Dissertations / Theses on the topic 'Imagery thought'
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Collins, Steven. "Selfless persons : imagery and thought in Theravāda Buddhism /." Cambridge (GB) ; New York ; Melbourne : Cambridge university press, 1995. http://catalogue.bnf.fr/ark:/12148/cb374868637.
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Bosch, Naomi A. "Discovery Islands, Earth Islands: The Theory and Practice of Island Imagery in Environmental Thought." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/pomona_theses/127.
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Earth Island is a core metaphor of activist thought often applied in Environmental Analysis and related fields as a tool for thinking about the planet’s limited resources. It puts forth the claim that if only we thought of the earth as more like an island, we would better understand our connectivity to other living things and be drawn to develop better and more extensive practices of environmental stewardship. This thesis uses personal accounts of environmental life philosophies and political practices collected from residents of the Discovery Islands in British Columbia as a site for analytical comparison between the theory and practice of "Earth Island." First providing an overview of the history of Earth Island and exploring existing Anthropology and Island Studies scholarship on island community dynamics and environmental perspectives, this thesis examines how the environmental relationships experienced by Discovery Islanders reflect or differ from the type of activist consciousness theoretically proposed by Earth Island. This creates a context for critically reflecting on the limits and applications of the Earth Island metaphor, and suggesting shifts in current approaches to the use of island imagery in environmental political and philosophical thought, promoting a focus on more community cooperation-oriented, less fatalistic themes.
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Gold, Ian. "Picture, process, and pattern :." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66148.
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Quash, Jonathan Ben. "A critique of Hans Urs von Balthasar's theological dramatic theory : with special reference to the thought of Hegel." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272693.
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Hanna, Emily Lauren. "'I Am Rooted, But I Flow': Virginia Woolf and 20th Century Thought." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/97.
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My thesis is about Virginia Woolf’s novels, Mrs. Dalloway, The Waves, and To the Lighthouse. I examine these novels in relation to the theories of Henri Bergson, William James, and Sigmund Freud, and the groundwork of Modernism. I relate Woolf's use of water imagery and stream of consciousness technique to Bergson’s theory of “la durée,” or psychological, subjective time, James’ “stream of consciousness” theory in psychology, and Freud’s theory of the “oceanic” feeling of religious experience.
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Moyer, Karen E. (Karen Elizabeth). "A Survey of Singers: Is Mental Imagery Used in the Conceptualization of Pitch and Vowel?" Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500626/.
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Mental imagery is a common theme in research that clarifies
how musical thought relates to musical performance. Unfortunately,
minimal information exists regarding mental imagery and singers.
The purpose of this study was to probe the role, if any, mental imagery plays in the conceptualization of pitch and vowel. By interviewing singers at differing levels of expertise, basic information was obtained about the mental processes used by singers. Through evaluations of the singers' mental processes, it was concluded that 95% of the singers in the study employed mental imagery. All singers described using kinesthetic imagery, while the majority implemented sensory and auditory imagery. Viso-spatial imagery was implemented among the more experienced singers. The majority of singers also reported: imaging pitch and vowel interactively; imaging from an internal perspective; and utilizing mental rehearsal. Less than half of the singers described using methods other than mental imagery to conceptualize pitch and vowel.
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Kilpatrick, Jennifer Lynn. "Using guided imagery as an instructional strategy for developing creativity, Learning and relaxation with first grade students." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2031.
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This project examines the theories of guided imagery as a basis for a teaching strategy for developing a student's creativity, promoting learning by increasing concentration techniques and relaxing students. This study discusses how one first grade teacher used guided imagery with her students. The strategy was first used as a morning practice and later incorporated into the language arts program. The topics addressed in this project include: (a) What is guidedimagery? (b) How can guided imagery be applied within a classroom setting? and (c) What guided imagery exercises are appropriate for first grade students? The project concludes that guided imagery can be effectively used with first grade students to enhance the learning process.
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Cantinho, Beatriz. "Choreographing thought : movement as an image of thought, seen through the Deleuzian pure optical and sound image." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8979.
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To assume that dance as an art form is about creating and displaying sequences of movement in space is to undermine choreography’s potential as a way of thinking through movement. The interdisciplinary relations between philosophy and dance explored in this research introduce a framework for exploring new possibilities of thinking through choreographic practice. How can dance be perceived as thought, considered as an experimental process, where the articulation between practice and theory becomes fundamental? The cinematic reversal of the subordination of time to movement proposed by French philosopher Gilles Deleuze in his time-image concept offers a paradigmatic shift which has the potential to find profound resonance in the perception of movement in dance. This research explores how this shift informs a new perspective on choreography by discussing the implications of approaching choreographic composition through the lenses of Deleuze’s Pure Optical and Sound Image. As part of the practical choreographic investigation undertaken in this research, I have sought to challenge the conditions of the act of ‘seeing’ dance and to create an ‘opening condition’ for the use of choreography. To maintain an ‘open condition’ within the the practice of choreography, it is necessary to acknowledge the constant becoming of its materials that depend on non-hierarchical relations and on duration itself. My approach is improvisational and my compositional strategies, which are manifestly dependent on interdisciplinary collaborative processes, emphasise ways of thinking through both movement and the image.
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cantinho, beatriz. "Choreographing thought: movement as an image of thought, seen through the Deleuzian Pure Optical and Sound Image." Doctoral thesis, Repositório da Universidade de Edimburgo, 2012. http://hdl.handle.net/1842/8979.
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To assume that dance as an art form is about creating and displaying sequences of movement in space is to undermine choreography’s potential as a way of thinking through movement. The interdisciplinary relations between philosophy and dance explored in this research introduce a framework for exploring new possibilities of thinking through choreographic practice. How can dance be perceived as thought, considered as an experimental process, where the articulation between practice and theory becomes fundamental?
The cinematic reversal of the subordination of time to movement proposed by French philosopher Gilles Deleuze in his time-image concept offers a paradigmatic shift which has the potential to find profound resonance in the perception of movement in dance.
This research explores how this shift informs a new perspective on choreography by discussing the implications of approaching choreographic composition through the lenses of Deleuze’s Pure Optical and Sound Image.
As part of the practical choreographic investigation undertaken in this research, I have sought to challenge the conditions of the act of ‘seeing’ dance and to create an ‘opening condition’ for the use of choreography. To maintain an ‘open condition’ within the practice of choreography, it is necessary to acknowledge the constant becoming of its materials that depend on non-hierarchical relations and on duration itself. My approach is improvisational and my compositional strategies, which are manifestly dependent on interdisciplinary collaborative processes, emphasise ways of thinking through both movement and the image.Fundação para a ciência e tecnologia; Fundação Calouste Gulbenkian; Dgartes_Ministério da Cultura.
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Montgomery, Eric R. "The Image of God in Pauline thought." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p001-1103.
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Seixas, Vladimir Pereira. "Cinema e pensamento em Gilles Deleuze: a distinção dos automatismos pela passagem da imagem-movimento para a imagem-tempo." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7427.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEsta dissertação investiga o conceito de imagem-movimento e de imagem-tempo do filósofo Gilles Deleuze por meio das implicações contidas na passagem de um conceito para o outro. O aparecimento de regimes de imagem constituem mundos e automatismos específicos: o automovimento do chamado regime orgânico e a autotemporalização presente no regime inorgânico. A substituição da imagem-movimento pela imagem-tempo caracteriza-se por uma reversão da subordinação do tempo pelo movimento. Dessa forma, apresenta a conquista da realidade íntima do tempo puro, em que o tempo aparece completamente emancipado de determinações cronológicas. Ao marcar essa passagem, deve ser entendido como Deleuze alcança um novo regime de imagem e pensamento a partir de uma aliança com a arte cinematográfica. A transposição entre esses dois regimes expressa a mudança de um regime que afirma um autômato motor para outro em que há o surgimento de um autômato capaz de levantar o fundamental do pensamento. E mais decisivamente erigir o plano de imanência.
This thesis investigates the concepts of movement-image and time-image created by the philosopher Gilles Deleuze by analyzing the passage of one concept to the other. The emergence of image systems constitutes worlds and unique automatisms: the auto-movement from the organic system, and the auto-temporalization present in the inorganic system. Replacement of the movement-image by the time-image is characterized by a reverse logic of how time is subordinated to movement. Therefore, it presents the conquer of the intimate reality of the short time, in which time appears completely free of any chronological barriers. In highlighting this passage, its possible to understand how Deleuze reaches another image and thought systems in an alliance with the cinematic art. The transposition between these two systems expresses the shift in one system that reaffirms the automaton-machine to another system in which there is an automaton capable of raising the essential in thinking. And more decisively erect the plane of immanence.
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Sasamoto, Leann. "Choice and Chance: Thoughts on My Journey." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/680.
