Relevant bibliographies by topics / Imaginative

Contents

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

Academic literature on the topic 'Imaginative'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "Imaginative"

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Nordon, Didier. "Rigoureuse imagination, imaginative rigueur." Quadrature, no. 74 (September 4, 2009): 44–45. http://dx.doi.org/10.1051/quadrature/2009017.

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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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Ten Eycke, Kayla D., and Ulrich Müller. "Drawing links between the autism cognitive profile and imagination: Executive function and processing bias in imaginative drawings by children with and without autism." Autism 22, no. 2 (November 8, 2016): 149–60. http://dx.doi.org/10.1177/1362361316668293.

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Little is known about the relation between cognitive processes and imagination and whether this relation differs between neurotypically developing children and children with autism. To address this issue, we administered a cognitive task battery and Karmiloff-Smith’s drawing task, which requires children to draw imaginative people and houses. For children with autism, executive function significantly predicted imaginative drawing. In neurotypically developing controls, executive function and cognitive-perceptual processing style predicted imaginative drawing, but these associations were moderated by mental age. In younger (neurotypically developing) children, better executive function and a local processing bias were associated with imagination; in older children, only a global bias was associated with imagination. These findings suggest that (a) with development there are changes in the type of cognitive processes involved in imagination and (b) children with autism employ a unique cognitive strategy in imaginative drawing.
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Rucińska, Zuzanna, Thomas Fondelli, and Shaun Gallagher. "Embodied Imagination and Metaphor Use in Autism Spectrum Disorder." Healthcare 9, no. 2 (February 13, 2021): 200. http://dx.doi.org/10.3390/healthcare9020200.

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This paper discusses different frameworks for understanding imagination and metaphor in the context of research on the imaginative skills of children with autism spectrum disorder (ASD). In contrast to a standard linguistic framework, it advances an embodied and enactive account of imagination and metaphor. The paper describes a case study from a systemic therapeutic session with a child with ASD that makes use of metaphors. It concludes by outlining some theoretical insights into the imaginative skills of children with ASD that follow from taking the embodied-enactive perspective and proposes suggestions for interactive interventions to further enhance imaginative skills and metaphor understanding in children with ASD.
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Langkau, Julia. "Two Kinds of Imaginative Vividness." Canadian Journal of Philosophy 51, no. 1 (January 2021): 33–47. http://dx.doi.org/10.1017/can.2020.54.

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AbstractThis paper argues that we should distinguish two different kinds of imaginative vividness: vividness of mental images and vividness of imaginative experiences. Philosophy has focussed on mental images, but distinguishing more complex vivid imaginative experiences from vivid mental images can help us understand our intuitions concerning the notion as well as the explanatory power of vividness. In particular, it can help us understand the epistemic role imagination can play on the one hand and our emotional engagement with literary fiction on the other hand.
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Judson, Gillian. "Engaging and Cultivating Imagination in Equity-Focused School Leadership." International Journal for Leadership in Learning 22, no. 1 (June 20, 2022): 252–64. http://dx.doi.org/10.29173/ijll11.

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Research on equity-focused school leadership reveals how it is relational, emotional, and activist. This paper adds imaginative to this set of leadership qualities. First, imagination is conceptualized as soil. Thinking of imagination in this grounded, ecological way can help address misconceptions around what imagination is and does in the context of school leadership. The next section outlines some of the relational, emotional, and activist features of equity-focused school leadership that are rooted in imagination. Imaginative Education is introduced as a theoretical framework that offers a practical set of (cognitive) tools that leaders may employ to cultivate imagination in pursuit of equity in their schools. The paper concludes with recommendations for future research.
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Putman, Daniel. "Can a Secularist Appreciate Religious Music?" Philosophy 83, no. 3 (July 2008): 391–95. http://dx.doi.org/10.1017/s0031819108000740.

