Journal articles: 'Pictorial Experience'

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Yang, Min Jeong. "Pictorial Experience and Imagining." Mihak - The Korean Journal of Aesthetics 87, no. 1 (March 30, 2021): 107–34. http://dx.doi.org/10.52720/mihak.87.1.4.

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CHASID, ALON. "Pictorial Experience and Intentionalism." Journal of Aesthetics and Art Criticism 72, no. 4 (September 2014): 405–16. http://dx.doi.org/10.1111/jaac.12106.

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Newall, M. "Pictorial Experience and Seeing." British Journal of Aesthetics 49, no. 2 (April 1, 2009): 129–41. http://dx.doi.org/10.1093/aesthj/ayp002.

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Hyman, J. "Pictorial art and visual experience." British Journal of Aesthetics 40, no. 1 (January 1, 2000): 21–45. http://dx.doi.org/10.1093/bjaesthetics/40.1.21.

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Tye, Michael. "Filling In and the Nature of Visual Experience." Harvard Review of Philosophy 27 (2020): 59–69. http://dx.doi.org/10.5840/harvardreview202092533.

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This essay begins with a discussion of the phenomenon of filling in. It is argued that filling in is naturally accounted for by taking visual experiences to be importantly like drawn pictures of the world outside. An alternative proposal is then considered, one that models visual experiences on incomplete descriptions. It is shown that introspection does not favor the pictorial view. It is also shown that the phenomenon of blurriness in visual experience does not provide a good reason for favoring the pictorial view either. Why, then, be a pictorialist? It is argued that visual experiences conform to what have been called “the laws of appearance” and that their conformity to these laws gives us an excellent reason for preferring the pictorial account.

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Scerri, Josianne, and Amy Bonnici. "Navigating the Storm to Recovery through the Pictorial Representations of Persons in the Recovery Phase from Unipolar Depression." International Journal of Environmental Research and Public Health 19, no. 20 (October 18, 2022): 13426. http://dx.doi.org/10.3390/ijerph192013426.

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Depression is a highly complex mental illness that presents challenges, such as difficulties for persons with depression to communicate their experiences. This is compounded further by a paucity of in-depth and pictorial accounts on their experiences of the recovery process. The combination of pictorial representations and interviews with persons who are recovering from depression, may assist them in communicating these lived experiences. Five participants recovering from unipolar depression and who were in the late stages of recovery were recruited through purposive sampling. Data were collected through the conduction of art sessions, where participants pictorially represented their experience of living with depression and their road to recovery. Semi-structured interviews were then used to explore their artwork. The transcripts were analysed using Interpretative Phenomenological Analysis (IPA). Two superordinate themes emerged from participants’ interviews, namely: ‘A New Me in Me’ that incorporating changes in their identity, physical, emotional, and social experiences, and ‘Life as an amalgamation of colour’ describing their search for meaning and the importance of spirituality, hope, gaining control and positivity in the recovery process. The use of pictorial representations combined with interviews can add depth to participant narratives, that serve to enhance the therapeutic alliance between the patient–professional dyad.

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Briscoe, Robert. "Depiction, Pictorial Experience, and Vision Science." Philosophical Topics 44, no. 2 (2016): 43–81. http://dx.doi.org/10.5840/philtopics201644217.

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Chasid, Alon. "Imaginatively-Colored Perception: Walton on Pictorial Experience." Southern Journal of Philosophy 54, no. 1 (March 2016): 27–47. http://dx.doi.org/10.1111/sjp.12159.

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Veldeman, Johan. "Reconsidering Pictorial Representation by Reconsidering Visual Experience." Leonardo 41, no. 5 (October 2008): 493–97. http://dx.doi.org/10.1162/leon.2008.41.5.493.

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In one sense, the visual experience of a thing in a depiction is similar to seeing the actual thing. In another sense, the experience is quite different, involving a “twofold” simultaneous awareness of the picture surface and what it depicts. The author argues that the standard ways of explaining depiction in terms of perception fail to properly accommodate the complex twofold nature of pictorial experience. He proposes an alternative account, based on an “enactive” approach to perception.

