Relevant bibliographies by topics / Imagination and art

Academic literature on the topic 'Imagination and art'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Imagination and art"

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Roszak, Piotr, and John Anthony Berry. "Moral Aspects of Imaginative Art in Thomas Aquinas." Religions 12, no. 5 (May 1, 2021): 322. http://dx.doi.org/10.3390/rel12050322.

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For Thomas Aquinas, the imagination, being one of the “inner senses”, is a doorway to attain true knowledge. In this paper, we first analyze his lexicon in this regard (imaginatio and phantasia). Second, we discuss imagination as the subject matter of the intellectual virtues, which facilitate cognition and judgment. The development of imagination is the foundation of his vision of education not only on the natural but also on the supernatural level. Third, we explore Aquinas’ moral assessment of imaginative art and finally its influence on shaping the character. This influence occurs on two levels: it is assessed from the perspective of charity, justice, prudence and purity, namely to what extent the art serves these values, whereas the second criterion is beauty.
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Doyle, Denise. "Art, Virtual Worlds and the Emergent Imagination." Leonardo 48, no. 3 (June 2015): 244–50. http://dx.doi.org/10.1162/leon_a_00708.

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This paper presents a framework for the emergent imagination that arises out of the transitional spaces created in avatar-mediated online space. Through four categories of transitional space identified in artworks created in virtual worlds, the paper argues that, as the virtual remains connected to time, the imagination becomes connected to space. The author’s analysis of the imaginative effects of artworks presented in the two virtual (and physical) gallery exhibitions of the Kritical Works in SL project demonstrates a mode of artistic exploitation of the particular combination of user-generated and avatar-mediated space.
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Kumar, Sharat. "Imagination: Springboard of Management." Paradigm 1, no. 2 (January 1998): 32–35. http://dx.doi.org/10.1177/0971890719980205.

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Imagination distinguishes man from all other living things. It is not at all a matter of inheritance. Complex imaginative manipulations are dealt with by use of symbols. Human imagination has a style. Yet, it is the same ability which has led to an inner conflict between individual and modern society. The author advocates that the close inter-relationship of imagination, art and management is unassailable
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Mealing, Paul. "The art of imagination." New Scientist 191, no. 2567 (September 2006): 18–19. http://dx.doi.org/10.1016/s0262-4079(06)60349-7.

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Williams, Richard W. "Imagination: The lost art." American Journal of Hospice and Palliative Medicine® 9, no. 3 (May 1992): 8–9. http://dx.doi.org/10.1177/104990919200900314.

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Danielson, Dennis. "Imagination, Art and Science." Journal for the History of Astronomy 48, no. 2 (May 2017): 249–51. http://dx.doi.org/10.1177/0021828617705016.

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Khatena, Nellie. "Art and Creative Imagination." Gifted Education International 10, no. 3 (September 1995): 131–36. http://dx.doi.org/10.1177/026142949501000308.

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The author is a self-made artist. Moving forward from the intense frustration which she encountered as a student of art she let her own imagery be her instructor. Her imagery guided her to art forms. Being the spouse of a creative researcher is a very risky state of affairs! Mrs Khatena then tried her process of drawing from imagery rather than drawing serving as a constraint on imagery on her husband. She has since used it as Creative Liberation for college students. Mrs Khatena shows the similarities between writing prose and drawing. She sees Nature as the alphabet of art. Her paper shows the unlimited growth and fulfillment which can come from letting drawing and painting happen.
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Aldworth, Susan. "The art of imagination." Cortex 105 (August 2018): 173–81. http://dx.doi.org/10.1016/j.cortex.2018.03.014.

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Savage, Roger W. H. "Reason, Action, and the Creative Imagination." Social Imaginaries 5, no. 1 (2019): 161–80. http://dx.doi.org/10.5840/si2019519.