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AbstractDavid Pugmire has argued that secularists can genuinely appreciate religious music because of our imaginative powers combined with the ‘Platonic’ nature of the emotions expressed in such music. I argue that Pugmire is wrong on both counts. Religious music is ‘Platonic’ not because it is subject to levels of imagination but because it has a definite object which makes imaginative readings inferior. Moreover, since religious music does have a clear object taken by the believer as real, a gap exists that cannot be bridged by the imagination of the secularist, even imagination of the emotional ‘last instance’.
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Stadler, Jane. "Imitation of Life: Cinema and the Moral Imagination." Paragraph 43, no. 3 (November 2020): 298–313. http://dx.doi.org/10.3366/para.2020.0342.

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The influence of film's compelling images, characters and storylines has polarized perspectives on cinema and the moral imagination. Does film stimulate the audience's imagination and foster imitation in morally dangerous ways, or elicit ethical insight and empathy? Might the presentation of images on screen denude the capacity to conjure images in the mind's eye, or cultivate the imaginative capacity for moral vision as spectators attend to the plight of protagonists? Using Imitation of Life (Douglas Sirk, 1959) to interrogate paradoxical perspectives on the cinematic imagination, this article develops an account of the moral imagination focusing on sensory, emotional and empathic aspects of the audience's imaginative relationship with screen characters and their innermost thoughts and feelings.
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KIND, AMY. "Imaginative Vividness." Journal of the American Philosophical Association 3, no. 1 (2017): 32–50. http://dx.doi.org/10.1017/apa.2017.10.

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ABSTRACT:How are we to understand the phenomenology of imagining? Attempts to answer this question often invoke descriptors concerning the ‘vivacity’ or ‘vividness’ of our imaginative states. Not only are particular imaginings often phenomenologically compared and contrasted with other imaginings on grounds of how vivid they are, but such imaginings are also often compared and contrasted with perceptions and memories on similar grounds. Yet however natural it may be to use ‘vividness’ and cognate terms in discussions of imagination, it does not take much reflection to see that these terms are poorly understood. In this paper, I review both some relevant empirical literature as well as the philosophical literature in an attempt to get a handle on what it could mean, in an imaginative context, to talk of vividness. As I suggest, this notion ultimately proves to be so problematic as to be philosophically untenable.
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Edmondson, Stephen. "Coleridge and Preaching a Theological Imagination." Journal of Anglican Studies 3, no. 1 (June 2005): 75–94. http://dx.doi.org/10.1177/1740355305052823.

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ABSTRACTThis article explores Coleridge's understanding of imagination, Scripture, the spirituality of the world, and our reality as the image of God. I begin with Coleridge's understanding of the inspiration of Scripture and the interpretive process. By locating the imagination in this interaction among writer, reader, and God, I surface Coleridge's more significant description of imaginative thinking as a spiritual act that calls us into the truth of our being and of the world's reality. Implicit in Coleridge's vision is a correlation between human imaginative creativity and the creative being of God as a dimension of our reality as the image of God. Thus, I claim that imaginative preaching, when seen through Coleridge's lens, renews that image within us, awakening us to our reality as spiritual, free beings, but only when we enact our freedom within the context of God's freedom and action which we know through our reading of Scripture.
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Dissertations / Theses on the topic "Imaginative"

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Gallien, Marie-Pierre. "Vers une anticipation imaginative." Lyon 2, 1992. http://www.theses.fr/1992LYO20059.