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My love of learning, teaching, and providing creative spaces for people to connect informs my work and my life. For me, art is like life: messy, physical, and, if done with intent, beautiful. It is more about the process than the result; it is about recognizing that although we make choices, there are many things we cannot control; it is about being so present in the moment that everything else fades away. How I live, what I do, what I believe, and my art are all the same.
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Rodrigues, Luís Filipe Salgado Pereira. "O desenho, a expressão gráfica dos mecanimos da cognição." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/17618.
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Tese de Doutoramento em Arquitetura, com a especialização em Desenho e Computação apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutor.Esta investigação concentra o seu objetivo na abordagem do desenho empírico enquanto meio de representação sensível que, baseado nos mecanismos de cognição, tem potencialidades para estimular, incrementar e clarificar o pensamento baseado na forma. Neste sentido, estará patente a procura da argumentação sobre a confirmação das seguintes hipóteses contextualizadas na produção do desenho empírico: “o desenho potencia o pensamento quando conjugue a expressão e a cognição”; “a expressão gráfica é um meio que estimula o processo da imaginação e do raciocínio”; “a expressão potencia os mecanismos cognitivos quando é ativada a relação dialética entre as sinergias do corpo, a dinâmica da imaginação e a faculdade da razão”. Será relevado o papel do desenho na ativação da relação dialética entre o pensamento e a forma, tendo em conta que a sua natureza mais racional ou mais expressiva depende dos processos usados, conforme tenham uma ligação mais próxima à realidade empírico-expressiva ou à realidade científico-raciocinativa. Com base neste princípio, criou-se um constructo teórico onde se propõe uma definição de Desenho 1 e Desenho 2: o Desenho 1 é de natureza sensível, feito à mão levantada, ligado intrinsecamente a um processo expressivo sob a influência de motivações subjetivas, combinadas com fatores objetivos e baseado na aferição percetiv; o Desenho 2 é de natureza racional, feito com instrumentos de rigor métrico, ligado intrinsecamente à exploração da geometria, que é determinada pela relação lógico-formal sob o controlo da aferição raciocinativa de natureza matemática. Pretende-se, com esta abordagem, sugerir que o Desenho 1 permite particularmente desenvolver o que aqui se designou “inteligência da representação analógica”, na qual estão implicadas a inteligência espacial, a inteligência corporal-cinestésica e a inteligência lógico-dedutiva, para além de, dada a natureza expressiva deste tipo de desenho, se combinar com uma certa inteligência sensível. Em função disto, argumenta-se que o Desenho 1, na relação sensível-racional e interior-exterior, desencadeia a expressão enquanto meio de exteriorização de um conjunto de sinergias conjugadas no sistema mente-corpo, que, quando ordenadas cognitivamente, terão um efeito particular na potenciação/clarificação do pensamento sobre/com a forma.
ABSTRACT: This investigation concentrates its propose in the empiric drawing as a way of a sensible representation which is based on the mechanisms of the cognition and it has potentialities to stimulate, increase and clarify the thought based on the shape. In this sense it will be manifest the search of the argumentation about the confirmation of these following hypotheses that are contextualized in the production of the empiric drawing: “the drawing potentiate the thought when conjugate the expression and the cognition”; “the graphical expression is a way that stimulate the process of imagination and rationality”, “ the expression potentiate the cognitive mechanisms when it is activated the dialectid relation between the synergies of the body, the dynamics of the imagination and the faculty of the reason”. The role of drawing in the activation of the dialectical relationship will be relieved between the thought and the shape, taking into account that its nature more rational or more expressive depends on the processes used according they have a connection nearest to the empirical expressive reality or to the scientific reasoning reality. Based on this principle it was created a theoretical construct in which it is proposed a defination of drawing 1 and drawing 2: the drawing 1 has a sensitive nature, made with hand raised, intrinsically bound to an expressive process under the influence of subjective motivations, combined with objective factors and based on perceptual gauging; the drawing 2 has a rational nature, made with instruments of metric rigor, intrinsically linked to the exploration of geometry which is determined by the logical formal relationship under the control of the ratiocinative gauging of mathematical nature. With this approach we intend to suggest that the drawing 1 particularly allows to develope what we designated by "intelligence of the analog representation" in which space intelligence, body-kinesthetic intelligence and logical-deductive intelligence are implicated, in addition to, given the expressive nature of this type of design, to combine with a certain sensitive intelligence. In function of this it is argued that the drawing 1 in the relationship, sensible and rational, interior-exterior, unleashes the expression as a mean of exteriorization of a set of conjugated synergies in the mind-body system, which, when cognitively ordered, will have a particular effect on the potentiation / clarification of thought over and over.
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Lam, Pui-wah June. "The thought without image of Deleuze and Guattari." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36923539.
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Lam, Pui-wah June, and 林佩華. "The thought without image of Deleuze and Guattari." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36923539.
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McAuliffe, Sam. "Image and thought in Adorno, Blanchot and Deleuze." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/21132/.
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The essay brings together the work of Adorno, Blanchot and Deleuze insofar as their thinking gives rise to a reconfigured conception of the image. It seeks to determine the latter as it is developed across each of these philosophical oeuvres: the various functions the image comes to be assigned, the differing contexts to which it is tied and the respective models of thought it thereby generates. It does this in order to understand the sense in which, for each of these thinkers, a relation to the image in some way comes to be considered constitutive of thinking itself. This thesis receives its most explicit expression in the work of Deleuze, for whom the “image of thought” is that which must necessarily accompany philosophy in its creation of concepts, precisely as the latter’s condition. The essay considers the specific forms in which such an image is delineated within Deleuze’s own philosophy. From here it turns to Blanchot and the idiomatic definition of the image developed across both his theoretical and fictional writing as a movement of “turning away,” a movement which implies a certain understanding of the relation between sight and speech. Finally, the essay addresses Adorno’s conception of the history of thought as a determinate negation of the image, what it means for thought at a certain historical juncture to fall entirely under the imperative of the Bilderverboten, and thus to think on the basis of an “absence of images.”
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Ivins, Annabel M. "Considering a role for verbal thoughts and mental imagery in mania." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556483.
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Bipolar disorder is a difficult disorder which can significantly impact upon an individual's physical, psychological and functional wellbeing. The progress made in developing effective psychological interventions for other severe and enduring mental health conditions is yet to be matched by advances in the psychological treatment of bipolar disorder. Two areas of emerging research have show.n promise: the association between personal goals and risk of mania; and the identification of intrusive mental imagery during the mood states defining bipolar disorder. Gaining an increased understanding of the cognitive processes involved in mania could inform the development of new treatment models for bipolar disorder. The review paper critically evaluates the literature investigating the association between personal goals and risk of mania, plus evidence for a role of future cognition in anxiety, depression and bipolar disorder. The review concludes that future research should more specifically investigate the relevance of goals to a psychiatric population of individuals with bipolar disorder and that mental imagery appears to play a role in the maintenance of mood disorders. Future research endeavours should bridge the gap that is evident between these diverse fields of enquiry. The empirical paper investigates the experience of mental imagery during periods of positive mood among individuals with bipolar disorder or unipolar disorder. All participants (n=36) reported experiencing intrusive mental imagery during their last period of positive mood. The predicted differences between- and within- groups in the frequency and properties of their imagery and thoughts were not found, although trends were in the predicted direction. There was a significant difference between the groups on a measure of goal-striving. Content analysis of each participant's most significant image yielded a range of interesting findings. Despite its limitations, this study provides evidence of theoretical and clinical interest, thus further research with a larger sample size is warranted.
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Ferraz, Thien Spinelli [UNESP]. "Pensamento e criatividade: Uma abordagem à luz da semiótica peirceana." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91751.
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ferraz_ts_me_mar.pdf: 1223197 bytes, checksum: 89126538ad732e720908d0ec00a038c4 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Nesta dissertação buscaremos discutir em que sentido o desenvolvimento de novas mediações cognitivas possibilita o surgimento de originais campos de exploração da atividade criativa. Em um primeiro momento veremos como perspectivas filosóficas estão articuladas em pesquisas da Cibernética, da Ciência Cognitiva e da Sistêmica. Em seguida, analisaremos a perspectiva epistemológica mecanicista a partir da qual estas ciências, em maior ou menor grau, abordam problemáticas acerca do que constitui o pensamento, a informação e a criação. Refletiremos em que medida o mecanicismo é limitado em sua abordagem das relações mantidas entre pensamento, criação e símbolo, de modo que a Semiótica de C. S. Peirce pode nos oferecer uma abordagem mais consistente das correlações entre símbolos, signos e pensamentos. Procuraremos discutir em que medida a Semiótica peirceana, construída a partir de sua Fenomenologia, concebe planos de intensidade de qualidades, relações e mediações presentes em dimensões da experiência. Investigaremos os argumentos de Peirce quanto à impossibilidade de redução do pensamento e da criatividade a procedimentos mecânicos, pois haveria aí a desqualificação de uma genuína manifestação do acaso na experiência de um pensamento. Assim, ao problematizarmos os quali-signos como campos de manifestação da criatividade, apontaremos para o papel do ícone na exploração da corporeidade de signos que emergem das interfaces cognitivas de sistemas artificiais. Então, refletiremos sobre a Cibercultura enquanto um paradigma de nossa condição sociocultural contemporânea, passando a investigar nela manifestações da atividade criativa através das interfaces estabelecidas entre sistemas semióticos heterogêneos. Por fim, questionaremos de que forma as imagens sintéticas expressam explorações criativas de dimensões semióticas nas quais...
