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Journal articles on the topic 'Imagination in art'

Author: Grafiati

Published: 28 July 2024

Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

Khandelwal, Vidhi. "The Art of Animation: Bringing Imagination to Life." International Journal of Science and Research (IJSR) 12, no. 8 (August 5, 2023): 1393–95. http://dx.doi.org/10.21275/sr23814155817.

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13

Sevostyanov, Dmitry Anatolievich, Elena Veniaminovna Liseckaya, and Tat’yana Vladimirovna Pavlenko. "Modern Approaches to the Development of Imagination in Art Education." Siberian Pedagogical Journal, no. 6 (December 29, 2020): 160–71. http://dx.doi.org/10.15293/1813-4718.2006.16.

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Introduction. The article discusses various aspects of imagination and its role in art education. The features of imagination as a cognitive mental process are analyzed, and its connection with emotions is revealed. It is emphasized that the role of imagination in artistic creativity is primarily associated with the emotional saturation of the imagination. Imagination is considered as the most labile cognitive mental process, largely due to the cultural and historical situation. Purpose of the article. Imagination in artistic creativity has various manifestations. First, it is necessary to assess how much imagination is generally involved in the act of artistic creation. This role of imagination depends on artistic traditions, as well as on the General understanding of the nature of creativity among individual artists and art educators. Secondly, the use of various types and separate techniques of imagination is subject to evaluation. Changes in the structure of the imagination also depend on the cultural and historical context. Finally, third, the content that serves as the source material for the creative imagination also changes. In the Postmodern Era, the influence of previously created artistic reality on artistic creativity has significantly increased. Knowledge of these features of the creative imagination is an integral part of art education. Research results. A comprehensive study of the imagination provides a scientifically based construction of the educational process of DAHTiD. Conclusion. The listed aspects of creative imagination and methodological support for the development of imagination on the example of the Children’s Academy of Artistic Creativity and Design are of great importance in art education: on the one hand, their analysis inevitably becomes an important part of educational content, on the other hand, they constantly find real application in everyday practice teacher.

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Sevostyanov, Dmitry Anatolievich, Elena Veniaminovna Liseckaya, and Tat’yana Vladimirovna Pavlenko. "Modern Approaches to the Development of Imagination in Art Education." Siberian Pedagogical Journal, no. 6 (December 29, 2020): 160–71. http://dx.doi.org/10.15293/1813-4718.2006.16.

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Introduction. The article discusses various aspects of imagination and its role in art education. The features of imagination as a cognitive mental process are analyzed, and its connection with emotions is revealed. It is emphasized that the role of imagination in artistic creativity is primarily associated with the emotional saturation of the imagination. Imagination is considered as the most labile cognitive mental process, largely due to the cultural and historical situation. Purpose of the article. Imagination in artistic creativity has various manifestations. First, it is necessary to assess how much imagination is generally involved in the act of artistic creation. This role of imagination depends on artistic traditions, as well as on the General understanding of the nature of creativity among individual artists and art educators. Secondly, the use of various types and separate techniques of imagination is subject to evaluation. Changes in the structure of the imagination also depend on the cultural and historical context. Finally, third, the content that serves as the source material for the creative imagination also changes. In the Postmodern Era, the influence of previously created artistic reality on artistic creativity has significantly increased. Knowledge of these features of the creative imagination is an integral part of art education. Research results. A comprehensive study of the imagination provides a scientifically based construction of the educational process of DAHTiD. Conclusion. The listed aspects of creative imagination and methodological support for the development of imagination on the example of the Children’s Academy of Artistic Creativity and Design are of great importance in art education: on the one hand, their analysis inevitably becomes an important part of educational content, on the other hand, they constantly find real application in everyday practice teacher.

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15

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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16

Negus, Keith. "Bob Dylan's phonographic imagination." Popular Music 29, no. 2 (May 2010): 213–27. http://dx.doi.org/10.1017/s0261143010000048.