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Nous avons mis à l'épreuve de l'expérience les propositions pédagogiques d 'A. De la Garanderie, auprès de sujets de 4 à 27 ans. L'entraînement à l'évocation du réel perçu conduit à des resultats performants. Cependant, dès lors que l'on quitte les activités d'attention et de mémorisation pour "entrer" dans la compréhension et la réflexion, des élèves rencontrent des difficultés pour s'investir dans la tâche. Pourquoi ? Qu'est-ce qui peut faire défaut à certains pour utiliser de manière positive les propositions méthodologiques qui leur sont faites ? Il apparaît que c'est l'imagination qui est à libérer pour permettre au sujet d'évoquer et que des structures spécifiques de l'imagination sont à dégager, pour permettre au sujet de pouvoir anticiper. Pour qu'un sujet puisse s'investir dans des opérations mentales complexes, il doit anticiper des utilisations ultérieures. Et c'est cette activité d'anticipation qui nécessite une imagination libérée
We put the educational proposals of A. De la Garanderie to the experience test with subject aged between 4 and 27. Training towards the evocation of reality led to good achievements. However, when activites of attention and memorization are left, to "enter" comprehension and reflection, pupils tend to have difficulties in investing themselves in the task. Why? What do some people lack to be able positively to use methodological propositions which are made to them? It seems that the imagination must be freed in order for the subject to be able to evoke and that specific imagination structures must be released in order for the for the subject to be able to anticipate. For a subject to be able to invest himself in complex mental operations. He must anticipate their later use. This is the anticipation activite which requires a liberated imagination
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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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Terlektsi, Maria Emmanouela. "Imaginative writing of deaf children." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/876/.

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This thesis explores the issue of imaginative writing of deaf children. Thirty deaf children aged 9-11 years were recruited form Hearing Impaired Units and mainstream schools. Thirty hearing children were matched on academic performance (according to teachers) and chronological age and recruited from the same classes as the deaf children. Three sets of imaginative stories were collected from the above groups at three points during one academic year. A mixed methodology was employed in order to investigate imaginative writing of deaf children. For the evaluation of children’s stories an “Imagination Story Scale” was developed based both on the literature review and on the in-depth analyses of four children’s imaginative stories. The scale consists of four categorised divisions (story structure, story plot, linguistic imagination, originality) and one additional division (overall assessment). Assessments of both deaf and hearing children’s stories using the scale revealed little variation between deaf and hearing children’s scores in the scale, indicating that deaf children do have imagination and are able to express it in writing. However, differences were observed between the scores for the different topics (for both groups of children) suggesting that the topic of the stories influenced their scores. Imaginative writing of deaf children was not predicted by: age, gender, degree of hearing loss, type of communication used at home, or use of activities to promote children’s imagination either in the classroom or at home. Teachers’ opinions of deaf children’s imagination were explored through interviews. The Teachers of the Deaf tended to under-estimate deaf children’s ability to demonstrate imagination in their writing by comparison with the stories that the deaf children produced.
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Arcangeli, Margherita. "The imaginative realm and supposition." Paris 6, 2011. http://www.theses.fr/2011PA066616.

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L’imagination est considérée par les philosophes de l’esprit contemporains comme une faculté re-créatrice, capable de simuler d’autres états mentaux. Selon l’hypothèse forte, l’imagination est capable de recréer tous les états mentaux ‘autonomes’. Néanmoins, les philosophes ont principalement porté leur attention sur deux types d’imagination : l’imagination sensorielle (l’imagination similaire à la perception) et l’imagination cognitive (l’imagination similaire à la croyance). Il est frappant de constater que le terme ‘supposition’ émerge tantôt comme un synonyme de l’imagination cognitive, tantôt comme une étiquette pour un type d’état mental distinct de l’imagination. Je soutiens qu’il n’y a pas suffisamment d’arguments pour bannir la supposition du cercle de l’imagination. Dans ce travail, je me propose d’envisager d’une part les caractéristiques qui font d’un état mental un état imaginatif, et d’autre part celles qui font de chaque type d’état imaginatif la simulation d’un type d’état non-imaginatif. Je compte atteindre ce but par le biais d’une comparaison entre l’imagination sensorielle et cognitive et ses contreparties non-imaginatives (respectivement la perception et la croyance) selon quatre dimensions : volonté, vérité, contenu et limites de l’imaginabilité. De ce point de vue la supposition présente les caractéristiques de l’imagination, et pourtant elle se distingue de l’imagination cognitive. Ma thèse positive est que la supposition est une forme d’imagination similaire à l’acceptation. La distinction entre croyance et acceptation nous permet ainsi de séparer la supposition de l’imagination cognitive, sans pour autant l’exclure du domaine de l’imagination
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Drake, Stephen Douglas. "Imaginative Involvement and Hypnotic Susceptibility." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331851/.