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Hopkins, Robert. "Factive Pictorial Experience: What's Special about Photographs?" Noûs 46, no. 4 (December 15, 2010): 709–31. http://dx.doi.org/10.1111/j.1468-0068.2010.00800.x.

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Chasid, Alon. "Pictorial experience: not so special after all." Philosophical Studies 171, no. 3 (January 10, 2014): 471–91. http://dx.doi.org/10.1007/s11098-014-0279-y.

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Benbassat, Danny, Abigail Konopasky, and Ting Dong. "Ranking Pictorial Cues in Simulated Landing Flares." Aviation Psychology and Applied Human Factors 11, no. 1 (March 2021): 23–32. http://dx.doi.org/10.1027/2192-0923/a000205.

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Abstract. Two-dimensional pictorial cues provide depth perception information that help pilots initiate the landing flare 10–20 ft from the ground. Although prior studies established the importance of three specific cues, they failed to rank-order their importance. This exploratory paper presents two studies, with different methodologies, that examine the effect of these pictorial cues on depth perception. In both studies, participants experienced simulated scenarios and attempted to initiate the landing flare 10–20 ft above ground level. Study 1 included 121, and Study 2 included 141, naïve participants with no prior flight experience. Combined, the findings suggest that flight instructors, training literature, and airport architects should emphasize the runway above all other pictorial cues.

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Demir, Arife Dila, Kristi Kuusk, and Nithikul Nimkulrat. "Squeaky/Pain: Articulating the Felt Experience of Pain for Somaesthetic Interactions." Temes de Disseny, no. 38 (July 27, 2022): 162–78. http://dx.doi.org/10.46467/tdd38.2022.162-178.

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This pictorial illustrates the methodological tools for articulating the felt experience of chronic pain used for designing somaesthetic interactions. To do this, it presents the design process of a case study named Squeaky/Pain, a soma extension aiming to augment somaesthetic awareness of the pain involved in the appreciation of both pleasant and disturbing feelings and sensations. The soma extension is an interactive wearable that facilitates a sound-motion interaction to mimic the wearer’s pain experience, from agony to relief. The case study focuses on a less explored aspect of somaesthetic interactions which is the mediation of disturbing experiences for sensory awareness. Through the soma extension that mediates disturbing experiences, the study aims to improve people’s somatic knowledge and their lives as a result. The design process of Squeaky/Pain requires detailed accounts of lived bodily experiences to create somaesthetic interactions. To access a detailed articulation of felt experiences, various tools are employed to articulate the first- and second-person pain experience for design use. These are different types of body maps, video analysis, material and form explorations, journals, in-depth interviews and self-interviews. The ideation and the testing phases have proven that such tools complement one another to access the versatile aspects of felt experiences. In this pictorial, we demonstrate ways in which visual, verbal and written tools can be applied to reveal implicit bodily experiences to inform somaesthetic interaction design.

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Wijntjes, M. W. A., A. Füzy, M. E. S. Verheij, T. Deetman, and S. C. Pont. "The Synoptic Art Experience." Art and Perception 4, no. 1-2 (December 8, 2016): 73–105. http://dx.doi.org/10.1163/22134913-00002046.

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At the start of the 20th century, Moritz von Rohr invented the synopter: a device that removes 3D depth cues that arise from binocular disparities and vergence. In the absence of these visual cues, the observer is less aware of the physical flatness of the picture. This results in a surprisingly increased depth impression of pictorial space, historically known as the ‘plastic effect’. In this paper we present a practical design to produce a synopter and explore which elements of a painting influence the plastic effect. In the first experiment we showed 22 different paintings to a total of 35 observers, and found that they rate the synoptic effect rather consistent over the various paintings. Subsequent analyses indicated that at least three pictorial cues were relevant for the synoptic effect: figure–ground contrast, compositional depth and shadows. In experiment 2, we used manipulated pictures where we tried to strengthen or weaken these cues. In all three cases we found at least one effect that confirmed our hypothesis. We also found substantial individual differences: some observers experience little effect, while others are very surprised by the effect. A stereo acuity test revealed that these differences could not be attributed to how well disparities are detected. Lastly, we informally tested our newly designed synopter in museums and found similar idiosyncratic appraisal. But the device also turned out to facilitate discussions among visitors.