In this thesis we shall discuss the way in which the development of new cognitive mediations allows novel fields of exploration of creative activity to emerge. In a first step, we shall see how philosophical perspectives are articulated in research concerning Cybernetics, Cognitive Science and Systems theory. We will explore the nature of the mechanicist perspective with which these sciences generally address difficulties concerning conceptions of what comprises thought, information and creation. We shall discuss the extent to which mechanicism is limited in its consideration of relations between thought, creation and symbol, and the means by which the semiotics of C. S. Peirce can offer a more consistent means to address the correlations between symbols, signs and thoughts. We’ll examine how Peircean Semiotics, developed from its Phenomenology, conceives levels of intensity of qualities, relations and mediations existent in the dimensions of experience. We shall present Peirce’s arguments concerning the impossibility of reducing thought and creativity to mechanical processes, because implicit would be the disqualification of genuine manifestation of chance in the experience of a thought. Hence, questioning quali-signs as fields of manifestation of creativity, we’ll point towards the role of the icon in exploration of dimensions of corporality and signs that emerge from the cognitive interfaces of artificial systems. We shall then address Cyberculture as a paradigm of our contemporary socio-cultural condition, investigating in it manifestations of creative activity at the junctions of heterogeneous semiotic systems. In the end, we shall question to what extent synthesized images may be appropriate as expressions of creative exploration of semiotic dimensions in which thoughts create transits and expansions of their own connections
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Loveday, Thomas. "The Darkened Room: Painting as the Image of Thought." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1103.
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This thesis is an interdisciplinary explanation of correspondences between painting and philosophy. It does not offer, as could be assumed, a critique of philosophical concepts or an instrumental description of painting. Instead, it shows how concepts from philosophy can be used to see painting in new ways, particularly abstract painting. The philosophy discussed here is limited to continental or speculative philosophy, mainly, but not exclusively, the philosophy of Gilles Deleuze and Félix Guattari. The work of philosopher Richard Rorty also plays a part because he presents a clear description of the relationship between vision and philosophy. From a philosopher’s point of view, painting is highly relevant to an image of thought and is in general, used to explain conceptual assemblies. Rarely, however, do philosophers talk of painting’s own philosophy. This thesis argues for an account of painting as philosophy of sensation.
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Loveday, Thomas. "The Darkened Room: Painting as the Image of Thought." Sydney Collage of the Arts, 2006. http://hdl.handle.net/2123/1103.
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PhDThis thesis is an interdisciplinary explanation of correspondences between painting and philosophy. It does not offer, as could be assumed, a critique of philosophical concepts or an instrumental description of painting. Instead, it shows how concepts from philosophy can be used to see painting in new ways, particularly abstract painting. The philosophy discussed here is limited to continental or speculative philosophy, mainly, but not exclusively, the philosophy of Gilles Deleuze and Félix Guattari. The work of philosopher Richard Rorty also plays a part because he presents a clear description of the relationship between vision and philosophy. From a philosopher’s point of view, painting is highly relevant to an image of thought and is in general, used to explain conceptual assemblies. Rarely, however, do philosophers talk of painting’s own philosophy. This thesis argues for an account of painting as philosophy of sensation.
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Thomas, Robert Christopher. "Broken thought-images of life in the state of exception /." Diss., Online access via UMI:, 2005.
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Knowles, Rob. "Communitarian anarchism 1840-1914 : a neglected tradition in economic thought /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16855.pdf.
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Mercer, Randy Houston. "A Life In Words, Thoughts, Ideas, Images and Movement." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/995.
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I know it is my core, my purest nature to incessantly question myself and everything around me; as we pertain to the universe. As Robert Wilson suggests "I will always ask 'What is it?' before telling you what it is." My goal is to present you with some tools with which to approach your craft, your life, your uncertainties. And though I may not always be the best example, I still wish to encourage all that read this or spend time with me to see this craft/business and indeed your life as a great, happy adventure; guided by love. Because this will always lead to good and positive experiences, whatever path you find yourself on.In what I am doing now I am preparing to transition from a career in makeup into my next interest/phase/period with energy and excitement. Not disappointment, regret or rejection as I have seen over the years when this business is done with someone. And I think my timing is just about right, as I have done it while I am still in demand, while my phone is still ringing, while I am still at the top of my game, my craft.If this collection of thoughts is perceived a success or is widely read, discussed, or deliberated, because I have aimed it at, geared it toward or written it for success or sensationalism, then I have failed, and this amounts to little more than advertising or cheap unsatisfying tabloid television. But if this in any way grabs, challenges, informs, suspends you, makes you question or dream then like theatre when it is at its truest, most profound, rawest, absolutely undecorated, it serves its purpose: To move us forward to new debate, to new exploration of this/our condition.
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Bénit, Bernard. "Deleuze : la pensée sans image." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100002/document.
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Dans ses premières œuvres, Deleuze recherche une "pensée sans image", inséparable de la critique de "l'image de la pensée", c'est-à -dire de la représentation. Le problème, organisant alors la philosophie de Deleuze, est celui du rapport de la pensée avec l'image, problème qui est repris .et déplacé, de Nietzsche et la philosophie à Différence et répétition. Pour "décrire" les actes d'une pensée sans image, Deleuze procède en trois étapes : "le point de départ" est la critique de l'image de la pensée, la dénonciation de la représentation et de ses présupposés, qui emprisonnent et dénaturent la pensée. "Le véritable commencement" consiste, dès lors, à dégager les conditions, non de l'expérience possible comme dans la représentation, mais de l'expérience réelle, c'est-à-dire une nouvelle image de la pensée qui la libère de la représentation. A l'image représentative de la pensée, Deleuze substitue donc une nouvelle image de la pensée qui est l'ensemble des conditions d'une pensée sans image. Enfin, la troisième étape, "l'authentique répétition", est la mise à jour d'une pensée sans image, sub-représentative. Loin d'être naturelle, donnée à un penseur de bonne volonté, comme recognition, la pensée sans image est création de penser dans la pensée, pensée sauvage, nomade, qui nait sans modèle préalable, ni ressemblance : elle surgit de la rencontre violente avec le signe qui la force à penser. Autrement dit, la pensée sans image, c'est le système du simulacreIn his early works, Deleuze looks for a "thought without image", inseparable from the critique of the "image of thought", i.e. of representation. The problem, organizing Deleuze's philosophy, is the relation of thought with the image problem that is picked up and moved, from Nietzsche and phi/osophy to Difference and repetition. To "describe" the acts of a thought without image, Deleuze proceeds in three steps: "the starting point" is the criticism of the image of thought, the denunciation of representation and its presuppositions, which trap and distort the thought. "The real beginning" consists, therefore, in identifying the conditions, not of experience possible such in the representation, but the actual experience, which is a new image of thought that frees it from the representation. The representative image of thought, Deleuze substitute to a new image of thought which is the set of conditions for a thought without image. Finally, the third step, "the authentic repetition", is the update of a thought without image, sub representative. Far from being natural, given to a thinker of goodwill, like recognition, the thought without image is creation of thinking in thought, thought wild, nomadic, who was born without prior model, or likeness: it arises from the violent encounter with the sign that forces it to think. In other words, the thought without image, is the system of the simulacrum
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Di, Mercurio Francine. "Les images scéniques de Romeo Castellucci : expérience d'un théâtre plastique." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3025.