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J. Hilgard (1970, 1972, 1974, 1979), utilizing an interview format, asserted that a personality variable, namely, an individual's capacity to become imaginatively involved in experiences outside of hypnosis, was significantly correlated with his or her hypnotic susceptibility. Tellegen and Atkinson (1974) operationalized the imaginative involvement variable in a 37-item questionnaire, the Tellegen Absorption Scale (TAS) that correlated significantly with hypnotic susceptibility (e.g., Crawford, 1982). However, Council, Kirsch, and Hafner (1986) suggested that the relationship between the TAS and hypnotic susceptibility is a context-mediated artifact in that the two correlate only when the TAS is administered within a context clearly identified as involving hypnosis. As the interviews conducted by J. Hilgard (1970, 1972, 1974, 1979) were done within a context clearly identified as involving hypnosis, the possibility exists that the relationship between imaginative involvement and hypnotic susceptibility is also a context-mediated artifact. In a test of this possibility, 86 subjects were interviewed concerning their imaginative involvements. Forty-three subjects were interviewed within a context defined as "research investigating hypnosis" and 43 subjects were interviewed within a context defined as "research investigating imagination." Hypnotic susceptibility was assessed in sessions separate from the interviews. In the present study, an individual's hypnotic susceptibility was not found to be significantly related to his or her imaginative involvement. It appears J. Hilgard's original finding may have been due to chance correlations compounded by subsequent experimenter expectancy effects. It is recommended that J. Hilgard's work be clarified through more extensive replications in which experimenter blindness is assured.
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Cazzato, Vanessa. "Imaginative worlds in Greek lyric poetry." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559804.

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The thesis examines the imagery of Archaic Greek lyric poetry and its relation to the 'here and now' and to the implied context of performance. Chapter One sets out the conceptual programme and establishes a critical vocabulary. Various theoretical notions are discussed which are drawn from linguistics (deixis and deictic field), philosophy (reference, language games, and possible worlds), and modern literary theory (fictional worlds and text worlds); some new critical tools are established (,imaginative worlds', visual analogies and 'representational planes', the idea of 'degrees of reference'). Chapter Two sets the scene by looking at specific examples drawn from sympotic imagery shared by pottery and poetry. The rest of the thesis exemplifies the theory set out initially through a series of close readings from a broad selection of Archaic Greek monody. The close readings start with smaller scale fragments which conjure up worlds corresponding to circumscribed situations, and progress to poems which conjure up more extensive worlds. Chapters Three, Four, and Five look at diverse kinds of erotic poetry drawn respectively from Anacreon, Ibycus, and Archilochus. Chapter Six takes as its subject- matter the martial elegy of Callinus, Tyrteus, and Mimnermus. Chapter Seven moves from poetry which conjures up a markedly heroic world to poetry which conjures a contrasting unheroic world: the iambic poetry of Hipponax. Chapter Eight turns to a political poem by Solon. Chapter Nine concludes the thesis in a ring composition by returning to erotic poetry (Sappho's) and to the theoretical considerations set out in Chapter One.
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Robert, David Yann. "Imaginative play with blended reality characters." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/67782.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 132-137).
The idea and formative design of a blended reality character, a new class of character able to maintain visual and kinetic continuity between the fully physical and fully virtual; the technical underpinnings of its unique blended physical and digital play context and the evaluation of its impact on children's play are the contents of this thesis. A play test study with thirty-four children aged three and a half to seven was conducted using non-reactive, unobtrusive observational methods and a validated evaluation instrument. Our claim is that young children have accepted the idea, persistence and continuity of blended reality characters. Furthermore, we found that children are more deeply engaged with blended reality characters and are more fully immersed in blended reality play as co-protagonists in the experience, in comparison to interactions with strictly screen-based representations. As substantiated through the use of quantitative and qualitative analysis of drawings and verbal utterances, the study showed that young children produce longer, detailed and more imaginative descriptions of their experiences following blended reality play. The desire to continue engaging in blended reality play as expressed by children's verbal requests to revisit and extend their play time with the character positively affirms the potential for the development of an informal learning platform with sustained appeal to young children.
by David Yann Robert.
S.M.
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Faccioli, Juliana Sarantopoulos. "Avaliação do pensamento contrafactual na depressão." Universidade Federal de São Carlos, 2013. https://repositorio.ufscar.br/handle/ufscar/6042.