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Nodine, Calvin, Claudia Mello-Thoms, Elizabeth Krupinski, and Paul Locher. "Visual interest in pictorial art during an aesthetic experience." Spatial Vision 21, no. 1-2 (2008): 55–77. http://dx.doi.org/10.1163/156856807782753868.

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Locher, Paul, Elizabeth A. Krupinski, Claudia Mello-Thoms, and Calvin F. Nodine. "Visual interest in pictorial art during an aesthetic experience." Spatial Vision 21, no. 1 (January 1, 2008): 55–77. http://dx.doi.org/10.1163/156856808782713762.

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DeLoache, Judy S., Sophia L. Pierroutsakos, and David H. Uttal. "The Origins of Pictorial Competence." Current Directions in Psychological Science 12, no. 4 (August 2003): 114–18. http://dx.doi.org/10.1111/1467-8721.01244.

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Pictorial competence, which refers to the many factors involved in perceiving, interpreting, understanding, and using pictures, develops gradually over the first few years of life. Although experience is not required for accurate perception of pictures, it is necessary for understanding the nature of pictures. Infants initially respond to depicted objects as if they were real objects, and toddlers are remarkably insensitive to picture orientation. Only gradually do young children figure out the nature of pictures and how they are used.

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Himawan, Himawan. "Upaya Meningkatkan Kemandirian Belajar Matematika Melalui Experience Language Pictorial Symbolic Applications (ELPSA) Pada Kelas VII C SMP Negeri 1 Ngablak." Science and Education Journal (SICEDU) 1, no. 2 (October 27, 2022): 206–12. http://dx.doi.org/10.31004/sicedu.v1i2.32.

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Penelitian ini bertujuan untuk mendeskripsikan tingkat kemandirian belajar matematika pada peserta didik kelas VII C sebelum pelaksanaan pembelajaran Experience Language Pictorial Symbolic Applications (ELPSA); untuk mendeskripsikan pelaksanaan pembelajaran Experience Language Pictorial Symbolic Applications (ELPSA) untuk meingkatkan kemandirian belajar matematika pada peserta didik kelas VII C SMP Negeri 1 Ngablak; dan untuk mendeskripsikan tingkat kemandirian belajar matematika pada peserta didik kelas VII C setelah pelaksanaan pembelajaran Experience Language Pictorial Symbolic Applications (ELPSA). Rancangan penelitian yang digunakan adalah rancangan penelitian tindakan kelas yang alurnya: menyusun rencana tindakan, melaksanakan tindakan, dan refleksi pelaksanaan tindakan. Hasil refleksi tersebut digunakan sebagai pedoman untuk pengambilan keputusan meneruskan atau menghentikan penelitian. Penelitian dilakukan secara spiral dalam siklus-siklus sampai siklus kedua. Pada setiap siklus diakhiri dengan penilaian tertulis. Untuk setiap siklus dilaksanakan dalam dua kali pertemuan. Sehingga secara total ada empat kali pertemuan. Data penelitian berupa catatan hasil pengamatan, catatan lapangan, dokumentasi hasil penelitian, dan hasil tes. Instrumen pengumpul datautama adalah peneliti, sedang instrumen penunjangnya adalah pedoman observasi dan dokumentasi. Analisis data dilakukan dengan teknik kualitatif dan kuantitatif. Berdasakan hasil penelitian dapat disimpulkan pelaksanaan pembelajaran matematika dengan kerangka Experience Language Pictorial Symbolic Applications (ELPSA) berjalan optimal sesuai dengan kaidah baku (ideal) yang meliputi apersepsi, kegiatan pendahuluan, kegiatan inti, dan kegiatan penutup. Rata-rata besaran peningkatan kemandirian belajar matematika dari siklus pertama ke siklus kedua adalah 10,89%. Sedang rata-rata peningkatan nilai dari pembelajaran Garis dan Sudut dari siklus pertama ke siklus kedua sebesar 3,31. Perubahan perilaku yang terjadi pada peserta didik antara lain jumlah anak yang membawa alat belajar meningkat dan juga kemandiriannya meningkat.