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AbstractIn this article I emphasise the deliberate and reflexive way that Bob Dylan has approached studio recording, sketching the features of a phonographic aesthetic, to highlight a neglected aspect of Dylan's creative practice and to counter the view of Dylan as primarily a ‘performing artist’, one who approaches the studio in a casual manner as a place to cut relatively spontaneous drafts of songs that are later developed on stage. Drawing on Evan Eisenberg's discussion of the ‘art of phonography’ and the way recording radically separates a performance from its contexts of ‘origin’ (allowing recordings to be taken into a private space and subjected to intense, repeated listening), I argue that studio practice, a recording aesthetic and the art of phonography are integral to Dylan's songwriting. The process and practice of songwriting is realised through the act of recording and informed by listening to songs and performances from recordings, regardless of how much time is actually spent in the studio. Exploring how Dylan's phonographic imagination has been shaped by folk, blues and pop sonorities, along with film music, I argue that recording should be integrated into discussions of Dylan's art, alongside the attention devoted to lyrics, performance and biography.

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17

Proulx, Daniel. "Art visuel, imagination et spiritualité." Thème 18, no. 2 (January 11, 2012): 143–62. http://dx.doi.org/10.7202/1007484ar.

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Cet article a pour assise l’idée selon laquelle en revalorisant une certaine forme d’imagination, il est possible de trouver dans l’art moderne et contemporain une source et un refuge pour la spiritualité. Pour ce faire, l’auteur traite de l’autonomisation séculière de l’art au xxe siècle, une sécularisation qui en apparence s’oppose à l’art proprement religieux, mais qui dans ce mouvement de séparation repense et transforme son rapport au religieux et au spirituel, moins qu’il ne l’efface. Il situe ensuite la profondeur d’horizon ouvert par la notion d’imagination et d’imaginal, ce qui permet d’introduire l’idée du mundus imaginalis. Enfin, il rapproche l’art abstrait et l’imaginal pour montrer que l’univers auquel ces deux forces rendent attentif semble mener précisément à un monde qui leur est commun : le monde imaginal.

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18

목진요. "Media art and Techno-imagination." Journal of Korea Design Forum ll, no. 33 (November 2011): 343–52. http://dx.doi.org/10.21326/ksdt.2011..33.031.

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19

Kalmanowitz, Debra. "Art, imagination, Chronos and crisis." Journal of Applied Arts & Health 4, no. 3 (January 1, 2014): 313–24. http://dx.doi.org/10.1386/jaah.4.3.313_1.

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20

Luminet, Jean-Pierre. "Science, art and geometrical imagination." Proceedings of the International Astronomical Union 5, S260 (January 2009): 248–73. http://dx.doi.org/10.1017/s1743921311002377.

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AbstractFrom the geocentric, closed world model of Antiquity to the wraparound universe models of relativistic cosmology, the parallel history of space representations in science and art illustrates the fundamental rôle of geometric imagination in innovative findings. Through the analysis of works of various artists and scientists like Plato, Dürer, Kepler, Escher, Grisey or the author, it is shown how the process of creation in science and in the arts rests on aesthetical principles such as symmetry, regular polyhedra, laws of harmonic proportion, tessellations, group theory, etc., as well as on beauty, conciseness and an emotional approach of the world.

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21

Didenko, Valeriy, N. Didenko, and T. Kozlova. "Imagination as a fundamental communication of being and consciousness. Philosophical and aesthetic aspect." Scientific Research and Development. Modern Communication Studies 12, no. 1 (March 6, 2023): 12–16. http://dx.doi.org/10.12737/2587-9103-2023-12-1-12-16.

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The article is devoted to the problem of imagination, which is considered as a spiritual basis, a fundamental form of communication, a dialogue of being and consciousness, man and the world. The authors come to the conclusion that the imaginative reality is an absolute reality in which a person's life acquires a real-surreal character. Expressed in art, imagination transforms the realities of life, transforms the perishable into the eternal.

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22

Lamb, Rebekah. "Michael O’Brien’s Theological Aesthetics." Religions 12, no. 6 (June 18, 2021): 451. http://dx.doi.org/10.3390/rel12060451.

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This essay introduces and examines aspects of the theological aesthetics of contemporary Canadian artist, Michael D. O’Brien (1948–). It also considers how his philosophy of the arts informs understandings of the Catholic imagination. In so doing, it focuses on his view that prayer is the primary source of imaginative expression, allowing the artist to operate from a position of humble receptivity to the transcendent. O’Brien studies is a nascent field, owing much of its development in recent years to the pioneering work of Clemens Cavallin. Apart from Cavallin, few scholars have focused on O’Brien’s extensive collection of paintings (principally because the first catalogue of his art was only published in 2019). Instead, they have worked on his prodigious output of novels and essays. In prioritising O’Brien’s paintings, this study will assess the relationship between his theological reflections on the Catholic imagination and art practice. By focusing on the interface between theory and practice in O’Brien’s art, this article shows that conversations about the philosophy of the Catholic imagination benefit from attending to the inner standing points of contemporary artists who see in the arts a place where faith and praxis meet. In certain instances, I will include images of O’Brien’s devotional art to further illustrate his contemplative, Christ-centred approach to aesthetics. Overall, this study offers new directions in O’Brien studies and scholarship on the philosophy of the Catholic imagination.