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Counterfactual thinking (CT) corresponds to the idea of mental constructions of alternatives for past event and serves an important function in an individual s adaptation and emotional coping. The aims of this study were to: (1) produce material to access and evaluate the counterfactual thinking of adults and (2) investigate the counterfactual thinking of depressed and non-depressed people, in order to determine if there are differences in how these two groups think about alternatives to reality. Five stories were prepared, using materials extracts from studies of counterfactual thinking, newspaper report and magazines articles. For each story, we formulated questions about thoughts related to the content read and about how these stories might have been different. The alternatives were formulated using aspects of reality most commonly modified by people, according to the literature: action or inaction, obligation, time and unusual events. Judges evaluated the texts and the questions, and ranked the alternatives provided according to aspects of reality that were modified. These materials were then used with 42 adults (85% female, mean age of 43 years). Subjects belonged one of two groups: depressed and non-depressed. Individual interviews were conducted. Initially, participants indicated their reactions to the stories then indicated modifications they would make, and then selected one of a pre-determined list of possible changes. The verbal responses of both groups were categorized using content analysis, and the frequency of responses, for each category, was compared using Student s t-Test. There were similarities in the CT for both groups. The majority of the CT was categorized as upward, subtractive, self-directed and refered to modifications in action or inactions. Few differences between the two groups were observed, mostly found through directed modifications.
O pensamento contrafactual corresponde à ideia de construções mentais de alternativas para eventos passados e apresenta uma importante função adaptativa e de elaboração de sentimentos. Este estudo teve como objetivos: (1) elaborar um material para acessar e avaliar o pensamento contrafactual de adultos e (2) investigar os pensamentos contrafactuais de pessoas com indicativos de depressão e sem indicativos de depressão, a fim de verificar se há diferenças na forma como essas pessoas buscam alternativas para a realidade vivenciada. Para a elaboração do material buscou-se estórias retiradas de estudos da literatura e de jornais e revistas, tendo sido selecionadas cinco estórias. As estórias foram adaptadas e, para cada uma, foram formuladas questões abertas sobre pensamentos evocados pela leitura e, ainda, quatro alternativas de modificações do curso da estória. As alternativas foram formuladas a partir dos aspectos da realidade mais comumente modificados pelas pessoas, de acordo com a literatura: ação/inação, obrigação, tempo e evento não usual. Após a composição do material, foi feita uma avaliação de juízes, quanto à redação e classificação das alternativas de acordo com os aspectos da realidade. Em seguida foi realizada a coleta de dados, sendo a amostra de participantes composta por 42 adultos, 85% do gênero feminino e com idade média de 43 anos. Os participantes foram divididos em dois grupos: com indicativos de depressão e sem indicativos de depressão, sendo cada grupo composto por 21 pessoas. A coleta foi realizada com cada participante individualmente. As modificações a respeito das estórias foram feitas, em um primeiro momento, por meio de relato livre, em seguida por meio de modificações direcionadas e, por fim, por meio de escolha de alternativas previamente elaboradas. As respostas abertas foram categorizadas por meio da análise de conteúdo e as frequências de pensamentos contrafactuais entre os grupos com e sem indicativos de depressão foram comparadas por meio do Teste-t de Student. Os resultados apontam estilos similares entre pensamentos contrafactuais de pessoas com e sem indicativos de depressão. A maioria dos pensamentos encontrados foram categorizados como ascendentes, subtrativos, autorreferentes e modificavam um aspecto referente à ação/inação. Foram observadas poucas diferenças significativas entre os grupos, sendo a maioria encontrada por meio de modificações direcionadas.
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Moore, Joseph Elliott. "Porous places : imaginative architectures of embodied experience /." view abstract or download text of file, 2007. http://hdl.handle.net/1794/4235.

