Relevant bibliographies by topics / Imagination in art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Imagination in art'

Author: Grafiati
Published: 28 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Imagination in 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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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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Kumar, Alok, and Minakshi Hooda. "WOMEN FIGURES IN FANTASY ART." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (March 16, 2022): 100–107. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.72.

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People say that “Never judge a book by its cover,” but the cover of the book invites us towards it. I remember, during my college years, of going to a bookstore, named” IDEA” in New Delhi, and buying an expensive book named “ENCHANTMENT” stories by Doris Vallejo, Illustrated by Boris Vallejo. The thing, that attracted me, was cover of the book. At that point of time, I was not prepared for reading stories, but I bought this book because of its illustrations, which enchanted me.In Fantasy Art, we see a visual world and feel a World of Imagination which is a representation of reality. In Fantasy art, we can time travel and become anything of our choosing. This is not the world, we know and live in, but a world of our conceived and perceived imagination.In this imaginative world, female figures, plays a key role in provoking our feelings, invite us, for a heroic journey to explore an unknown world.Through this article, I would like to invite you to join me, on a fantastic journey of this female representation in Visual World and become part of this Fantasy Artwork.To build the idea of FANTASY ART from a linguistic understanding following writings lead us on, the Meriam webster dictionary define art as “The conscious use of skill and creative imagination, especially in the production aesthetic objects; also; works to produce”.In Shabdkosh Hindi Dictionary, “The creation of beautiful or significant things”. “The product of human creativity; works of art collectively”.The definition, I listen in my college is “Art Is Representation of Reality”.Regardless of definition, we all know about what art is and what it is not.Dictionary meaning of word fantasy is “Imagination unrestricted by reality” and fantasy art meaning is, an imaginative world, that could be, may it be, would have been, or could never be. In this imaginative art style, the artwork which can be thought provoking, whimsical, challenging, disturbing, unreal, and challenging of notions of rationality.
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Little, Adriane. "Art, Science, and Imagination." Afterimage 33, no. 5 (March 2006): 41. http://dx.doi.org/10.1525/aft.2006.33.5.41.

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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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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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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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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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Dissertations / Theses on the topic "Imagination in 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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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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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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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 in art"

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

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1959-, Versluis Arthur, ed. Esotericism, art, and imagination. East Lansing: Michigan State University Press, 2008.

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1959-, Versluis Arthur, ed. Esotericism, art, and imagination. East Lansing: Michigan State University Press, 2008.

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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. New York: Norton, 1986.

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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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author, Galofaro Luca, Galofaro Luca, and Yoon Doyeong editor, eds. Atlas of imagination. Seoul: Damdi Publishing Company, 2015.

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Kochabua, Prateep. Destiny to imagination. Edited by West, Andrew J., 1967- writer of added text, Hansrisakul Pimphan translator, Clontz Jack M. editor, and Phiphitthaphan Sinlapa Thai. Bangkok: Thai Art Museum, 2016.

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Book chapters on the topic "Imagination in art"

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Manu, Alexander. "Art and the Sense of Sacredness." In Transcending Imagination, 28–39. Boca Raton: Chapman and Hall/CRC, 2024. http://dx.doi.org/10.1201/9781003450139-4.

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Torkington, Mariana. "Imagination and art therapy." In Arts Therapies in International Practice, 120–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003082897-11.

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Richardson, Nathan. "Perception, Cognition, and Imagination." In The Art of Enterprise, 18–29. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003031406-4.

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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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Rethorst, John. "Imagination and Metaphor." In Why Teaching Art Is Teaching Ethics, 31–45. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-19511-2_4.

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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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Bahrke, Ulrich, and Karin Nohr. "Imagination in Art and Intellectual Life." In Katathym Imaginative Psychotherapy, 223–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67805-3_9.

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Conference papers on the topic "Imagination in 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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Giannini, Tula, and Jonathan P. Bowen. "Generative Art and Computational Imagination: Integrating poetry and art." In Proceedings of EVA London 2023. BCS Learning & Development, 2023. http://dx.doi.org/10.14236/ewic/eva2023.37.

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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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Biliński, Grzegorz, and Alicja Duzel-Bilińska. "Utopia and imagination." In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8106.