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Šļahova, Aleksandra, Ilze Volonte, and Māris Čačka. "Interrelations in the Development of Primary School Learners’ Creative Imagination and Creative Activity When Depicting a Portrait in Visual Art Lessons." Discourse and Communication for Sustainable Education 8, no. 1 (June 1, 2017): 102–20. http://dx.doi.org/10.1515/dcse-2017-0008.

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AbstractCreative imagination is a psychic process of creating a new original image, idea or art work based on the acquired knowledge, skills, and abilities as well as on the experience of creative activity.The best of all primary school learners’ creative imagination develops at the lessons of visual art, aimed at teaching them to understand what is beautiful in art, as well as through their being involved in the creative process and creating art works themselves.This paper provides the characterization of the psychological process of imagination, and deals with the importance and dynamics of the development of primary school learners’ creative imagination in lessons of visual art when depicting a portrait, and it also looks at a visual art teacher’s role in organizing the educational process of developing learners’ creative imagination in a sustainable education process.

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Mullin, Amy. "Feminist Art and the Political Imagination." Hypatia 18, no. 4 (2003): 189–213. http://dx.doi.org/10.1111/j.1527-2001.2003.tb01418.x.

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Activist and political art works, particularly feminist ones, are frequently either dis-missed for their illegitimate combination of the aesthetic and the political, or embraced as chiefly political works. Flawed conceptions of politics and the imagination are responsible for that dismissal. An understanding of the imagination is developed that allows us to see how political work and political explorations may inform the artistic imagination.

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Studzinski, Raymond. "Tutoring the Religious Imagination: Art and Theology as Pedagogues." Horizons 14, no. 1 (1987): 24–38. http://dx.doi.org/10.1017/s036096690003704x.

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AbstractThis essay presents a psychological approach to understanding the creative functioning of imagination in art and religion. This approach drawn from psychoanalytic object relations theory further illuminates how the classics of art and theology engage the imagination and how distortions of the products of the creative imagination occur. Discussion of a particular innovative theme found in an artwork and related theological reflection in early Christianity exemplifies how both art and theology guide the religious imagination. Finally, various influences on the formation of personal God-imagery are assessed in the light of a case illustration, and the ongoing need for art and theology as tutors to the religious imagination is underscored.

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Kozyr, Alla. "Preparation of future teachers of musical art for the development of artistic and imaginative thinking of adolescents." Scientific visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 140–43. http://dx.doi.org/10.33310/2518-7813-2019-65-2-140-143.

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The article considers the problem of preparing students of the faculties of arts at pedagogical universities to develop the artistic and imaginative thinking of adolescents. The significance of the development of musical thinking is highlighted: conceptual, logical, emotional-figurative, practical, artistic, eidetic, etc. Artistic-figurative thinking allows you to creatively combine high intelligence with a developed sensual sphere, helps it to evoke bright images and associations in the audience’s listeners music, based on self-experienced experiences. Artistic and imaginative thinking allows you to creatively combine high intelligence with a developed sensual sphere, helping to arouse bright images and associations in the audience of listeners in the process of full-fledged perception of music, based on independently experienced impressions. The article presents several types of imaginative phenomena, and spam: images of perception, imagination, afterimage and eidetic image. In psychological and pedagogical science, there are several types of figurative phenomena, among them: images of perception, imagination, after image and eidetic image. Images of perception – this reflection in the ideal of an external object, which acts on the organs of human senses. Images of imagination – are fictitious, presented in the imagination, but they do not have analogues in reality, and therefore they have never been perceived by sensory organs before. Aidetic imagination is the ability of an individual to see the image of an object, despite its actual absence. At the same time, the thinking image is an accurate reflection of reality, rather than a reconstruction using memory skills. Forward image – a modified, involuntary perception of the ghostly object, which was recently considered in the presence of a strictly immobile view. Eidetic image – a clear, detailed, complete representation of the object, for some time after the termination of its consideration; is different from the image of independence from eye movements and stability over time. The personality of the artistic and musical activity emphasizes the value of the eidetic image, which is characterized by subjective ideas about the object (or a composition of objects) for a certain time after the cessation of current perception, which has clarity and detail. Eidetic images are at an intermediate stage between sensory perception and imagination. It is noted that the specificity of the musical training of future music teachers is characterized by mastery of the basic professional performing skills, a detailed understanding of all the expressive means of music that allow creating a holistic musical and artistic image and bring it to the students.