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Wilder, Ken. "Projective space : structuring a beholder's imaginative response." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/7783/.

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The thesis explores the reciprocal relationship between an artwork and the space of its reception. It proposes a distinctive position on spatiality and the virtual. The thesis is submitted in two parts: a written thesis (Part One), and a documentation of my own art practice (Part Two). The artwork that comprises the practice component is not that of a painter, and yet the sculptural installations I present allude to perspectival paintings. Utilising perspectival geometry, these site-responsive works engage the threshold between two and three-dimensional representation in a way whereby implicit and actual beholder’s viewpoints are contrasted or fused. The written thesis focuses on the reception of perspectival painting, rather than on my own artworks. Referencing analytical philosophical arguments on representational seeing, and the reception aesthetics of Wolfgang Kemp, it puts forward a distinctive position that contends that while the visual imagination does not define depiction, it plays a pivotal role in supplementing perception in works where the spectator attends to and/or imagines away the threshold separating the real and fictive realms. After Merleau-Ponty, I call such an imaginative engagement seeing-with, which describes a particular use to which painting is put. In providing a strongly felt pictorial depth, I argue that such an implied pictorial space incorporates the space between painting and spectator position. I investigate two categories of works where such imagining facilitates a distinctive access to the picture’s content: (i) paintings containing what Wollheim refers to as an ‘internal spectator’; and (ii) paintings integrated into their architectural settings, where the internal onlooker is fused with the external spectator. I highlight differences afforded internal and external spectators: with the former, the viewer identifies with a spectator who already occupies an unrepresented extension of the ‘virtual’ space; with the latter, the beholder enters that part of the fictive world depicted as being in front of the picture surface, the work thus drawing the ‘real’ space of the spectator into its domain. This distinction mirrors two distinct types of visualization: where a scene is imagined as elsewhere, and where it is situated, juxtaposed with an existing reality. Imagination provides a reciprocity that replicates the experience of our bodily situatedness, in that it structures our implied spatial access to the depicted scene. In establishing a bodily frame of reference, it draws upon nonconceptual content. The thesis tests the philosophical argument against specific paintings, including works that introduce a break from a situated relationship in order to depict the supernatural or the unconscious.
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Books on the topic "Imaginative"

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Imaginative brushwork. Rozelle, NSW, Australia: S. Milner Pub., 1992.

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Focus, Junior. Imaginative writing. Leamington Spa: Scholastic, 1998.

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Martin, Peigi. Imaginative patchwork. Radnor, Pa: Chilton Trade Book Pub., 1988.

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Gabay, J. J. Imaginative marketing. London: Teach Yourself, 1998.

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Martin, Peigi. Imaginative patchwork. Radnor, Pa: Chilton Trade Book Pub., 1988.

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An imaginative experience. London: Bantam Press, 1995.

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Wesley, Mary. An imaginative experience. London: Bantam Press, 1995.

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Wesley, Mary. An imaginative experience. London: BCA, 1994.

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An imaginative experience. London: Black Swan, 1994.

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An imaginative experience. Leicester: Charnwood, 1995.

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Book chapters on the topic "Imaginative"

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Sigmund, Rosemarie. "Imaginative Verfahren." In Wörterbuch der Psychotherapie, 301–2. Vienna: Springer Vienna, 2000. http://dx.doi.org/10.1007/978-3-211-99131-2_818.

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Brandenberger, Robert H., and João Magueijo. "Imaginative Cosmology." In Astrophysics and Space Science Library, 331–71. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4175-8_7.

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Carvalko, Joseph R. "Imaginative Construction." In Conserving Humanity at the Dawn of Posthuman Technology, 135–39. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26407-9_20.