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Certaines œuvres théâtrales de ce XXIème siècle semblent inscrire au cœur de leur projet esthétique une mise en question de l’ordre perceptif en créant de nouvelles manières de voir, d’entendre et d’être affecté. Le drame ‒ comme action ‒ s’y trouve réactualisé dans une forme s’adressant aux perceptions du spectateur au travers d’une dramaturgie visuelle, voire perceptuelle, prenant appui sur une fabrique d’images scéniques. Notre étude propose d'investir dans le champ du théâtre une part de la recherche sur l’image en mettant en perspective les questions esthétiques, philosophiques, voire politiques que soulève la notion d’image scénique. L’œuvre du metteur en scène italien Romeo Castellucci est représentative de la spécificité du plasticien qui trouve sur la scène un nouveau support de création d’images, un médium particulier mettant en jeu le corps, l’espace, la forme et où le texte, pourtant largement muet, hante la scène. Ce théâtre plastique remet en cause les fondements du théâtre traditionnel (action, personnage, fiction), invente un drame proprement figural et cherche à déplacer le regard du spectateur. Dans une oscillation entre apparition et disparition du visible, représentation et ineffable, il offre au spectateur un processus expérientiel au sein d’un laboratoire où l’image joue contre l’image, inquiète le regard et les perceptions convenues de la réalité.Le déplacement de la théorie de l’image dans le champ du théâtre nous permettra, au travers de la démarche singulière de Romeo Castellucci, d’apporter notre contribution à l’analyse des modalités opératoires de son efficace esthétique et des enjeux critiques et politiques du théâtre contemporainSome theatrical pieces from this 21st century seem to include in their esthetical project a question of the perceptive order by creating new ways of seeing, hearing and being affected. The drama ‒ as an action ‒ finds itself updated in a form addressing to the spectator’s perceptions through visual dramaturgy, even perceptive, based on a factory of scenic images. Our study offers to invest in the theater field a part of the research and thoughts about the image by putting into perspective the esthetical, philosophical, and even political questions that the notion of scenic image raise.The particular piece from the Italian director Romeo Castellucci is representative of the visual artist’s specificity who finds on the stage a new creating support for images, a particular way of involving body, space, shape, matter and where the text, although especially mute, is haunting the stage. This plastic theater questions the foundations of traditional theater (action, character, fiction), creates a properly figural drama and tries to move the spectator’s sight. In an oscillation between visual appearance and disappearance, representation and unspeakable, he offers to the spectator an experiential process in a laboratory where image plays against image, worries the sight and the accepted perceptions of reality.The displacement of the image’s theory in the theatrical field will allow us, through Romeo Castellucci’s singular approach, to make our contribution to the operating procedures analysis of his aesthetic’s efficiency, reception mechanism of the spectator and critical and political skates of the contemporary theater
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Ito, Tomyo Costa. "Mímesis, pensamento e cinema digital: imagem-corpo em Dez, de Abbas Kiarostami." Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/1207.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Esta pesquisa tenta mimetizar os modos de pensamento traçados pelas articulações das imagens e sons do filme Dez, de Abbas Kiarostami, a partir de um modelo ensaístico inspirado no método benjaminiano. Realizamos um mapeamento do conceito de mímesis de Walter Benjamin identificando pontos estratégicos para a construção de nosso ensaio. Apresentamos os dois grandes modos de pensamento do cinema segundo a classificação de Gilles Deleuze, explicitando suas diferenças: a imagem-movimento e a imagem-tempo. Descrevemos o modo de utilização das técnicas cinematográficas em Dez a partir das categorias de espaço de produção e de espaço fílmico. Analisamos as imagens de Dez, com base na descrição realizada anteriormente, evidenciando que o modo de pensamento engendrado pelas imagens corresponde ao da imagem-tempo, apontando o conceito de imagem-corpo como uma possível subcategoria. Ao final do trabalho, apresentamos nossa tentativa de mimetizar o modo de pensamento do filme a partir da imagem-corpo, buscando suscitar, no leitor, imagens, que, por meio da escrita, possam estabelecer uma configuração comum com o modo de pensar do filme.
This research tries to mimetize the modes of thought constructed by the images and sounds of the film Ten by Abbas Kiarostami through a model inspired by the essayistic method of Walter Benjamin. We conducted a mapping of the concept of mimesis in Benjamin‟s writings identifying strategic points for the construction of our own essay. We also work two major ways of thinking cinema according to the classification of Gilles Deleuze, explaining their differences: the movement-image and time-image. We describe the use of techniques in the film Ten with the help of the categories of production space and filmic space. We analyzed the images of Ten, based on the description previously performed, showing that the mode of thought engendered by the images corresponds to the time-image, showing the concept of body-image as a possible sub. At the end of the paper, we present our attempt to mimetize the mode of thought of the film through the concept of body-image, seeking to raise images through writing, with the goal of establishing a common configuration with the thinking of the movie.
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Canto, Cláudia Seneme do [UNESP]. "A imagem - pensamento: o potencial educativo do filme-ensaio com o Grupo Kino-Olho." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/144641.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A seguinte pesquisa aborda o processo de construção de filmes-ensaio pelo Grupo de Pesquisa e Prática Cinematográfica Kino-Olho, de Rio Claro, interior de São Paulo que tem como objetivo ensinar cinema a jovens e adultos criando um espaço de aprendizado diferenciado capaz de trazer novas formas de pensar a educação e a educação e o cinema. Conforme explica MACHADO (2003), a produção de um filme-ensaio não tem como objetivo final atingir uma perfeição artística, mas sim o processo de produção; como se estes fossem rascunhos de uma obra, visando o pensamento e a construção por trás do filme. Assim, a pesquisa traz uma reflexão sobre os modos de afetação e de criação que possibilitam estas imagens e como elas escapam às modulações já existentes. A pesquisa se propõe a lidar com a incerteza e com o estar fora dos lugares fixos e estabelecidos. Aberta a mostrar quais pensamentos e que modos de produção de pensamentos as imagens do Grupo Kino-Olho criam, possibilitam, produzem e qual experiência é possível aos integrantes do grupo nesta produção. Como metodologia a pesquisa utilizará do registro e da leitura de dados em vídeo, abrangendo as discussões do grupo, o material dos filmes-ensaio e filmagem dos bastidores na realização dos mesmos. Tais filmagens (filme-ensaio e filmagem dos bastidores) resultarão num texto narrativo.
The following research approaches the essay-films construction process within the Kino-Olho Research Group from Rio Claro, the Rural section of São Paulo’ state. This group aims teaching youngs and adults how to make movies through the creating a space of learning capable of bringing new ways of thinking about education, and education and cinema, in general. According to MACHADO (2003), the production of essay-films does not aim artistic perfection. Instead, the focus is on the production process as if the masterpiece were being sketched through the thoughts and the construction behind the film. The research brings out new ways of deliberate on the modes of affection and creation that allow these images being created and how they escape the existent modulations. The present work, proposes to deal with the uncertainty of being out of the stablished places. Shows how and which thoughts and modes of production the pictures, from Kino-Olho create, allow, produce and what experience is possible for the people involved on this production. Concerning the methodology, the research is going to use the reading of the video data containing the group debates, the essay-films materials and the shootings making of the movies. Such shootings (essay-film and making of) are going to result in a narrative writing.
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Benedykt, Breno Isaac. "O teorema de Béla Tarr: um estudo sobre imagem e pensamento." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-30112016-150651/.