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The most important aim of the "Back to the Sense of the City" International Conference is to draw attention to the city and the sense of its being, the fact that a city seen as a heterogeneous entity is not only a work of its direct creators: architects, engineers, civil servants and municipal services, but all who "fill" it, primarily its inhabitants. A particular role is attributed to artists. It is the artists’ duty not only to shape it but also creatively criticize and contemplate. Artistic actions understood as the city’s activity and activity in relation to the city have certain qualities of utopian events, manifesting in the unattainability of a goal, idealistic activity base, transience of events and the type of references to it /to the city/. The paper focuses on such interpretative approach to these actions. The meaning of this notion is usually interpreted as a place that does not exist, "... from the Greek outopos (gr. ou - no, topos - a place, non-place, place that does not exist, non-existent) and the eutopia (good place) ". Our statement, built on an idea of an internal dialogue, a dialogue between the main text and the footnotes and quotations, focuses on the changing of the ways of thinking about the city as a work of active art, on the role of an artist, architect, town-planner in this process and their activities seen as special intellectual contribution to the development of this kind of space. It is also a kind of provocation relating to the description of similarities of the artistic and architectural activities in the context of the space of a city.
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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.16.

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William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests the masculine and feminine experience of the Fall. Consequently, the human situation appears doomed and irredeemable. If the sublime is the masculine and pathos the feminine forms, Blake assumes that the inevitability of reasoning and suppression of desire, whose origin is energy, brings about their separation and incompleteness. In a non-communicative intercourse, the sublime (masculine) and the beautiful (pathos) are apart. These are the fallen state�s consequences. As the masculine and feminine are not contraries but supplementary forms, so the sublime and pathos are potentially integrated entities. In eternity, the sublime and pathos are joined in an intellectual androgynous form. This theoretical idea is the core of Blake�s aesthetic �theory�. In fact, his aesthetic realism does not overlap his aesthetic idealism. He is optimistic, despite Urizen�s - reason�s predominance. The artist is the model of human salvation. Imagination is a redemptive force, �Exuberance is Beauty�, and the incapability of intellect is �The Ugly Man�. The three classes of men, the elect, the redeemed and the reprobate juxtapose to the sublime, beautiful and ugly. These are restored to their true forms and their qualities are reinstated in infinity. All human forms are redeemable states, not static but progressive, even if their fulfilment on earth is improbable.
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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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Shen, Zuyu, Yinzhu Piao, Cong Tan, Ruikai Lin, Xu Zhao, and Xi Wan. "Project Co-Art: Improving Children’s Imagination Through AI-based Human-Computer Co-creation." In 2022 IEEE Smartworld, Ubiquitous Intelligence & Computing, Scalable Computing & Communications, Digital Twin, Privacy Computing, Metaverse, Autonomous & Trusted Vehicles (SmartWorld/UIC/ScalCom/DigitalTwin/PriComp/Meta). IEEE, 2022. http://dx.doi.org/10.1109/smartworld-uic-atc-scalcom-digitaltwin-pricomp-metaverse56740.2022.00231.

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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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Reports on the topic "Imagination in art"

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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impressive example of the artist`s unique style, which blends elements of surrealism and abstraction to create a sense of fantasy and wonder. The overall effect is an intriguing and vibrant work of art that captures the viewer`s imagination. With its expert technique and distinctive style, "Fancy Pink Goat" is truly a gem in the Fancy Collection.
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Anayatova, Dilraba, Marina Basu, Saiarchana Darira, Andrew Freiband, Devynn Glanz, Atota Halkiyo, Setrag Hovsepian, et al. Turn it around! An education guide to climate futures. Mary Lou Fulton Teachers College, May 2022. http://dx.doi.org/10.14507/oge-tia.

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Building on the scientific evidence and keeping in focus policy promises made over the decades, this report mobilizes the power of socially engaged art to bring together visions and voices of youth from across the globe in a collective effort to address the root causes of the climate crisis. It starts with the premise that education is directly implicated in the climate crisis and our failure to imagine alternatives. But it can also be the catalyst for radical change. Aiming to shift and shuffle the dominant knowledge systems and categories with the cards from the Turn It Around! deck, this report urges you to turn toward the reality of the climate crisis by capturing its devastating impacts from youth perspective in a way statistical data might not. It challenges existing education policies, practices, and patterns as no longer possible, tolerable, or even thinkable. With the powerful imagination and creativity of youth, the report activates a series of turning points — intergenerational, decolonial, methodological, and pedagogical — in order to turn around the environmental catastrophe, while reconfiguring the role of education toward ecologically just and sustainable futures.
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Sastre, Alfonso. The Future of Drama. Inter-American Development Bank, April 1994. http://dx.doi.org/10.18235/0007911.