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Maher, Carolyn A., John M. Francisco, and Marjory F. Palius. "Imaginative Learning." In Encyclopedia of the Sciences of Learning, 1487–89. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-1428-6_1000.

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Pine, Nancy. "Imaginative Engagement." In Educating Young Giants, 135–47. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137037565_11.

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Kirn, Thomas, and Martin Hautzinger. "Imaginative Verfahren." In Verhaltenstherapiemanual – Erwachsene, 145–51. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62298-8_24.

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Bonaminio, Vincenzo, and Gina Atkinson. "Imaginative Elaboration." In Playing at Work, 163–76. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003228332-7.

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Bauckham, Richard. "Imaginative Literature." In The Early Christian World, 762–79. Second edition. | New York : Routledge, 2017. | Series: Routledge worlds: Routledge, 2017. http://dx.doi.org/10.4324/9781315165837-37.

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Ridanpää, Juha. "Imaginative Regions." In The Routledge Handbook of Literature and Space, 187–94. Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315745978-18.

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"Imaginative." In Industry, Innovation and Infrastructure, 489. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-95873-6_300085.

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Conference papers on the topic "Imaginative"

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Putra, I. Nyoman Gede Maha, Ni Wayan Nurwarsih, and I. Gede Surya Darmawan. "The Factual and the Imaginative." In International Webinar on Digital Architecture 2021 (IWEDA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220703.044.

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Kozhemyachenko, Anastasiya Aleksandrovna. "Carpets with roses: imaginative pictures." In X International students' applied research conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-111687.

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Walker Moir-McClean, Tracey. "The Imaginative Space of Narrative." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.7.

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Narrative imagination creates a space of learning where contemporary and historic knowledge of designed place merge. This paperdiscusses how an instructor’s curation and narration of archival material can provoke design-students to imagine narratives and actively visualize processes humans use to construct, inhabit and adjust comfort in place. The concept of narrative imagination presented in this paper is informed by traditional narrative as Marie-Laure Ryan defines it her 2005 article, Narrative and the Split Condition of Digital Textuality: (The traditionalist school) “conceives narrative as an invariant core of meaning, a core that distinguishes narrative from other types of discourse, and gives it a trans-cultural, trans-historical, and trans-medial identity.”1 The work of Gerard Genette, Levi-Strauss, Roland Barthes, Jacques Derrida, Monica Fludernik, John Fiske, James Phelan, Henry Jenkins and others is also influential.2
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Hepting, Daryl H. "Software for systematic and imaginative exploration." In the 6th ACM SIGCHI conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1254960.1254999.

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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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Widyawati, Wiwin. "Boosting Indonesian Students' Character with Imaginative Literature." In International Conference on Teacher Training and Education 2017 (ICTTE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ictte-17.2017.85.

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Blokh, Mark, Zoya Asratyan, and Norair Asratyan. "Dicteme and Its Conceptualizing Function in Imaginative Literature." In Proceedings of the International Conference Digital Age: Traditions, Modernity and Innovations (ICDATMI 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201212.057.

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Rathouzská, Lucie. "Imaginative contemplation in the 14th century English mysticism." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-3.

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In this paper, I focus on imagination in 14th century English mysticism and modern approaches of Richard Rolle’s, Walter Hilton’s, and the unknown author of the Cloud of Unknowing’s concept of imagination. There are several inconsistencies within contemporary approaches to the imagination, affectivity, and bodily metaphors, implying a contradictory appreciation of the three English authors. In this paper, I will discuss criticism of imagination in the mysticism of these three English authors. Moreover, some possible responses will be highlighted.
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Divjak, B., and N. Begicevic. "Imaginative acquisition of knowledge - strategic planning of E-learning." In 28th International Conference on Information Technology Interfaces, 2006. IEEE, 2006. http://dx.doi.org/10.1109/iti.2006.1708450.

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Purshouse, M. "The Royal Navy’s Future Aircraft Carrier – An Imaginative RespOnse." In Warship 2003: Airpower At Sea. RINA, 2003. http://dx.doi.org/10.3940/rina.ws.2003.03.