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The exemplary value of individual moral and political acts provides a unique vantage point for inquiring into the role of the creative imagination in social life. Drawing on Kant’s concept of productive imagination, I argue that an act’s exemplification of a fitting response to a moral or political problem or crisis is comparable to the way that a work of art expresses the ‘thought’ or ‘idea’ to which it gives voice. The exercise of practical reason, or phronesis, is akin to the way that a work augments the practical field of our experiences in this respect. For, like a work of art, the act produces the rule to be followed by means of the example that it sets. Accordingly, I explain how the injunction issuing from the act can be credited to the way that the singular case summons its rule. The singular character of the injunction issuing from the act thus brings to the fore the relation between reflective judgment and this injunction’s normative value. The conjunction of reason, action, and the creative power of imagination offers a critical point of access for interrogating the normative force of claims rooted in individual acts. By setting reason, action, and imagination in the same conceptual framework, I therefore highlight the creative imagination’s subversive role in countering hegemonic systems and habits of thought through promoting the causes of social and political struggles.
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Ursic, Elizabeth. "Imagination, Art, and Feminist Theology." Feminist Theology 25, no. 3 (May 2017): 310–26. http://dx.doi.org/10.1177/0966735017695953.

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This article explores the importance of imagination and art when developing and working with theology, particularly feminist theology. It begins with a short review of selected periods in Christian history that either supported or warned against the use of imagination and art in classical theological development. Feminist theology has had a different history because since its inception, imagination has been central to the formation and exploration of the field. Imagination and art have continued to develop and promote feminist theological worship, and backlash against feminist theology has also focused on these artistic expressions. I propose the term theological imaginizing for the intentional engagement and exploration of imagination and art with theology, and I share insights based on my field research for integrating feminist theology with art in Christian worship today.
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Dissertations / Theses on the topic "Imagination and art"

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Altorf, Marije. "Iris Murdoch and the art of imagination : imaginative philosophy as response to secularism." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1677/.

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This dissertation examines the work of the British philosopher and novelist Iris Murdoch. A centre concern of this work is a question Murdoch poses more than once: ‘How can we make ourselves morally better?” This question is understood to initiate a form of philosophy which is critical of much of its tradition and its understanding of reasoning and argument. It also recognises its dependence on other disciplines. Murdoch develops this form of philosophy in reply to the cultural phenomenon of secularisation. In the absence of God, she attributes tasks to philosophy formerly performed by religion. Most importantly, she advocates a concept of transcendent reality in philosophical discourse. This reality is the Good. She finds that in order to do so, she has to reconsider philosophy’s central faculty of reason. Drawing on literary, philosophical and theological sources, Murdoch develops an understanding of reason and argument in which images, imagery and imagination are central. This study has three objectives. It first aims to present Murdoch as an imaginative philosopher by exploring the role of literature in her philosophical writing. In doing so, it challenges various presuppositions about philosophy, held by both philosophers and non-philosophers. Its second aims is to reconsider these assumptions in general terms. This part draws significantly on the work of Le Doeuff. In particular, it considers the presence of imagery in philosophy as well as philosophy’s assumed neutrality, which has arisen from its long affiliation with science. Thirdly, the thesis presents a reconsideration of the notion of imagination. This notion is often involved in the interdisciplinary debate between theology, philosophy and the arts. Murdoch’s notion of imagination challenges two important assumptions. By releasing imagination from the limited corner of art, it first challenges a strict distinction between literary and systematic writing. By introducing fantasy as the bad opposite of good imagination, it secondly critically assesses unconditional ‘praises of imagination’.
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Daur, Uta Art History &amp Art Education College of Fine Arts UNSW. "The melodramatic imagination of Tracey Moffat's art." Publisher:University of New South Wales. Art History & Art Education, 2008. http://handle.unsw.edu.au/1959.4/43256.