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BRANIŞTE, Ludmila. "Text et langaje visuel: un proces de mise en abîme." Arta 31, no. 1 (September 2022): 115–19. http://dx.doi.org/10.52603/arta.2022.31-1.16.

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The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the prolific artistic career of the artist Cezar Secrieru, whose work creates a unique creative dynamic by transposing the mental and literary image into his canvases. The “Correspondences” of the arts enrich the deep ideational background of his creation, but also the diversification of the pictorial meanings potential.

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Shardlow, Jack. "No Time to Move: Motion, Painting and Temporal Experience." Philosophy 95, no. 3 (May 7, 2020): 239–60. http://dx.doi.org/10.1017/s003181912000011x.

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AbstractThis paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in the sense that video recordings do, and that paintings do not merely depict objects but may depict those objects as engaged in various activities, such as moving. To resolve the tension, I demonstrate that we need to recognise an ambiguity in talk of the appearance of motion, and distinguish between the depiction of motion and the depiction of an object as an object that is moving. Armed with this distinction, I argue that there is an important sense in which paintings depict neither motion, duration, nor – perhaps more controversially – stasis.

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Dresler, Emma. "Tattoo as a personalised souvenir: pictorial presentation of tourism experience." Asia Pacific Journal of Tourism Research 26, no. 9 (July 1, 2021): 1007–23. http://dx.doi.org/10.1080/10941665.2021.1940226.

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Salroo, Imran, Aamir Yousuf, Kousar Sideeq, Waseem Shah, and Rafiq Ahmad. "Pictorial Essay of Cranial Nerves Lesions on MRI Our Experience." International Neuropsychiatric Disease Journal 4, no. 2 (January 10, 2015): 92–101. http://dx.doi.org/10.9734/indj/2015/17894.

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Dokic, J. "Pictures in the Flesh: Presence and Appearance in Pictorial Experience." British Journal of Aesthetics 52, no. 4 (September 14, 2012): 391–405. http://dx.doi.org/10.1093/aesthj/ays037.

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Baiquni, Fahmi, Fatwa Sari Tetra Dewi, and Rendra Widyatama. "Eksplorasi peringatan kesehatan bergambar pada kemasan rokok." Berita Kedokteran Masyarakat 32, no. 7 (March 30, 2018): 223. http://dx.doi.org/10.22146/bkm.11617.

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Exploration of pictorial health warnings in cigarette packagesPurposeThis study conducted to examine effectiveness of pictorial health warnings in cigarette packages to reduce smoking intention.MethodA population-based, qualitative study, were used in this study. 20 partisipants were observed and indept-interviewed. ResultsThreats after seeing a picture warnings on cigarette packs is the perception of the dangers of images and feelings of fear, disgust, pity, worry, mediocre. Efficacy after seeing a picture warnings on cigarette packs is the belief of the image and the impact on individuals after viewing images.ConclusionThreat of pictorial warnings are not only affected by the warning image itself but also the experience of the viewer and aspects of the warning image such as color, clarity of image, and message content.

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Koenderink, Jan, Andrea van Doorn, Baingio Pinna, and Robert Pepperell. "On Right and Wrong Drawings." Art and Perception 4, no. 1-2 (December 8, 2016): 1–38. http://dx.doi.org/10.1163/22134913-00002043.