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Breitenbach, Angela. "One Imagination in Experiences of Beauty and Achievements of Understanding." British Journal of Aesthetics 60, no. 1 (December 23, 2019): 71–88. http://dx.doi.org/10.1093/aesthj/ayz048.

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Abstract I argue for the unity of imagination in two prima facie diverse contexts: experiences of beauty and achievements of understanding. I develop my argument in three steps. First, I begin by describing a type of aesthetic experience that is grounded in a set of imaginative activities on the part of the person having the experience. Second, I argue that the same set of imaginative activities that grounds this type of aesthetic experience also contributes to achievements of understanding. Third, I show that my unified account of imagination has important implications: it sheds light on two puzzling phenomena, the aesthetic value of science and the cognitive value of art.

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Alma, Hans. "Art and Religion as Invitation. An Exploration Based on John Dewey’s Theory of Experience and Imagination." Perichoresis 18, no. 3 (July 1, 2020): 33–45. http://dx.doi.org/10.2478/perc-2020-0015.

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AbstractIn this essay, the relation between art and religion is explored using the concepts experience and imagination as understood by the American philosopher John Dewey. In Dewey’s view, experience involves both the experiencer and the experienced: it is a phenomenon of the in-between. When we are really touched by what we meet in interacting with our physical and social surroundings, experience acquires an aesthetic quality that opens us to the value and the potential of what we perceive. We can see the factual in light of the possible, thus enriching it with new layers of meaning. We experience this as resonance between us and the world. It is the work of the imagination. Due to their imaginative capacity, humans can aspire to a ‘good life’. This aspiration is discussed in terms of invitation and response. Can we experience ourselves as being invited to respond to this unruly world with attachment and care? Here art and religion come into play. Art is understood as the domain of the possible: it explores the world behind or beyond what we usually accept as fact. An aesthetic experience acquires religious quality when it evokes in us an ideal that guides our sense of self and world, stimulating us to realize our ideals in daily actions. If inspired by imagination, art and religion may evoke intense experiences of resonance and invite us to new ways of connecting and transformative action. This is explored with the help of a hermeneutical circle, a ‘cycle of imagination’.

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Lynes, Philippe. "The Imagination." Philosophy Today 63, no. 4 (2019): 943–57. http://dx.doi.org/10.5840/philtoday202019303.

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This essay proposes the imagination as a new concept for materialism through an interrogation of what therein resists traditional philosophical discourse, and ultimately what Heidegger calls technological positionality or enframing. Drawing from an unpublished 1970–1971 seminar of Derrida’s on materialism, I explore the interplay between the imagination and matter, art and space, in Aristotle, Plato, Heidegger, and Ponge.

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GEMALMAYAN, Reyhan YÜKSEL. "ART AND DRAMA EDUCATION ON THE AXIS OF IMAGE." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 9, no. 1 (February 25, 2022): 34–46. http://dx.doi.org/10.38064/eurssh.289.

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In fact, all kinds of information we have acquired regarding the five senses have a personal reflection in our minds: The events we experience, the books we read, the people we meet, the image we touch, taste, smell, everything we hear is the reflection of the sound in our mind-consciousness; It is the building block of artistic expression. Images that make our emotions speak freely in art education make our dream world and world of thought creative and enrich. Everything that is the subject of our dreams also becomes the subject of art. Art makes the reader-art-receiver feel those emotions-thoughts by shaping our emotions and thoughts in a visual order. Drama is a total art discipline that is based on the acting techniques of theater -role playing, improvisation, etc.- performed and structured with body language animations: It first activates our senses, sensations, imaginations and then our thoughts in order to make art with the five senses. It consists of interdisciplinary arts and arts education; group interactive works on the development of the power of imagination by interacting emotionally with people over the dramatic, enhancing the experiences of the participants. Drama consists of interactive play processes that are constructed by arranging our emotions and thoughts within limited freedoms, enabling the participants to learn and socialize while entertaining them, and provide life experiences. However, the game provides not only emotional treatment, but also imaginative thinking, creative imagination, learning through interaction, and the participants acquire new learnings by developing cognitive-affective-motor behaviors. Drama education master's and doctorate programs have been carried out in conuntry’s higher education for 21 years; this art discipline is becoming widespread in education and training with postgraduate scientific studies. Since art education and artistic creative process require thinking with images, art educators should develop an image-based approach strategy to the drama method. In this article, on the axis of image, art education and drama education are emphasized; The subject of why art education based on the discipline of drama is necessary is explained by examining the image.