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Este trabalho tem como fonte de estudo os filmes do diretor húngaro Béla Tarr, começando com Ninho Familiar, de 1977, e encerrando com O Cavalo de Turim, de 2011. Neste período o cineasta realizou, além de outros trabalhos, nove longasmetragens, alguns dos quais em parceria com o escritor húngaro László Krasznahorkai. Entretanto, esta pesquisa não tratou de suas obras como unidades separadas e/ou totalizáveis, mas como blocos de imagens em permanente contato com um plano de questionamentos a respeito da experiência estética do pensamento. Deste modo, o trabalho com os filmes teve como foco a análise fragmentos, continuidades e descontinuidades, por meio dos quais procurou traçar uma linha relacional entre o estilo das imagens e o problema do pensamento. Do ponto de vista da problematização do pensamento, esta pesquisa esteve ancorada no solo teórico-metodológico desenvolvido por Gilles Deleuze e Gilles Deleuze & Félix Guattari, do qual partiu o desenvolvimento de um estudo a respeito de quais os procedimentos audiovisuais criados nos filmes e de como eles possibilitam uma experiência radicalmente imanente do pensamento e, portanto, essencialmente intensiva. Ou seja, esta dissertação se voltou para um estudo dos procedimentos de criação audiovisual, entendendo-os como modos intensivos por meio dos quais se torna possível sentir o aparecimento deste espaço vazio que constitui a experiência do próprio pensamento não-subjetivo ou, dito em outras palavras, como vivência do tempo em sua multiplicidade intensiva. Portanto, foi no interior deste campo de questionamento que perspectivamos o cinema de Béla Tarr, tratando de desenvolver uma visão analítica que não partisse das premissas de uma divisão simplesmente formal dos procedimentos cinematográficos e que tampouco partisse da crença a respeito de um possível lugar exterior e desinteressado em relação às obras, o qual possibilitaria, por exemplo, uma leitura verídica a respeito das intencionalidades mais ou menos ocultas em cada um dos filmes. Ao invés destes modos analíticos, esta dissertação tentou se endereçar às obras procurando compreender como elas articulam injunções e/ou desvios de forças, criando, por meio de afecções e afectos, um procedimento imanente, no sentido do próprio encontro entre o olhar e a tela. Deste modo, cada capítulo desta dissertação desenvolve, a partir de um conjunto determinado de filmes do diretor, uma compreensão a respeito das forças, as quais, por vezes, exigiram a entrada de leituras transversais, advindas tanto do conjunto da obra do diretor, como de pensadores do campo filosofia, e também da literatura e do próprio cinema. É neste sentido que o cinema de Béla Tarr se converte em um teorema, ou em um nó, que solicita um diálogo orgânico tanto com teóricos que escreveram a respeito dos filmes, mas também com outros pensadores, como é o caso notório de Friedrich Nietzsche.This research is grounded in the films of the Hungarian director Béla Tarr, the first of which is Family Nest (1977) and the last is Turin\'s Horse (2011). Through this period, the filmmaker made, among other works, nine feature films, some of which in partnership with the writer László Krasznahorkai. Nevertheless, this research did not deal with their works as separable and/or inseparable units, but as blocs of images in constant contact with a surface of questions regarding the aesthetic experience of thought. By analyzing the films through fragments, continuities, ruptures and discontinuities we were able to draw a relational line between the style of the images and the problem of thought. Regarding the problem of though, this study is anchored to the theses and methodologies developed by Gilles Deleuze and Gilles Deleuze & Félix Guattari. From that, we investigated which audiovisual procedures created on the films could make us think of a radically immanent experience of thought and, therefore, an essentially intensive one. Therefore, this academic work looked for audiovisual creations understood as intensive modes to seize the emergence of this empty space that constitutes the experience of non-subjective thought in other words, time as intensive multiplicity. Therefore, we conceive an analytic view that neither stems from a formal division of film procedures nor from the belief on a possible place of detachment apart from the films or a place that could permit, for instance, a truthful reading on the more or less hidden intentions behind each film. What this research aimed for was to understand how the films of Béla Tarr articulate injunctions and detours of forces that allow us, by affections and affects, to think of them as purely immanent procedures. Moreover, each chapter, based on a determined set of Tarr\'s films, developed a comprehension of the encounters between forces, which, at times, requested transversal readings, coming from thinkers of Philosophy, Literature and Cinema itself, including works on the ouevre of the director. It is in this sense that Béla Tarr\'s cinema appears as a theorem, or a knot, that invites us to an organic dialogue not only with theorists that wrote about his films, but also with other thinkers, such as Friedrich Nietzsche.
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Sundaram, Susmita. "Land of thought: India as ideal and image in Konstantin Bal'mont's Oeuvre." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1087410693.
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Sundaram, Susmita. "Land of thought India as ideal and image in Konstantin Balʹmont's oeuvre /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1087410693.
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Rosa, Sara Morais da [UNESP]. "Entre o ensino de filosofia e a aprendizagem filosófica: a experiência do pensar a partir de Gilles Deleuze." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/145000.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O trato concedido à Filosofia, como disciplina oficial do currículo escolar brasileiro, foi desde o seu princípio tangenciado por ambivalências e inconstâncias que forjaram para o seu ensino um horizonte controverso. Ainda que as diretrizes e normativas educacionais acerca do ensino da filosofia aventassem para sua potência em romper com os dispositivos de transmissão e aquisição mecânica de conteúdos, o modelo institucionalizado deste ensino permanece, ainda hoje, refém de uma dimensão reprodutivista de caráter explicador. Este paradigma pouco contestado, a saber, a lógica da explicação, é responsável por instaurar no ensino um dualismo cego, a partir do qual as modulações do aprendizado do estudante devem necessariamente estar sujeitas à manifestação das explicações e representações de um professor. Desse modo, a função do ensino deixou de se projetar em direção à promoção de uma experiência filosófica, assumindo a tarefa de conformar o pensamento a uma ortodoxia filosófica, restringindo a potência do filosofar a uma imagem distorcida do próprio pensar. Portanto, ainda que propuséssemos uma perspectiva do aprender como emprego livre e pessoal da razão, conforme aventou Kant, esta não seria capaz de prescindir da submissão do pensamento aos estados da representação, afinal, na gênese deste procedimento da razão consiste também a marca indelével de uma imagem dogmática do pensar que subsidia as diversas dimensões de sua manifestação. A partir desta imagem dogmática, que se erigiu segundo ideias gerais do senso comum e do bom senso, o pensar fora entendido pelo viés recognição, como processo que engendra a constituição de modelos e conformações, segundo a ordem da representação, sem jamais diferenciar-se na experimentação do devir. À vista disso, objetivamos investigar nesta dissertação em que medida nos é possível, ainda, promover, no contexto de um ensino representacional, uma aprendizagem filosófica que se abra à experimentação do pensar, como criação de novos sentidos. Para tanto, buscaremos elucidar em que consiste esta experiência do pensar, à luz do uso disjuntivo das faculdades, para, em seguida, compreender em que sentido esta experiência se faz possível com vistas ao aprender a filosofar. A hipótese que atravessa este trabalho articula-se em torno da obra deleuziana Proust e o Signos, a partir da qual defendemos a possibilidade de encontrar, na relação do aprendiz com o signo, uma nova perspectiva sobre a aprendizagem filosófica como lugar de emergência do pensar.
The treatment granted to Philosophy as an official subject of Brazilian school curriculum has always been characterized by ambivalences and inconsistencies that have forged a controversial horizon to its teaching. Although the guidelines and educational regulations for the Philosophy teaching have suggested its potential to break the transmission and mechanical acquisition of contents, its institutionalized model still remains trapped in a reproductivist dimension of an explainer character. This paradigm, very little contested and known as logic of explanation, is responsible for establishing a noxious dualism in teaching, from which the student’s learning must necessarily be subject to the manifestation of the teacher’s explanations and representations. Thus, the role of teaching has stopped projecting itself towards the promotion of a philosophical experience. It assumed the task of shaping the student’s thought to a philosophical orthodoxy, restricting the potential of philosophizing to a distorted image of thinking itself. Therefore, even though we proposed a perspective of learning as a free and personal use of reason, as Kant has suggested, it would not be able to waive the submission of thought to the states of representation. After all, the indelible mark of a dogmatic image of thought that supports the various dimensions of its manifestation consists in the genesis of this procedure of reason. From this dogmatic image, which has been consolidated based on general ideas, common sense and good sense, the thinking has been understood by the recognition process, which engenders the establishment of models and conformations, according to an order of representation, without ever differing itself in an experimentation of becoming. Considering this, we aim to investigate in this thesis to what extent it is still possible to promote, in the context of a representational teaching, a philosophical learning that is open to the experimentation of thinking as creating new senses. In order to do that, we will seek to elucidate in what consists the experience of thinking from the disjunctive use of faculties, to then understand how this experience is possible aiming at learning how to philosophize. The hypothesis that permeates this research study is built around Deleuze’s work, Proust and Signs, from which we defend the possibility of finding, in the learner's relationship with the sign, a new perspective on the philosophical learning as a place of emergence of thinking.
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Shaeffer, Eric Michael. "Shifting perspectives point of view in visual images affects abstract and concrete thinking /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1236786651.
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Edwards, Jacklyn. "The use of a pro- and counter-message thought strategy to influence persuasion and resistance." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19228.pdf.
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Williams, Amanda Jane. "Everything is Emptiness: Philosophical reflections on the image in barren times." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13752.
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This research has been driven by a desire to escape representational modes of thought and presentation. I have been focused on a rubric of thought that encompasses Eastern and Western philosophical concepts, and clearly delineates the shifting, performative boundary between real and virtual space and the ramifications/representations of such. One consequence of our times that I directly address, is the materialization of hybrid space that exists between and alongside the real and the virtual, an alternate space formed via a connection between the hard tectonic space of the landscape before us and the soft illusory space of psychological and virtual experience. I have accordingly refined my enquiry to manifestations of ‘virtually real’ space or the real in a process of actualisation, within the context of the photographic image. Here, the image takes on a number of representations at once. It is empty and profuse, mirroring the vast, open, limitless sky projected before us. This is a process that I will be calling becoming-photography, a term that comes from both Jean‐Luc Nancy and more recently Damian Sutton yet can be discussed as a product of both Eastern and Western philosophical thought. I want to propose that this conceptualization of the real and the virtual as an essentially hybrid space becoming, within and beyond the semantics of the photographic frame, transforms the photographic image into a productive force, a creative field of possibilities that recasts the representational mould and allows for an alternate way of seeing and creating. I have aligned becoming‐photography with a space described in Buddhist contemplative science as the field of sunyata, and correspondingly in the work of Gilles Deleuze, described as the plane of immanence. In this way, becoming‐photography becomes an event in itself, not just the witness and recorder of events, but a vehicle for thinking through our phenomenological relation with the world and with a life. The studio work presented for examination is the fourth instalment in a series of works devoted to the architecture of Le Corbusier. In this series I take on the role of nomadic explorer, forming speculative lines of flight between East and West. I present my photographic documentation of the vast cave complex at Ellora India, renowned for intricately decorated meditation enclosures and vast prayer halls. These images are placed alongside photographs of Corbusier’s machines for living, his iconic architectural works. By forming this juxtaposition between contemplative cave complex and Modernist social habitat, I hope to create a new image of thought beyond representational logic, and plunder the deeper associations with the photographic image, becoming‐photography, a similar site of refuge and a manifestation of emptiness.