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Reports on the topic "Imaginative"

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Turner, Christine. Teaching figure drawing to adolescents within the context to [i.e. of] imaginative compositions, as a means of increasing artistic confidence and abilities. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3209.

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Stein, Lynn A. Imagination and Situated Cognition. Fort Belvoir, VA: Defense Technical Information Center, February 1991. http://dx.doi.org/10.21236/ada234420.

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Vondrick, Carl, Hamed Pirsiavash, Aude Oliva, and Antonio Torralba. Acquiring Visual Classifiers from Human Imagination. Fort Belvoir, VA: Defense Technical Information Center, January 2014. http://dx.doi.org/10.21236/ada612443.

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Bano, Masooda. Low-Fee Private-Tuition Providers in Developing Countries: An Under-Appreciated and Under- Studied Market—Supply-Side Dynamics in Pakistan. Research on Improving Systems of Education (RISE), August 2022. http://dx.doi.org/10.35489/bsg-rise-wp_2022/107.

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Although low-income parents’ dependence on low-fee private schools has been actively documented in the past decade, existing research and policy discussions have failed to recognise their heavy reliance on low-fee tuition providers in order to ensure that their children complete the primary cycle. By mapping a vibrant supply of low-fee tuition providers in two neighbourhoods in the twin cities of Rawalpindi and Islamabad in Pakistan, this paper argues for understanding the supply-side dynamics of this segment of the education market with the aim of designing better-informed policies, making better use of public spending on supporting private-sector players to reach the poor. Contrary to what is assumed in studies of the private tuition market, the low-fee tuition providers offering services in the Pakistani urban neighbourhoods are not teachers in government schools trying to make extra money by offering afternoon tutorial to children from their schools. Working from their homes, the tutors featured in this paper are mostly women who often have no formal teacher training but are imaginative in their use of a diverse set of teaching techniques to ensure that children from low-income households who cannot get support for education at home cope with their daily homework assignments and pass the annual exams to transition to the next grade. These tutors were motivated to offer tuition by a combination of factors ranging from the need to earn a living, a desire to stay productively engaged, and for some a commitment to help poor children. Arguing that parents expect them to take full responsibility for their children’s educational attainment, these providers view the poor quality of education in schools, the weak maternal involvement in children’s education, and changing cultural norms, whereby children no longer respect authority, as being key to explaining the prevailing low educational levels. The paper presents evidence that the private tuition providers, who may be viewed as education entrepreneurs, have the potential to be used by the state and development agencies to provide better quality education to children from low-income families.
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Kuleshova, Angelina. Review ofThe Genesis of Science: The Story of Greek Imagination. Washington, DC: The MAA Mathematical Sciences Digital Library, May 2011. http://dx.doi.org/10.4169/loci003673.

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Nielsen, Roy S. CS651 Computer Systems Security Foundations 3d Imagination Cyber Security Management Plan. Office of Scientific and Technical Information (OSTI), March 2015. http://dx.doi.org/10.2172/1171665.

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Glazer, Jason. SIMULATING BUILDINGS WHILE THE DESIGN IS STILL IN THE ARCHITECT’S IMAGINATION. Office of Scientific and Technical Information (OSTI), March 2020. http://dx.doi.org/10.2172/1606426.

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Hemminger, J., G. Fleming, and M. Ratner. Directing Matter and Energy: Five Challenges for Science and the Imagination. Office of Scientific and Technical Information (OSTI), December 2007. http://dx.doi.org/10.2172/935427.

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Michelle Greene, Michelle Greene. Opening your mind’s eye: collaborating with a computer to reveal visual imagination. Experiment, May 2016. http://dx.doi.org/10.18258/7042.

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Ileri, Eren. Masculinity and the Imagination of Outer Space: An Exercise in No Man’s Sky. Universitetet i Bergen KMD, March 2021. http://dx.doi.org/10.22501/kmd-ar.1190485.

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