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Are pictorial renderings that deviate from linear perspective necessarily ‘wrong’? Are those in perfect linear perspective necessarily ‘right’? Are wrong depictions in some sense ‘impossible’? Linear perspective is the art of the peep show, making sense only from one fixed position, whereas typical art works are constructed and used more like panel presentations, that leave the vantage point free. In the latter case the viewpoint is free; moreover, a change of viewpoint has only a minor effect on pictorial experience. This phenomenologically important difference can be made explicit and formal, by considering the effects of panning eye movements when perusing scenes, and of changes of viewpoint induced by translations with respect to pictorial surfaces. We present examples from formal geometry, photography, and the visual arts.

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Mohamad, Nadiah, Verly Veto Vermol, and Rusmadiah Anwar. "Conceptualizing Touch Aesthetic Communication as a Model Pictorial Art Appreciation." Environment-Behaviour Proceedings Journal 7, SI7 (August 31, 2022): 177–83. http://dx.doi.org/10.21834/ebpj.v7isi7.3780.

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Haptic communication through pictorial art remains an argumentative subject of aesthetic experience, with many unresolved issues until today that questioning the how and why reactions of various people. Throughout this framework of research, a conceptual examination of experiencing a pictorial work of art (its duration, intensity, and individual art expression) for a congenitally blind person by applying Verbal Protocol Analysis (VPA) approach model was designed to enhance the experience from an artwork. This study provides an observation procedure within the influence of 'time of experience' and 'art expression' mediated by professional artwork. Keywords: Art; Touch; Communication; Visual Art Experience; Tactile eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA CE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7%20(Special%20Issue).3780

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Reyes, Everardo, and Göran Sonesson. "New approaches to plastic language: Prolegomena to a computer-aided approach to pictorial semiotics." Semiotica 2019, no. 230 (October 25, 2019): 71–95. http://dx.doi.org/10.1515/sem-2018-0106.

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Abstract In this paper we summarize observations bridging the declared aspirations of pictorial semiotics and its real achievements. Pictorial semiotics is here understood as the general study of pictures as signs and it constituted a fundamental step beyond the art historical captivation with individual images. In the first part of our contribution we present a review of the most important methods that have been proposed as an answer to deal with several pictorial problems (multiple instances, segmentation, non-figurative meaning). In the second part, we offer some positive and on-going implementations designed to remedy the shortcomings observed. What is suggested is the proof of concept that human researchers need the assistance of computing methodologies. However, computers can only do their job once an adequate phenomenology of human experience is fed into the process.

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Rao, K. Mrutyunjaya. "PICTORIAL ELEMENTS OF INDIAN MINIATURE PAINTING." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (January 21, 2022): 15–26. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.62.

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This paper discusses the magnificent contribution of Indian miniature painting as the torch bearer of Indian visual culture for the future generations with transitions and various idioms. It’s Visual imagery raised to paramount importance from the auxiliary position to the religious text. Artist has not imitated from nature but imbibed the spirit of divinity and greater love and passion on Indian culture. Its function is religious as well as decorative. “Horrorvacuue” the desire of filling space is the common characteristics of an Indian is often appears in Indian painting. The articulations of line, colour , space are discussed in this article The Climatic conditions might been allowed the Indian painter to experience unusual color patterns. The deep rooted veneration for religion and nature and to fulfill the taste of his patron. Which made him as a distinct artist in the world forever.

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Lalitha, Palle, M. Ch Balaji Reddy, and K. Jagannath Reddy. "Musculoskeletal Applications of Elastography: a Pictorial Essay of Our Initial Experience." Korean Journal of Radiology 12, no. 3 (2011): 365. http://dx.doi.org/10.3348/kjr.2011.12.3.365.

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Pettersson, M. "Seeing What Is Not There: Pictorial Experience, Imagination and Non-localization." British Journal of Aesthetics 51, no. 3 (July 1, 2011): 279–94. http://dx.doi.org/10.1093/aesthj/ayr014.

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Bentley, A. M., and J. B. Deregowski. "Pictorial experience as a factor in the recognition of incomplete pictures." Applied Cognitive Psychology 1, no. 3 (July 1987): 209–16. http://dx.doi.org/10.1002/acp.2350010306.