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Korstanje, Maximiliano E. "Contemporary art and the Cosmopolitan imagination." Turismo y Sociedad 15 (November 22, 2014): 255. http://dx.doi.org/10.18601/01207555.n15.16.

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CAMERON, Averil. "Art and the Early Christian Imagination." Eastern Christian Art 2 (December 1, 2005): 1–8. http://dx.doi.org/10.2143/eca.2.0.2004544.

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Mullin, Amy. "Feminist Art and the Political Imagination." Hypatia 18, no. 4 (2003): 189–213. http://dx.doi.org/10.1353/hyp.2003.0086.

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Mischel, Kenneth. "Judeophobia, art, and the holocaust imagination." Society 43, no. 6 (September 2006): 87–93. http://dx.doi.org/10.1007/bf02698491.

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35

Mullin, Amy. "Feminist Art and the Political Imagination." Hypatia: A Journal of Feminist Philosophy 18, no. 4 (October 2003): 189–213. http://dx.doi.org/10.2979/hyp.2003.18.4.189.

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Riggs, Donald E. "Imagination: The art of creative management." Journal of Academic Librarianship 21, no. 2 (March 1995): 131–32. http://dx.doi.org/10.1016/0099-1333(95)90133-7.

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Essom-Stenz, Anders, and Tone Roald. "Imagination in Experiences of Visual Art: An Investigation in Phenomenological Psychology." Journal of Phenomenological Psychology 55, no. 1 (May 3, 2024): 62–88. http://dx.doi.org/10.1163/15691624-20241315.

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Abstract In this article, we demonstrate empirically that imagination is fundamental in experiences of visual art. We do so through phenomenological interviews and analysis in dialogue with works of the phenomenologists Mikel Dufrenne, Edmund Husserl and Maurice Merleau-Ponty. We challenge Dufrenne’s delimiting of imagination to a pre-reflective power of synthesis, and argue in favor of a more comprehensive psychological understanding of imagination, which encompasses psychological differences in actual lived experience. Our analysis shows how imagination is necessarily part of experiences with visual art, as it provides ways of exploring and unfolding the expressions of the work of art. Such experiences are therefore characterized by a close relation between imagination and perception, as well as an affective lining which belongs to our imaginings.

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Hagberg, Garry. "Music and Imagination." Philosophy 61, no. 238 (October 1986): 513–17. http://dx.doi.org/10.1017/s0031819100061271.

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When we inquire into the nature of works of art we can see at a glance that there is a good deal of evidence against aesthetic idealism, the view that artworks are, in the final analysis, imaginary objects in the minds of their creators. We believe, for instance, that the National Gallery not only contingently but in some sense necessarily weighs more than merely the sum of the empty building, the people in it, and the assorted fixtures. This sum must also include the weight of canvases, the oils on them, carved stone and marble, and so on, all of which add up to substantially more than nothing, which is at least the approximate weight of imaginary things. We know that it takes considerably more than a verbal utterance or acoustical blast to transport an artwork, and we also know that a visit to the gallery is not going to amount to an afternoon spent with wax figures of unicorns, flying horses, present and bald kings of France or, for that matter, talking teapots. In short, intuition protests against the idealist theory that if works of art are imaginary objects, they cannot be the things we go to see in the gallery; and if they are imaginary objects then, like a waxen Peter Pan, they are surely not art. Mellon and Meinong simply have different kinds of collections.

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Reid, Julian. "A Political Genealogy of Dance: The Choreographing of Life and Images." Genealogy 2, no. 3 (June 28, 2018): 20. http://dx.doi.org/10.3390/genealogy2030020.