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This thesis tracks the melodramatic imagination of Tracey Moffatt's art. Whereas many of Moffatt's photographic and filmic works employ conventions of melodrama, the critical literature on her art has barely engaged with this important aspect of her practice. The thesis redresses this gap. I argue that a particular understanding of melodrama that constructs inauthe.ntic and indeterminate realities crucially shapes Moffatt's art. Building on seminal works from literature and film studies, as well as psychoanalysis I develop a framework for the detailed examination of melodrama in Moffatt's art, and identify major themes, stylistic elements and fonnal conventions of melodrama that penneate her practice. The thesis designates and investigates three major concepts associated with melodrama as applicable to Moffatt's practice. First, I propose that her art is linked to a particular melodramatic aesthetic, the aesthetic of muteness as defined by Peter Brooks. This aesthetic uses non-verbal means of expression, such as gestures, the tableau and mise-en-scene to convey emotional and narrative meaning. It also emphasises the shortcomings of verbal language in expressing inner states of being of the modem 'Western' subject. Analyses of Moffatt's photo series Something More and her film Night Cries. A Rural Tragedy demonstrate that the aesthetic of muteness not only serves to express unspeakable traumatic experiences of characters but is also linked to the artist's aim to cross media boundaries. Second, the thesis examines Moffatt's Scarred for Life series in relation to melodrama's exposure of issues of violence and oppression in the family. I will propose that the return of the repressed and the revelation of hidden forces in melodrama may be related to Sigmund Freud's concept of the uncanny. Focussing on Scarred for Life I will examine ways in which artworks may evoke uncanny feelings in viewers. The third key thematic investigated in the thesis is elaborated in Chapter Five, which examines a consistent ambiguity found in Moffatt's art and links it to the moral impetus of melodrama. Building on writings by psychoanalytic theorist Joan Copjec I argue that - unlike early theatrical and literary melodrama, which divides the world into clear-cut binaries of good and evil - Moffatt's melodramas construct a moral ambiguity that questions unequivocal moral' judgment~. With the example of Moffatt's photographic series Laudanum I show that this moral ambiguity challenges viewers to make their own judgments instead of automatically relying on pre-given moral and political premises. By analysing the crucial part that melodrama plays in Moffatt's practice, this thesis not only develops a new way of interpreting the work of this important Australian artist, but also presents an understanding of melodrama as an aesthetic and a way of seeing the world that may be applied to other fonns of contemporary visual art.
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Miller, B. Darlene. "Playground for the imagination." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/rebecca%5Fh%5Fsmith/smith%5Frebecca%5Fh%5F200601%5Fma.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2006.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts" ETD. Includes bibliographical references (p. 57).
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Harris, Alexandra. "Coming home : English art & imagination, 1930-45." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440720.

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Doyle, Denise. "Art and the imagination in avatar-mediated online space." Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536629.

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Rosen, Aaron Matthew. "Brushes with the past : art history and Jewish imagination." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612180.

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Peacock, Mary, and not supplied. "Under the Bitumen the River - Translating the Imagination." RMIT University. Art, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.150756.

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The project was informed by non-rational modes of perception which explored the matrix of dream, imagination, my body and the viewer. The material from this matrix was brought together and translated into artworks through the use of every day materials, techniques and procedures. The resulting artwork offered an experience in the form of an installation which included projected images, aural landscapes, tactile surfaces and spatial constructions.
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Peterson, Megan L. "Telling Stories About Monsters Through Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/86.

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This study is about how the research of monsters and contemporary artists who create monster-related work can help create monsters from my own imagination using the process of synthesis. In it I discuss how the monsters I created in my artwork tell a story. I also talk about how this study can be used to relate art to other fields of study such as English and History, and the idea of Visual Culture.
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Lindstrand, Jennifer. "Educating the imagination: fostering compassionate empathy through art and media." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92406.