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Tesfaye, Yihenew, Kenneth Maes, Roza Abesha, Sera Young, Jedidiah S. Snyder, Abebe Gebremariam, and Matthew C. Freeman. "How Do Rural Ethiopians Rate the Severity of Water Insecurity Scale Items? Implications for Water Insecurity Measurement and Interventions." Human Organization 79, no. 2 (June 2020): 95–106. http://dx.doi.org/10.17730/1938-3525.79.2.95.

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Recently developed scales aim to advance understanding of household water insecurity and inform interventions to address this critical global problem. The relative severity of items included in household water insecurity scales has been established as an inverse of the proportion of the population that reports experiencing the item. Here, we assess subjective perceptions of scale item severity among people who experience household water insecurity. In 2017, we surveyed 259 women in Amhara, Ethiopia, assessing both experiences of water insecurity and perceptions of item severity using a pictorial scale. The mean subjective severity of most items was at the high end of our pictorial scale. Subjective severity of items was not associated with whether or not a participant experienced the item in the last thirty days, with a participant’s summary household water insecurity score, or with rural versus peri-urban residence, but was consistently associated with community of residence. Item severity as defined by the proportion of the population experiencing the item aligned with average perceptions of item severity, with one exception: drinking water that might not be safe. We discuss these findings’ implications for water insecurity measurement, evaluation of interventions, and studies of the relationship between water insecurity and psychological distress.

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Bhattacharjee, Siddharth, Richa D. Jain, Lokesh Bathala, Anuradha HK, and Vijay K. Sharma. "Pictorial Essay of Cervical Duplex Ultrasonography." POCUS Journal 7, no. 2 (November 21, 2022): 245–52. http://dx.doi.org/10.24908/pocus.v7i2.15635.

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Objectives: Cervical duplex ultrasonography (CDU) is a simple, non-invasive, portable technique, that provides valuable high-quality visual information about the integrity of the carotid and vertebral vessels, plaque morphology and flow hemodynamics. CDU is useful in the assessment and follow up of patients with cerebrovascular disease as well as other conditions like inflammatory vasculitis, carotid artery dissection and carotid body tumours. CDU is inexpensive and invaluable in smaller centres. Methods: CDU was performed in all patients in both longitudinal and transverse planes in the out-patient clinic. Brightness mode (B-mode) and Doppler waveforms were obtained. Relevant findings were presented. Results: CDU provides real time visualisation of plaque characteristics and follow up, hemodynamic characteristics in Takayasu arteritis, visualisation of dissection. Conclusion: With availability of MR/CT angiography, CDU can be an adjuvant in follow up, triage and early bed-side diagnosis of the vascular diseases. We present our experience with CDU in the out-patient clinics in this pictorial essay.

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Ghosh, Abheek, Ellen Moxley, Suneet Waghmarae, James Stoner, Sheena Anand, and Nabeel M. Akhter. "Catheter-directed computed tomography angiography: A pictorial essay." Journal of Clinical Imaging Science 12 (August 18, 2022): 49. http://dx.doi.org/10.25259/jcis_76_2022.

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Catheter-directed computed tomography angiography (CDCTA) is an imaging technique where CT images are acquired after selective catheterization of a vessel. Images obtained in this fashion provide several advantages over conventional imaging techniques such as fluoroscopic angiography, digital subtraction angiography, cone-beam CT, and conventional CT angiography. At this point, there is still limited literature on the subject, with prior studies examining a small number of potential uses. The goal of this pictorial essay is to illustrate our single tertiary care center experience using CDCTA.

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Gasic-Pavisic, Slobodanka, and Dusanka Lazarevic. "Content of the concept of house in preschool children expressed in words and drawings." Zbornik Instituta za pedagoska istrazivanja, no. 34 (2002): 103–11. http://dx.doi.org/10.2298/zipi0204103g.