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This article provides a genealogical critique of the history and modernity of dance. In doing so it establishes the political importance of dance as an art not principally of the body and its biopolitical capacities for movement, but of images and imagination. It traces the development of dance as an art of imagination, lost and buried in the works of Domenico da Piacenza, Jean-Georges Noverre, and Loïe Fuller, as well as its counter-movement expressed in the work of Rudolf Laban. It also locates contemporary dance within this political conflict by exploring new works, especially those of Ivana Müller, which call upon beholders to use their imaginations through the evocation of histories and memories. Such works can be understood to be deeply political, it will argue, because they work to transform society by creating time for a belief in the impossible. At its best, dance does not simply incite bodies to move but suspends movement, transforming the very image of what a body is capable of. These aims and practices of dance speak to contemporary concerns within political practice, theory, and philosophy for a reawakening of political imagination in times of crisis and neoliberal hegemony.

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Maja Ejrnæs. "What if Imagination Were Real?" Journal of Extreme Anthropology 4, no. 2 (February 18, 2021): 64–88. http://dx.doi.org/10.5617/jea.8138.

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This article explores extremity in performance art from the perspective of an insider. The article contributes with ethnographic insights on liminality and lived experience in performance art, which is still an unexplored field of anthropological study. It investigates how the Copenhagen-based performance group called Sisters Hope intentionally evoke examples of (and for) a future Sensuous Society. It argues that framing is key to what Sisters Hope examples evoke and whether they ‘work’ as intended; as transformative counterparts to ‘the outside world’. While extremity may take on the appearance of shocking contrasts, it is also emphasized as a matter of blurry boundaries in the selected performance art examples. In this context, extremity is cast as radical risk and potentiality that shake or transform experienced reality. The paper argues that Sisters Hope participants navigate in what if modes where sensations in the present and hopes for the future overlap in utopian performatives here and now. Through engagement with performance art examples over time, pretend play can transform into experienced authenticity, and this may eventually reverse experiences of what is ordinary and extreme for the immersed participant. The paper ends with a contemplation on whether the transformative impact of performance art examples is limited by societal fear of the unknown.

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Rusin, R. M. "POSTMODERNISM: AESTHETICS AND THE ART OF VIRTUALITY." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 67–69. http://dx.doi.org/10.17721/ucs.2019.1(4).13.

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At the end of the 20 and the beginning of the 21 century as a result of the changes that took place in art, there was a need for a theoretical re- thinking of artistic practices. This task was assumed by artists, art critics, art critics and other agents of the artistic world, trying to clarify the pos- sibility of a new vision of art, give it an objective assessment. Obviously, understanding the specifics of contemporary art is not so much in the assessment itself, but in clarifying the fundamentals of a different understanding of such concepts as "classical art", "contemporary art," "virtual art." If classical art received a thorough understanding of the history of art, art history and aesthetics for centuries, virtual art, as a specific form of contemporary art, needs to be thoroughly investigated. Contemporary art is experiencing significant transformations in the context of post-industrial culture. Increasingly important are computational methods for the production of virtual artefacts. The report notes that contemporary virtual art is a new space dynamically captured by the postmod- ernist practices of contemporary art. In modern practices of postmodernism in the field of virtual art with the rapid development of computer tech- nology sharply decreases the fate of human presence in the process of creativity. Machine modelling as a product of collective creativity allows you to create a new virtual image, regardless of its existence in the real world. In modern practices in the field of virtual art, the idea of artificial ("synthetic imagination") is used, which is a machine imagination with the use of artificial modelling of man's imagination. Artificial imagination with the help of interactive search allows you to synthesize images from the data- base and create a new virtual image, regardless of its existence in the real world. Thus, the rapid development of computer technology is increasingly reducing the fate of human presence in the field of virtual art. Postmodern experiments stimulate the erosion of the boundaries between traditional forms and genres of art. The perfection and availability of technical means of production, the development of computer technology practically led to the disappearance of original creativity as an act of indi- vidual creation.

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Panas, Paweł. "Where Imagination and Experience Meet: Comments on Piotr Mitzner’s Book "Jak znalazł"." Tekstualia 1, no. 40 (January 1, 2015): 71–76. http://dx.doi.org/10.5604/01.3001.0013.4483.

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The borderline between imagination and real experience is a central problem of Piotr Mitzner’s book Jak znalazł. Imagination proves to be remedy for the disintegrated reality. Mitzner’s questions about the essence of art suggest that, in his view, imagination broadens scope of experience and experience furnishes a basis for true art. This paradox is a signifi cant element of Mitzner’s narration.

