Technology - Dec 1974 - 23
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Theatre Design & Technology - Dec 1974 - 27
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Theatre Design & Technology - Dec 1974 - 30
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Theatre Design & Technology - Dec 1974 - 40
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com