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Ferraz, Thien Spinelli. "Pensamento e criatividade : Uma abordagem à luz da semiótica peirceana /." Marília : [s.n.], 2010. http://hdl.handle.net/11449/91751.
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Orientador: Maria Eunice Quilici GonzalezBanca: Lauro Frederico Barbosa da Silva
Banca: Maria Lúcia Santaella Braga
Resumo: Nesta dissertação buscaremos discutir em que sentido o desenvolvimento de novas mediações cognitivas possibilita o surgimento de originais campos de exploração da atividade criativa. Em um primeiro momento veremos como perspectivas filosóficas estão articuladas em pesquisas da Cibernética, da Ciência Cognitiva e da Sistêmica. Em seguida, analisaremos a perspectiva epistemológica mecanicista a partir da qual estas ciências, em maior ou menor grau, abordam problemáticas acerca do que constitui o pensamento, a informação e a criação. Refletiremos em que medida o mecanicismo é limitado em sua abordagem das relações mantidas entre pensamento, criação e símbolo, de modo que a Semiótica de C. S. Peirce pode nos oferecer uma abordagem mais consistente das correlações entre símbolos, signos e pensamentos. Procuraremos discutir em que medida a Semiótica peirceana, construída a partir de sua Fenomenologia, concebe planos de intensidade de qualidades, relações e mediações presentes em dimensões da experiência. Investigaremos os argumentos de Peirce quanto à impossibilidade de redução do pensamento e da criatividade a procedimentos mecânicos, pois haveria aí a desqualificação de uma genuína manifestação do acaso na experiência de um pensamento. Assim, ao problematizarmos os quali-signos como campos de manifestação da criatividade, apontaremos para o papel do ícone na exploração da corporeidade de signos que emergem das interfaces cognitivas de sistemas artificiais. Então, refletiremos sobre a Cibercultura enquanto um paradigma de nossa condição sociocultural contemporânea, passando a investigar nela manifestações da atividade criativa através das interfaces estabelecidas entre sistemas semióticos heterogêneos. Por fim, questionaremos de que forma as imagens sintéticas expressam explorações criativas de dimensões semióticas nas quais ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: In this thesis we shall discuss the way in which the development of new cognitive mediations allows novel fields of exploration of creative activity to emerge. In a first step, we shall see how philosophical perspectives are articulated in research concerning Cybernetics, Cognitive Science and Systems theory. We will explore the nature of the mechanicist perspective with which these sciences generally address difficulties concerning conceptions of what comprises thought, information and creation. We shall discuss the extent to which mechanicism is limited in its consideration of relations between thought, creation and symbol, and the means by which the semiotics of C. S. Peirce can offer a more consistent means to address the correlations between symbols, signs and thoughts. We'll examine how Peircean Semiotics, developed from its Phenomenology, conceives levels of intensity of qualities, relations and mediations existent in the dimensions of experience. We shall present Peirce's arguments concerning the impossibility of reducing thought and creativity to mechanical processes, because implicit would be the disqualification of genuine manifestation of chance in the experience of a thought. Hence, questioning quali-signs as fields of manifestation of creativity, we'll point towards the role of the icon in exploration of dimensions of corporality and signs that emerge from the cognitive interfaces of artificial systems. We shall then address Cyberculture as a paradigm of our contemporary socio-cultural condition, investigating in it manifestations of creative activity at the junctions of heterogeneous semiotic systems. In the end, we shall question to what extent synthesized images may be appropriate as expressions of creative exploration of semiotic dimensions in which thoughts create transits and expansions of their own connections
Mestre
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Duff, Karen Malina. "What Are Some of the Common Traits in the Thought Processes of Undergraduate Students Capable of Creating Proof?" Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1856.pdf.
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Islami, Seyed Yahya. "Architecture of surface : the significance of surficial thought and topological metaphors of design." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4845.
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In the early twentieth century, the modernists problematized ornament in their refashioning of architecture for the industrial age. Today, architects are formulating different responses to image and its (re)production in the information age. In both discourses of ornament and image, surfaces are often the perpetrators: visual boundaries that facilitate false appearances, imprisoning humanity in a shadowy cave of illusion. Such views follow a familiar metaphysical model characterized by the opposition between inside and outside and the opaque boundary that acts as a barrier. This model determines the traditional (Platonic) philosophical approach that follows a distinct hierarchical order and a perpendicular movement of thought that seeks to penetrate appearances in order to arrive at the essence of things. This thesis deploys Gilles Deleuze’s philosophy to advance a different understanding of surface, image and appearance in architecture. Using the Bilbao Guggenheim Museum as a catalyst, the thesis argues that many of the concepts with which commentators and critics analyse contemporary architecture follow models of thought that consider surfaces and their effects as secondary categories. Given the significance of visual (re)production and communication for contemporary society, the thesis proposes a different model based on surface as that which simultaneously produces, connects and separates image and reality. This non-hierarchical approach is inspired by surficial philosophy, which relates to Earth, to geology and topology, conjuring up a diversity of concepts from the thickness of the crust to the smooth fluidity of the seas. The result is an unfamiliar, polemical model of thought that does not define surface as a limit or barrier, rather a medium, a pliable space of smooth mixture. In this model, difference is not in the opposition between the two sides of a boundary line, rather it occurs upon and within the surficial landscape that consumes categories, promoting nomadic movements of thought that offer greater flexibility towards creativity and new possibilities. In surficial thought, images and appearances are not artificial copies of an originary reality, rather they possess a unique reality of their own. This approach allows architectural imagery to be theorised as a positive surfacing of architecture beyond disciplinary lines and the locality of a specific time and place.
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Miller, Emma Frances. "Exploring intrusive experiences in older people across the spectrum of worry." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/26022.
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Background: Worry is theorised to function as a form of cognitive or experiential avoidance wherein an individual uses repetitive thinking in an attempt to avoid a future event or an aversive internal experience. There is evidence of a closer link between non-verbal thought (e.g. mental images) and emotion, physiology and behaviour than with verbal thought. Based on findings that worry is predominantly a verbal-linguistic activity, with less imagery occurring during worry episodes than during relaxation; it is theorised that worriers may move from non-verbal to verbal thought in order to avoid the greater arousal associated with non-verbal thought intrusions. This carries with it the unintended consequence of reducing emotional processing, leading to a subsequent increase in intrusive thoughts. Whilst cognitive science has emphasised the content of cognition and how this links to emotion, the psychological flexibility model suggests that content is less important than how we relate to our cognitive events. The degree to which we get entangled in our thinking, lack perspective on our thoughts and the degree to which cognition comes to regulate our behaviour over other sources is known as cognitive fusion. It is postulated that some individuals may be more prone to avoiding internal experiences due to the stance they take toward these experiences. In the long-term, worry should lead to a reduction in the experience of intrusive images and memories and an increase in intrusive thoughts; and this relationship should vary depending on an individual’s stance in relation to their internal experiences. The purpose of the current study is to explore the experience of intrusive memories, images and thoughts in an older adult sample, and the relationship of these experiences to level of worry, cognitive fusion and psychological inflexibility. Method: Sixty-two community dwelling older adults were involved in the study. Each completed questionnaire measures to assess level of trait worry, depression, cognitive fusion and psychological inflexibility, as well as an interview to determine whether diagnostic criteria were met for any mood or anxiety disorder and to complete an interview exploring the experience of intrusive memories, thoughts and images. Findings: Higher levels of trait worry were strongly associated with higher levels of cognitive fusion and psychological inflexibility. Intrusive memories, images and thoughts were all reported in low levels across the sample. Level of worry was positively associated with the severity but not the occurrence of intrusive memories and thoughts. Higher levels of psychological inflexibility were associated with less occurrence of intrusive memories and images; whereas higher levels of cognitive fusion were associated with the increased occurrence of intrusive images. Higher levels of worry, cognitive fusion and psychological inflexibility were all associated with increased severity of intrusive thoughts. The findings are discussed in relation to previous research and to the Avoidance Theory and Acceptance Model of GAD. Implications are considered for further research and clinical applications.