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This work explores the concept of empathy, what empathy is and why it is important in relation to the field of education. The idea of a compassionate empathy, in which one moves from understanding to deeply caring, is examined as an essential component of creating a more just world. The ability to empathize is based on recognition and identification with another's feelings, beliefs or experience. In order to develop this type of compassionate knowing, it is important that a strong imagination be present. Simply put, without imagination empathy cannot exist. As with compassionate empathy, so too does the imagination need to be centered around care. Education can play a vital role in helping to foster a moral imagination. In this context, both the arts and media are explored as specific examples of tools for nurturing this type of imagination and empathy.
Ce travail explore le concept de l'empathie, sa signification et son importance en matière d'éducation. L'idée d'une empathie compatissante, où l'on se réoriente à partir de la compréhension pour en arriver à la bienveillance, est examinée comme élément essentiel à la création d'un monde plus juste. La capacité d'empatiser est fondée sur la reconnaissance et l'identification des sentiments et croyances ainsi que sur l'expérience des autres. Pour développer ce type de savoir compatissant, il est important qu'une forte imagination soit présente. En termes simples, sans l'imagination, l'empathie ne peut pas exister. Tout comme l'empathie compatissante, l'imagination doit par le fait même être centrée sur la bienveillance. L'éducation peut avoir comme rôle vital de favoriser une imagination morale. C'est à l'intérieur de ce contexte que les arts et médias sont explorés à titre d'exemples spécifiques d'outils pour cultiver ce type d'imagination et d'empathie.
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GAY, MARIA EUGENIA. "OF THE ART (,) OF HISTORY: IMAGINATION AS CREATIVITY AND KNOWLEDGE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24734@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Costuma-se relacionar o problema da imaginação com o tratamento do ficcional ou do artístico, mas esta associação não foi sempre assim. Além do campo da arte, a imaginação envolve também o campo das disciplinas humanas, como a história, a antropologia, a política e inclusive a teologia. Pela sua estreita ligação com processos ditos físicos, a imaginação também intervém nas classificações das capacidades e funções físicas do cérebro. A discussão sobre a imaginação gravita entre o conhecimento do homem como ser biológico e como ser moral, entre a exterioridade da percepção e a interioridade do pensamento e do sentimento, entre a sua condição terrena e seu pertencimento ao universo divino. A abordagem da disputa sobre a imaginação no longo século XVIII, isto é, aproximadamente desde a época de Gottfried Leibniz, em que se condensa uma discussão propriamente alemã, até a época de Hegel, em que a história se torna uma espécie de necessidade da razão, começa com um problema. Por um lado, ela é acometida como estratégia para compreender em um plano profundo as condições de possibilidade da formalização disciplinar da historiografia no contexto da formalização e especialização disciplinar generalizada de todos os saberes previamente contidos nos vocábulos de ciência ou filosofia. Por outro lado, essa discussão tem sido recuperada somente a través do seu sequestro por cada uma dessas disciplinas formalizadas, e incorporada como parte de uma memória disciplinar que oblitera a sua pluralidade e produtividade iniciais. Essa produtividade contém uma noção de conhecimento muito mais ampla do que aquela que é manejada hoje em dia pelas disciplinas humanas, e aparece como muito mais conveniente para os seus objetivos. Neste trabalho se entende que a amplitude da concepção de conhecimento que convém às humanidades reside na unidade fundamental de criação e conhecimento que se verifica no pensamento anterior à discussão alemã do século XVIIIXIX sobre a imaginação, e que os termos de criação e conhecimento se tornaram antitéticos somente partir e como produto dessa discussão.
The problem of imagination is most commonly related to fictional or artistic concerns. This association, however, hasn t always been so evident. Apart from the field of art, imagination concerns the humanities, such as history, anthropology, politics and even theology. Due to its close bind to so called physical processes, imagination also intervenes in the classification of the capacities and functions of the brain. The debate over imagination thus gravitates somewhere between the knowledge of man as a biological body and as a moral being, between exterior perception and the interiority of thought and feelings, between man s earthly condition and its belonging to the divine universe. The analysis of the dispute over imagination during the long nineteenth century, that is, approximately from the times of Gottfried Leibniz, in which a properly German discussion is articulated, until Hegel s time, when history became some kind of necessity of reason, begins with a problem. For one thing it is pursued as a strategy to understand more deeply the conditions of possibility for the disciplinary formalization of historiography in the context of the generalized formalization of all knowledge previously contained in the terms science or philosophy. On the other hand, this dispute has been so far undertaken only through its kidnapping by each one of those individual formal disciplines and incorporated as part of a discipline memory which obliterates its original productivity and plurality. That productivity contains a much wider notion of knowledge than the one nowadays adopted by the humanities, and appears as a more convenient approach for their goals. This thesis works on the understanding that the generosity of the concept of knowledge that better suits the humanities lies in the fundamental unity of creation and knowledge that was overthrown during the eighteenth-nineteenth century German debate over imagination, which made the terms creation and knowledge antithetical concepts.
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Books on the topic "Imagination and art"

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George, Taylor. Imagination in art. Tarrytown, N.Y: Benchmark Books, 1996.

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Art in the cinematic imagination. Austin: University of Texas Press, 2006.

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Storytelling & the art of imagination. Rockport, Mass: Element, 1992.

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Felleman, Susan. Art in the cinematic imagination. Austin: University of Texas Press, 2006.

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Felleman, Susan. Art in the cinematic imagination. Austin, TX: University of Texas Press, 2005.

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Sandström, Sven. Anchorage of imagination. Stockholm, Sweden: Almqvist & Wiksell International, 1987.

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N, Goetzmann William, ed. The West of the imagination. 2nd ed. Norman, Okla: University of Oklahoma Press, 2009.

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Buckley, Carmel. Tools for the imagination. Columbus, Ohio: Wexner Center for the Arts, Ohio State University, 1994.

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Wlasenko, Olexander S. Energy implosion: The (905) imagination. Oshawa, Ont: Robert McLaughlin Gallery, 2001.