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Jorge Marcone (1959-), Peruvian Associate Professor of Spanish Literature and Latin American Studies at Rutgers University (NJ). Current research and teaching focuses on the environmental imagination in literatures in Spanish and in the Americas.
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Rösener, Ringo. Little Rock Revisited – On the Challenges of Training One’s Imagination to Go Visiting. Association Inter-University Centre Dubrovnik, March 2022. http://dx.doi.org/10.53099/ntkd4305.

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In this working paper, I ask whether or not whites could and should write about concerns of People of Color. To this end, I deal with Hannah Arendt’s controversial article “Reflections on Little Rock” from winter 1958/59. In her article, Arendt comments on the de-segregation of black school children in the USA and the associated unrests in Little Rock (Arkansas) and Charlotte (North Carolina) on September 4, 1957. My analysis of her article is initiated by a confrontation of two other texts. In the first, Why I’m No Longer Talking to White People About Race Reni Eddo-Lodge argues that white people are not able to understand the point of view of people of color. In the second, On Kant’s Political Philosophy Hannah Arendt advocates for the contrary that people can understand each other’s point of view when training their imagination to take visits. Since Arendt’s “Reflections on Little Rock” is considered to be a failure, especially in regards of grasping the problems of people of color in the USA, my general question is whether Eddo-Lodge is right, and whether there is no understanding possible or if Arendt missed a crucial step in her own attempt to go visiting? To clarify this, my analysis focuses on Arendt’s use of the term “discrimination”.
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Khemani, Shreya, Jharna Sahu, Maya Yadav, and Triveni Sahu. Interrogating What Reproduces a Teacher: A Study of the Working Lives of Teachers in Birgaon, Raipur. Indian Institute for Human Settlements, 2023. http://dx.doi.org/10.24943/tesf1307.2023.

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This study, situated in an industrial working-class neighbourhood in Raipur, Chhattisgarh, aims to look at what sustains and reproduces an elementary school teacher in low-fee private schools. Within a highly stratified system of education such as ours (NCERT 2005), both at the level of school and teacher education itself, as well as in the context of a highly stratified society—where the imagination and reality of ‘a teacher’ is informed as much by a historical domination of teaching by specific caste groups as it is by a contemporary reality in which the bulk of the teachers in schools across the country are women (UDISE+ 2019-20)—how do we understand the working lives of teachers and the work of teaching? This study thinks through this question by inquiring into the labouring lives of teachers in our fieldsite—centring tensions between productive and unproductive labour and paid and unpaid work.
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Nezhyva, Liudmyla L., Svitlana P. Palamar, and Oksana S. Lytvyn. Perspectives on the use of augmented reality within the linguistic and literary field of primary education. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4415.

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The article analyzes the scientific sources on the problem of augmented reality in the educational field. There is a fragmentary rationale for new technology in primary school, to a greater extent the experience of scientists and practitioners relate to the integrated course “I am exploring the world”. The peculiarities of Ukrainian and foreign writers’ works with AR applications, which are appropriate to use during the classes of literary reading, are analyzed. The authors substantiated the prospect of augmented reality technology for mastering the artistic image of the world of literary work, the relevance of use of AR to modern educational challenges, and also demonstrated the possibility of immersion into the space of artistic creation and activation of students’ imagination with the help of AR applications. The article demonstrates the possibilities of use AR-technology for the development of emotional intelligence and creative thinking, solving educational tasks by setting up an active dialogue with literary heroes. The basic stages of the application of AR technologies in the literary reading lessons in accordance with the opportunities of the electronic resource are described: involvement; interaction; listening, reading and audition; research; creative work; evaluation. It is confirmed that in the process of using augmented reality technology during the reading lessons, the qualitative changes in the process of formation of the reader’s culture of the students of experimental classes appears, as well as the increase of motivation, development of emotional intelligence and creative thinking.
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Midak, Lilia Ya, Ivan V. Kravets, Olga V. Kuzyshyn, Jurij D. Pahomov, Victor M. Lutsyshyn, and Aleksandr D. Uchitel. Augmented reality technology within studying natural subjects in primary school. [б. в.], February 2020. http://dx.doi.org/10.31812/123456789/3746.