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Madeiro, Elen Naiara Batista. "Sobre a imagem-movimento ou as cartas que enderecei a Deleuze." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/6018.
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This work aims to study the taxonomy of film images made by Deleuze, considering the cinema as an experience that builds their own senses. This research has come a way that went through a cinema that makes you think and met a cinema thinking itself. He also found conceptual revolutions, revisiting perceptions, feelings and actions and jeopardizing a consciousness anchored in a subject. My work is not intended to dictate truths about the work of Deleuze in a matter, nor about any other. I allow myself to use unpretentious words, those that do not crave status of truth, those that do not imprison the senses, those that mobilize partners and admit the possibility of not being. It is a work that aims, based on my experience, open up a dialog field and possible understandings with these author and work as enigmatic as seductive. Expose a way of understanding, a peculiar significance created to try such a book does not appear to be a job fair for an author of such impact and fame, even more coming from a master's student at a public university in the capital of the smallest state in Brazil. But it is just the work that I propose, is just what will be found below. I signal the difficulty in dealing with the text and find partnerships and references, mostly within psychology. During the research I discovered that the affliction are not only mine, and therefore fills this work with collectivity and complicity. Along with the difficulties and shortage of references and partnerships is that are created escapes. In order that the grace not not transmute itsef in paralysis, amid conversations, meetings and guidelines was that I (a self multiple, crossed by diverse forces) chose the format of letters to give vent to all the insecurities and powers that inhabit this search.Esse trabalho busca estudar a taxionomia das imagens do cinema feita por Deleuze, considerando o cinema enquanto uma experiência que constrói seus sentidos. Esta pesquisa percorreu um caminho que passou por um cinema que faz pensar e se encontrou com um cinema que pensa ele próprio. Encontrou também revoluções conceituais, rediscutindo percepções, afetos e ações e colocando em xeque uma consciência ancorada num sujeito. O meu trabalho não se propõe a ditar verdades sobre a obra de Deleuze em questão, nem sobre nenhuma outra. Permito-me usar palavras despretensiosas, das que não almejam estatuto de verdade, das que não aprisionam os sentidos, das que mobilizam parceiros e admitem a possibilidade de não ser. É um trabalho que pretende, a partir da minha experiência, abrir um campo de diálogo e possíveis compreensões com esse autor e obra tão enigmáticos quanto sedutores. Expor um modo de compreensão, uma significação peculiar criada para experimentar tal livro não aparenta ser um trabalho justo para um autor de tamanha repercussão e fama, ainda mais vindo de uma estudante de mestrado de uma universidade pública na capital do menor estado do Brasil. Mas é justo o trabalho a que me proponho, é apenas isso que será encontrado adiante. Sinalizo a dificuldade em lidar com o texto e em encontrar parcerias e referências, principalmente dentro da psicologia. Ao longo da pesquisa descobri que a aflição não é só minha, e que por isso enche o trabalho de coletividade e cumplicidade. Juntamente com as dificuldades e escassez de referências e parcerias é que se criam os escapes. Para que a carência não se transmutasse em paralisia, em meio a conversas, encontros e orientações foi que eu (um eu múltiplo, atravessado por forças diversas) escolhi o formato de cartas para dar vazão a todas às inseguranças e potências que habitam essa pesquisa.
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Silva, Breno Morita Forastieri da. "Sokúrov e a montagem em vida humilde (1997): imagem e representação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-01122015-100059/.
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Da confluência entre o conceito de texto artístico de Iuri Lotman e a teoria do cinema intelectual de Sergei Eisenstein, este trabalho oferece uma análise do filme Vida humilde (1997) de Aleksandr Sokúrov. De estudos de Eisenstein sobre a lógica composicional do pensamento por imagens, foi compilado um conjunto de ferramentas analíticas a fim de se investigar a imagem geral do filme. Por meio de tais ferramentas, é investigada a relação entre a construção plástica do filme e a percepção da imagem de uma vida humilde. Ainda alinhada à teoria da montagem eisensteiniana, essa imagem é proposta como resultante intelectual de outras três imagens: as da circularidade, da harmonia e da homologia. Desta maneira o filme é esquadrinhado de maneira a salientar os elementos formais que possibilitam sua decodificação como qualidades abstratas.Through the articulation between the concept of artistic text of Juri Lotman and the theory of intellectual cinema of Sergei Eisenstein, this work offers an analysis of the film Humble life (1997) of Aleksandr Sokurov. Eisenstein\'s studies on the compositional thought on the logic of images, gave rise to a compilation of analytical tools in order to investigate the overall image of the film. Thus, analyzing the relationship between the construction of the plastic film and the overall image of a humble life. Still aligned to Eisenstein\'s theory of montage, this image is proposed as an intellectual result from three other images: circularity, harmony and homology. In this way the film is scanned in order to emphasize the formal elements that enables us to decode it as abstract qualities.
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Chamiço, Vinicius Domingues [UNIFESP]. "Próximo ma(i)s distante: do potencial crítico das imagens de pensamento na obra “Rua de mão única” de Walter Benjamin." Universidade Federal de São Paulo (UNIFESP), 2014. http://repositorio.unifesp.br/handle/11600/39257.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa pretende compreender o conceito de crítica dentro da obra Rua de mão única (Einbahnstrasse) através da análise do funcionamento e da estrutura da escrita empregada por Walter Benjamin chamada: “imagem de pensamento” (Denkbild). Partindo de um procedimento que norteia grande parte dos fragmentos: uma proximidade distanciadora, potencialmente crítica e reflexiva, proporcionada por formas aparentemente irrelevantes (unscheinbaren Formen) e pela polarização de imagens e ideias dissonantes.
This research aims to understand the concept of critic in the work, One Way Street (Einbahnstrasse) by the analysis of the functioning and the structure of writing used by Walter Benjamin named: “though-image” (Denkbild). From a procedure that orients much of the fragments: a proximity distancing, potentially critical and reflective, provided by apparently irrelevant forms (unscheinbaren Formen) and by the polarization of dissonant images and ideas
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Noble-Olson, Matthew. "Images never again witnessed/concepts never again thought: (nostalgia) and utopia in the aporia of aesthetic theory." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21985.
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Using Hollis Frampton's 1971 film (nostalgia), this thesis works to negate the dominance of the concept over the artwork. This will be accomplished by thinking through (nostalgia), rather than about it. In other words, (nostalgia) will be the logical grounds upon which the concepts must prove themselves. The very form of the film will determine the manner in which the concepts develop. This thesis strives to understand (nostalgia) not so much by analyzing it from outside of its own immanent purpose, but through an imitative analysis. Using this method, texts by Theodor Adorno, Roland Barthes, and Ernst Bloch will be interpreted. Therefore, the concepts of these thinkers will act according to the objective demands of the film itself. This is an analysis that does not focus on the artwork as a topic, but as an epistemic model for analyzing aesthetic concepts.En se fondant sur le 1971 filme (nostalgia) de Hollis Frampton, cette thèse s'emploie à nier la domination de concepts au-dessus de l'œuvre d'art. Ce sera fait en pensant avec (nostalgia), plutôt que d'y penser comme objet. En d'autres mots, (nostalgia) sera une logique motif pour lesquels les concepts doivent prouver eux-mêmes. La forme même du film permettra de déterminer la manière dont les concepts se développe. Cette thèse cherche à comprendre (nostalgia) non pas par l'analyse de l'extérieur de son propre but immanent, mais à travers une analyse imitatif. En utilisant cette méthode, les textes de Theodor Adorno, Roland Barthes, et Ernst Bloch va être interprété. Par conséquent, les concepts de ces penseurs agira selon les exigences objectives du film lui-même. Il s'agit d'une analyse qui ne se concentre pas sur l'œuvre d'art comme un sujet, mais comme un modèle épistémique pour l'analyse de concepts esthétiques.
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Dultra, Maruzia de Almeida. "Corpografias: incursão em pele imagem escrita pensamento." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-04032013-114309/.