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Wlasenko, Olexander. Energy implosion: The (905) imagination. Oshawa, Ont: Robert McLaughlin Gallery, 2001.

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Book chapters on the topic "Imagination and art"

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Tsakiridou, C. A. "The Penitential Imagination." In Tradition and Transformation in Christian Art, 92–108. New York : Routledge, 2018. | Series: Routledge research in art and religion: Routledge, 2018. http://dx.doi.org/10.4324/9781351187275-7.

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Hetrick, Jay. "The neurophenomenology of gesture in the art of Henri Michaux." In Moving Imagination, 263–80. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/aicr.89.17het.

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Holochwost, Catherine. "Historicizing the Imagination." In The Embodied Imagination in Antebellum American Art and Culture, 1–38. New York: Routledge, 2020. | Series: Routledge research in art history: Routledge, 2020. http://dx.doi.org/10.4324/9780367175573-1.

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Levy, Susan. "Recreating the social work imagination." In Art in Social Work Practice, 44–56. 1st Edition. | New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315144245-6.

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Jacobs, Rachael, and Christine Milne. "Art, Imagination and the Environmental Movement." In Social Ecology and Education, 101–10. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003033462-11.

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Pierre, Caterina Y. "Sculpture and the Public Imagination." In A Companion to Nineteenth-Century Art, 225–41. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118856321.ch14.

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Leask, Nigel. "Art and Nature." In The Politics of Imagination in Coleridge’s Critical Thought, 117–23. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19283-0_12.

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Holochwost, Catherine. "Culturing the Embodied Imagination." In The Embodied Imagination in Antebellum American Art and Culture, 138–84. New York: Routledge, 2020. | Series: Routledge research in art history: Routledge, 2020. http://dx.doi.org/10.4324/9780367175573-5.

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d’Agnese, Vasco. "Imagination, Art, and Radical Possibility in Dewey." In Dewey, Heidegger, and the Future of Education, 145–82. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19482-6_6.

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Milner, Ian. "The Historic Imagination in George Eliot." In Art and Society in the Victorian Novel, 97–110. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19672-2_7.

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Conference papers on the topic "Imagination and art"

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Romic, Bojana. "Robotic Art and Cultural Imagination." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.48.

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O'Connell, Ken. "From our imagination, 1998." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281765.

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Iglina, Natalya Andreevna. "Calligram as a means of developing imagination at Children's Art School." In VII International applied research conference, Chair Lyudmila Alekseevna Kosheleva. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-80022.

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Zhu, Xun. "The Transformation of Imagination into Common Memories in Literary Works." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.538.

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Liu, Ruixue, Baoyang Chen, Meng Chen, Youzheng Wu, Zhijie Qiu, and Xiaodong He. "Mappa Mundi: An Interactive Artistic Mind Map Generator with Artificial Imagination." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/951.

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We present a novel real-time, collaborative, and interactive AI painting system, Mappa Mundi, for artistic Mind Map creation. The system consists of a voice-based input interface, an automatic topic expansion module, and an image projection module. The key innovation is to inject Artificial Imagination into painting creation by considering lexical and phonological similarities of language, learning and inheriting artist’s original painting style, and applying the principles of Dadaism and impossibility of improvisation. Our system indicates that AI and artist can collaborate seamlessly to create imaginative artistic painting and Mappa Mundi has been applied in art exhibition in UCCA, Beijing.
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Wangjingwen and luwei. "Imagination, Metaphor and Adpe: The Historical Reconstruction of Domestic Plague-Themed Films." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.487.

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Zhang, Haixia. "Literary Imagination of Construction of Community With a Shared Future in Alice Munro’s Stories." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.017.

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Caetano, João Manuel, and Rosa Maria Oliveira. "Illustration and childhood imagination: narrative paths through the image in books for children." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-21.

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Haryatmoko. "The Analogy of Game and Imagination in Art: Paul Ricoeur and Gilles Deleuze’s Philosophical Analyses." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.067.

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Baranek, Dave. "Filming the Flying Scenes in "Top Gun" - Imagination, Technology, Art, and Skill Create An Enduring Hit." In AIAA Centennial of Naval Aviation Forum "100 Years of Achievement and Progress". Reston, Virigina: American Institute of Aeronautics and Astronautics, 2011. http://dx.doi.org/10.2514/6.2011-6801.

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