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The purpose of the research is creation of mobile app (supported by Android) for visualization of chemical structure of water and to display video- data of laboratory experiments that can be used by the teacher and pupils for an effective background for learning natural cycle subjects and performance of laboratory experiments in the elementary school using lapbook. As a result of work, aimed at visualizing the education material, a free mobile app LiCo.STEM was developed; it can be downloaded from the overall-available resource Google Play Market. Representation of the developed video materials on the mobile gadgets is conducted by “binding” them to individual images- “markers” for every laboratory experiment. Applying such technologies gives an opportunity to establish educational activity, based on interference of adults with children, oriented on interests and abilities of each kid, development of curiosity, cognitive motivation and educational energy; development of imagination, creative initiative, including the speech, ability to chose the materials, types of work, participants of the common activity, promotion of conditions for parents participate in the common study activity.
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Tabinska, Iryna, and Yaroslav Tabinskyi. Феномен «смислу поміж фактами» у друкованому виданні Reporters: взаємодія тексту та фотоілюстрації. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11728.

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The article states that with the development of new journalism, the author’s ability to characterize a phenomenon and identify a trend acquires special value. Representatives of Ukrainian new journalism, which is a relatively new genre, are already gradually implementing these tasks. They compose entire books from their reports, offering the reader a condensed version of versatile observations about a certain country, situation, or phenomenon. In contrast to ordinary reportage, fiction is a synthetic genre, in which it is not reported, but told. The authors of the article research Reporters which is the first magazine of new journalism in Ukraine. Their main task is to explain the phenomenon of “meaning between facts”. According to the authors, this phenomenon is simple and unique at the same time, because through people’s stories you can find depths that relate to historical, cultural and geopolitical life. The article analyzes the interaction of text and images, shows how to find meaningful messages in actual data using specific examples. The study singled out accents that relate to the interaction of text and images. Quite often, photography reproduces reality and helps the reader to paint reality in his imagination. Textual forms delve into the plot through human history and detail. In four printed issues of the magazine, the authors of the study analyzed the stories that are particularly relevant today. First of all, this concerns Russian aggression and the insubordination of Ukrainians. Key words: new journalism, non-fiction, text, images, dialog, photojournalism.
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Eschen, Andrea. Community-based AIDS prevention and care in Africa: Workshop report. Population Council, 1993. http://dx.doi.org/10.31899/hiv1993.1000.

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Representatives from community-based AIDS prevention and care programs in five sub-Saharan African countries spoke about their programs’ strengths, shortcomings, and hopes for the future at a meeting organized by the Population Council that took place on June 5, 1993, in Berlin just prior to the IXth International Conference on AIDS. Participants’ experiences and insights demonstrated the ingenuity and imagination that communities have generated to prevent the spread of HIV and AIDS and how they have taken action where government activities have fallen short. The workshop brought representatives of these programs together with staff of governmental and nongovernmental organizations, funding institutions, technical assistance agencies, and national and international AIDS-prevention programs to present their experiences. Discussion focused on strategies to strengthen community-based AIDS prevention and care in Africa. The meeting was the culmination of the first year of a three-year project established by the Population Council as part of the Positive Action Program’s Developing Country Initiative. This report notes that the aim was to identify successful elements of community-based AIDS prevention and care programs and promote a global exchange of expertise.
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Midak, Liliia Ya, Ivan V. Kravets, Olga V. Kuzyshyn, Khrystyna V. Berladyniuk, Khrystyna V. Buzhdyhan, Liliia V. Baziuk, and Aleksandr D. Uchitel. Augmented reality in process of studying astronomic concepts in primary school. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4411.

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The objective of the research is development a mobile application (on the Android platform) designed for visualization of the Solar System with the AR technology and the alphabet study, applying the astronomic definitions, which can be used by the teacher and the students for an effective training for studying the subjects of the astronomic cycle in primary school. Augmented Reality cards with the images of the Solar System planets and other celestial bodies were developed, as well as the “Space alphabet” was created. In the developed alphabet every letter of the alphabet becomes a certain celestial body or a different astronomic definition. Augmented Reality gives the opportunity to visualize images of the Solar System as much as possible, in other words to convert 2D images into 3D, as well as “make them alive”. Applying this tool of ICT while studying new data gives the ability to develop and improve the pupils’ spatial thinking, “to see” the invisible and to understand the perceived information in a deeper way, which will be beneficial for its better memorizing and development of computer skills. Studying the alphabet in the offered mobile app will definitely help nail the achieved knowledge and get interesting information about celestial bodies that are invisible and superior for kids; to make a journey into the space, prepare a project on “The Space Mysteries” subject; to stimulate the development of curiosity, cognitive motivation and learning activity; the development of imagination, creative initiative, including speaking out.
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