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Corpografias: incursão em pele imagem escrita pensamento abarca, sob certos aspectos e intensidades, a dinâmica de experimentação do pensamento num contexto acadêmico. Para tanto, realiza-se como diário e caderno, que cartografam a investigação empreendida, textual e plasticamente, expondo o constituir-se da pesquisa através de um corpo sensível. A forma de composição e apresentação do trabalho ressalta sua natureza híbrida, na qual estão imbricados texto dissertativo e experimentos poéticos (Diário de corpo do pensamento e Caderno Decurso). A partir dela, são discutidas as relações entre Arte, Ciência e Filosofia, inclusive a constituição disciplinar do saber. Embora não seja o tema central da pesquisa, tal reflexão a ela se impõe, imprimindo uma dimensão política neste fazer Ciência. A partir das ideias de Michel Foucault (1966) sobre as heterotopias e o corpo utópico, soma-se, às discussões sobre o corpo do pensamento, a noção de corpo heterotópico. Sendo este trabalho um dispositivo que expressa e carrega a questão de que um corpo poético é um corpo do pensamento, ele problematiza o toque e seus âmbitos de alcance, propondo ao leitor o mesmo modo de operar com o qual foi realizado. É preciso investigar ainda, tatear, compor um corpo no encontro, que toca e é tocado; que busca a relação e se faz nela. Desmonta-se, portanto, o jargão Que corpo é esse?, na medida em que é salientada a condição de invenção infinita do corpo do pensamento, que não cessa de transmutar.Bodygraphies: an incursion into skin image writing thinking covers, in some aspects and intensities, the thinking process experimentation dynamics in an academic perspective. This research performs itself as a diary and a (note)book. Both of these, textually and plastically, make a cartography of this undertaken inquiry, turning the research doing process up through a sensible body. The composition and presentation forms of this work highlight his own hybrid nature, in witch the dissertation text and the poetics experimentations (Body of the Thought Diary and Course Book) overlap one another. From this very nature, the relation between Art, Science and Philosophy are discussed, including their own notion of knowledge. This last reflection, while not the head issue of this work, imposes itself, mainly cause of the politics dimension in doing science process. The Michel Foucault ideas of heterotopies and utopian body (1966) were taken for this work purposes, bringing the concept of heterotopic body. As this work is a device that manifests and carries the issue that the poetic body is a body of the thought, it argues the very touch and its extent, affording the reader just the same way to perform him/herself. It\'s still necessary to investigate, feel, draw up a body-in-rendezvous, that touches and is touched; seeks for relation and exists only in relation. Thus, the question \"What body is this?\" is disassembled, as infinite invention is a real condition for body of the thought, that doesn\'t stop transmuting itself.
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Ding, Ruizhong [Verfasser]. "Life, Thought and Image of Wang Zheng, a Confucian-Christian in Late Ming China / Ruizhong Ding." Bonn : Universitäts- und Landesbibliothek Bonn, 2019. http://d-nb.info/1198862904/34.
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Richards, Tanya Alexandra. "Creative Thinking: Through Vibrant Materials." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25944.
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Creative Thinking: Through Vibrant Materials investigates how to bridge the gap between cognitive science, humanities and creative thinking through materials. Research explores creativity as new knowledge, guided by the power of haptic surfaces, searching for something new through repetition. The poised question is: What happens within a moment of losing a sense of self in art-making?
The hypothesis is that concepts of philosophy and the function of art can create specific aesthetic figures of colour, line, texture, and forms through materiality. The tacit skills play a crucial role for the artist to know when to resist and surrender to the materials. Bridging the gap between philosophy and practice allows aesthetic figures to emerge effortlessly, taking the path of least resistance. These figures are not of beauty per se; they translate thoughts without images, although not as conventional shapes known in advance, but instead as blocks of haptic sensation.
This enquiry formulated a research problem of 'thought without image' – thinking that goes beyond recognition and originates in practice. The study has been to understand and create connections between Gilles Deleuze and Felix Guattari's concepts thoughts without images, Maurice Merleau-Ponty's phenomenology, John Dewey's aesthetics, and the Taoist concept of Wu Wei and its connections to Mihaly Csikszentmihalyi's mindset of flow. The overall study focuses on how Csikszentmihalyi states of flow can condition creative thinking. The research illustrates that creative thinking is shaped by social, cultural, and philosophical influences. It also shows that the eyes are neither cameras nor windows and instead interpret meaning based on past experiences.
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Oldham-Cooper, Rosie. "Everyday experiences of intrusive thoughts and images in individuals with a diagnosis of bipolar disorder." Thesis, University of Bath, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698978.
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Background: Holmes et al (2008) posited that mental imagery acts as an 'emotional amplifier' in bipolar disorder, leading to the shifts in mood that are a hallmark of the condition. Evidence for this idea comes largely from retrospective studies. No study has, to the author's knowledge, explored experiences of mental imagery as they occur in the day-to-day lives of individuals with bipolar disorder. This approach has the advantage of greater ecological validity, minimising confounds associated with retrospective recall. Method: Twelve individuals with a diagnosis of Bipolar I or II disorder and 20 non-clinical controls completed a diary of intrusive mental images and verbal thoughts twice-daily for seven days. Thoughts and images were rated on a number of dimensions, including 'intensity' and 'vividness'. Results: Individuals with bipolar disorder reported significantly more 'intense' experiences of intrusive mental imagery compared to controls, but there were no significant differences in frequency or intensity of verbal thoughts, although the small number of participants in the bipolar disorder group means the study may have lacked power to detect significant group differences. Vividness of mental images was also higher in the bipolar disorder group. Conclusions: The findings provide support for Holmes et al's (2008) model, using assessment of intrusive verbal thoughts and mental images in a naturalistic setting. The main benefit was greater ecological validity compared to previous retrospective studies. The study also demonstrated that it is possible to elicit reports of these phenomena using diaries in a bipolar disorder population.
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Pasillas, Rebecca M. "Accepting, suppressing, and monitoring thoughts about body shame in college women." abstract and full text PDF (free order & download UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3307705.
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MACHADO, LEONARDO MAIA BASTOS. "THE FORMATION OF IMAGE OF THOUGHT’S CONCEPT IN GILLES DELEUZE’S PHILOSOPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13969@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRONeste trabalho, buscamos identificar a gênese do conceito de Imagem do pensamento em duas obras da primeira fase da filosofia deleuziana, Nietzsche e a filosofia e Proust e os signos. É nosso objetivo mostrar a importância central desse conceito para a elaboração do pensamento deleuziano e a evolução da filosofia de Deleuze verificada em torno desse tema. Assim, na primeira dessas duas obras, a imagem do pensamento liga-se à profunda renovação crítica da filosofia operada por Nietzsche e reivindicada também por Deleuze. Em Proust e os signos, verificamos um aprofundamento dessa concepção crítica, que agora, para além da filosofia, é operada a partir da não-filosofia, da literatura e, em particular, da obra proustiana. Trata-se, agora, de ligar a filosofia à não-filosofia, de criar uma interferência criativa entre esses dois planos, e de renovar nossa imagem do pensamento a partir dessa intercessão.
The aim of this study is to identify the genesis of the concept of image of thought in two works belonging to Deleuze’s first philosophical phase: Nietzsche and Philosophy and Proust and the Signs. In our reading of these works, we show the central importance of this concept for the elaboration of Deleuzian thought. We also confirm the importance of the concept in relation to the evolution of Deleuze’s philosophy. In the first of these works, the image of thought is linked to the profound critical renewal of Nietzsche’s philosophy as claimed by Deleuze. In Proust and the Signs, we observe a deepening of this critical conception which is operated from beyond philosophy, i.e. non-philosophy, literature and, in particular, the Proustian oeuvre. It is thus a matter here of linking philosophy to non-philosophy, creating a creative interference between these two planes, and renewing our image of thought from this intercession.
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Maria, João Paulo Miranda. "A influência do Grupo Dziga Vertov no cinema de Jean-Luc Godard." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284944.
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Orientador: Etienne Ghislain SamainDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O trabalho investiga a transformação estética no cinema de Jean-Luc Godard, analisando antes, durante e pós o grupo Dziga Vertov, encabeçado por Jean-Luc Godard e estudantes maoístas. A mudança estética de Godard é notada por muitos, contudo há escassez de estudos detalhados sobre a influência dos anos do Grupo Dziga Vertov. Portanto, este trabalho enfoca as principais características antes do grupo, relacionando-as às mudanças de posicionamento ocorridas durante o período de atuação do Dziga Vertov. Descreve, ainda, como estas alterações resultaram no cinema atual desenvolvido pelo cineasta, que aborda com maior profundidade novas ligações entre as imagens em movimento. Sob esse aspecto, o cineasta se coloca como um dos únicos da área que alcança tal façanha
Abstract: This work investigates the aesthetic transformation in Jean-Luc Godard' Movies, analyzing before, during and post the Dziga Vertov Group, headed by Jean-Luc Godard and maoist students. Change aesthetics of Godard is noticed by many, but there is a shortage of detailed studies on the influence of Dziga Vertov group' years. Therefore, this work focuses on the main characteristics before Group, relating to changes of positioning occurring during the period of Dziga Vertov' action. Describes, yet, how these changes have resulted in current cinema developed by filmmaker, which deals with greater depth new connections between the moving images. In this sense, the filmmaker is the unique in the area that reaches such a feat
Mestrado
Mestre em Multimeios
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Bulbeck, Kevin. "Path analysis of relationships between automatic thoughts, dysfunctional attitudes and symptoms of depression during group cognitive therapy for clinical depression /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17250.pdf.
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