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Batur, Ayse Lucie. "An Example of a Diachronic Imagination from the Gezi Uprising." Protest, Vol. 4, no. 2 (2019): 68–75. http://dx.doi.org/10.47659/m7.068.art.

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Gezi Uprising was a wave of popular protests and horizontal mobilizations that emerged at the urban center of Istanbul against the destruction of a public park at the end of May 2013 and then quickly spread across the country. Gezi Uprising was marked by a revolutionary visual strategy of commoning images and repurposing them and this helped connect many protesting neighborhoods and locations, and their specific grievances. Along this synchronic imagination of the protest, the circulation of images also fostered a diachronic imagination that connected past struggles and experiences with the current ones, creating a sense of temporal connections of experiences of this newly imagined community. The photocollages of graphic designer and artist Füsun Turcan Elmasoğlu illustrates the mode through which the heightened diachronic imagination was fostered by the collective creativity during the uprising. Elmasoğlu created collages by bringing images that belong to the same place but 38 years apart; images from the large Labor Day demonstration at Taksim Square in 1977, “the Bloody May 1” together with current images of the square. Keywords: Gezi Park, protest, radical imagination, social movements, visual culture

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Tate, Daniel L. "Art asCognitio Imaginativa: Gadamer on Intuition and Imagination in Kant's Aesthetic Theory." Journal of the British Society for Phenomenology 40, no. 3 (January 2009): 279–99. http://dx.doi.org/10.1080/00071773.2009.11006689.

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Wijaya, Laurie Binardi. "A Historical Biographical Analysis in The Novel Norwegian Wood by Haruki Murakami." JELT: Journal of English Language Teaching 5, no. 1 (June 18, 2021): 59. http://dx.doi.org/10.33087/jelt.v5i1.74.

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Literature represents the culture and tradition of a language or a people. The word literature suggests a higher art form or merely putting the words on a page doesn’t necessarily equate to creating a literature. Even, the concept is difficult to precisely define. It’s clear to accepted definition of literature is constantly changing. According to Wellek and Warren (1963) says that “also state that the term literature seems best if we limit it to the art of literature, that is, to imaginative literature. Literature is also produced by imagination of the author. Literature is not just a document of facts, It is not just a collection of real events though it may happen in the real life. Literature can create its own world as product of unlimited imagination. Literature includes literary works such as novel, stories, poems, and plays composed in English in the study of English.

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Efremenko, Alexey P., and Tatyana A. Lomakina. "Formation of the Creative Imagination of Children and Adolescents by the Means of Artistic Pedagogy." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 140–47. http://dx.doi.org/10.17922/2071-5323-2021-20-1-140-147.

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The article deals with the main pedagogical conditions and the essence of the creative imagination of children in the artistic and pedagogical process. The author analyzes the pedagogical possibilities of involving children and adolescents in various forms of activation of this activity; the characteristics of different types of creative imagination are given, taking into account the individual psychological characteristics of children. The corresponding method of studying the peculiarities of imagination and its pedagogical potential in the process of introducing the younger generation to the achievements of literature and art is proposed. Further prospects for the development of creative imagination with the use of promising strategies and technologies of art pedagogy are outlined. The article may be of interest to a wide range of specialists in the field of art pedagogy.

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Lasko, Jim. "Art Is the Antidote." Theatre Survey 57, no. 3 (August 10, 2016): 452–55. http://dx.doi.org/10.1017/s004055741600048x.

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No matter the precise definition, whether it includes beauty and imagination or even the creation of an identifiable artifact, art has long been a measure of the health of any given civilization or epoch.

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Coessens, Kathleen. "Sensory Fluidity: Dialogues of Imagination in Art." Essays in Philosophy 13, no. 2 (2012): 453–70. http://dx.doi.org/10.7710/1526-0569.1432.

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Hwang, Jung-San. "Artificial Intelligence and New Imagination of Art." General Education and Citizen 2 (July 31, 2020): 155–76. http://dx.doi.org/10.47142/gec.2.7.

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Kieran, Matthew. "Art, Imagination, and the Cultivation of Morals." Journal of Aesthetics and Art Criticism 54, no. 4 (1996): 337. http://dx.doi.org/10.2307/431916.

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