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The aim of the study was to investigate verbal and pictorial representation of the concept of house. Children belonging to different cultures and different generations draw identical canonical appearance of the house, and the word 'house' is one of the most frequently used words in a children's vocabulary (Lukic, 1982). Starting from findings of many authors that by the age from 7-8 children draw what they know about objects and not what they see (intellectual realism, see Koks, 2000) and from Arnheim's (1969) view of visual thinking, we have compared the content of the concept of house in children's drawings with that in their verbal definitions. Sixty urban children, age 6, were given the instructions: 'Draw a house.' 'Say, what is a house?' The drawings and definitions were analyzed in terms of containing elements, and the distribution of some types of verbal definitions was determined. The results confirmed that there is a universal pattern in children's drawing a house - drawing of equivalents. The question is open whether it is a conventional sign taken over from adults or children develop it for themselves. The drawings contain the defining characteristics of the concept of house but also the characteristics specific for a child's spontaneous concept based on immediate experience. Verbal and pictorial definitions comprise identical essential elements of the concept of house pictorial definitions being richer and provide a better insight into child's personal experience. Verbal definitions more successfully determine the function of a house, while pictorial ones its appearance. Drawings are more suitable than words for specifying various meanings of the word 'house', (house/building).

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Srinivasan, Sivasubramanian, and Niraj Dubey. "RE: Musculoskeletal Applications of Elastography: a Pictorial Essay of Our Initial Experience." Korean Journal of Radiology 12, no. 5 (2011): 646. http://dx.doi.org/10.3348/kjr.2011.12.5.646.

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NIINA, Atsuko. "Pictorial 2: Outdoor Experience Learning at the San'in Kaigan and Lesvos Geoparks." Journal of Geography (Chigaku Zasshi) 125, no. 6 (2016): xiv. http://dx.doi.org/10.5026/jgeography.125.xiv.

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Padgham, K., J. Scott, A. Krichell, T. Mceachen, and L. Hislop. "Misconceptions surrounding videoconferencing." Journal of Telemedicine and Telecare 11, no. 1_suppl (July 2005): 61–62. http://dx.doi.org/10.1258/1357633054461769.

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We carried out a study to assess the level of training required by hospital staff to operate a videoconferencing system. Fifty members of hospital staff, who had no previous videoconferencing experience, were studied. When using simple pictorial instructions, they took on average just under 6 min to connect successfully to a remote site. Male subjects connected faster (average 309 s) than female subjects (385 s; P<0.01). Subjects of 40 years or younger connected faster (average 311 s) than those over 40 years (average 398 s; P<0.02). Only three individuals (6%) required supplementary help via the telephone. Dedicated training may not be necessary when simple pictorial instructions are available to the operator.

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Moreva, Ol'ga. "Periodization of Children’s Imaging Activities." Primary Education 8, no. 1 (February 19, 2020): 41–44. http://dx.doi.org/10.12737/1998-0728-2020-41-44.

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The article discusses the changes that occur in the drawings of children as they grow up. Based on the analysis of studies of children’s drawings and taking into account their own pedagogical experience, the author’s periodization of children’s visual activity was compiled. Its age stages and stages of artistic development of children aged from 1 year to 12 years are reflected in it. The characteristics of children’s drawings at each stage are given, the corresponding features of the children’s pictorial activity, their relation to the drawing process and their artwork are analyzed. Brief methodological recommendations are given on the organization of the pictorial activity of children at each of the distinguished stages.

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Moreva, Ol'ga. "Periodization of Children’s Imaging Activities." Primary Education 8, no. 2 (April 20, 2020): 48–52. http://dx.doi.org/10.12737/1998-0728-2020-48-52.

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The article discusses the changes that occur in the drawings of children as they grow up. Based on the analysis of studies of children’s drawings and taking into account their own pedagogical experience, the author’s periodization of children’s visual activity was compiled. Its age stages and stages of artistic development of children aged from 1 year to 12 years are reflected in it. The characteristics of children’s drawings at each stage are given, the corresponding features of the children’s pictorial activity, their relation to the drawing process and their artwork are analyzed. Brief methodological recommendations are given on the organization of the pictorial activity of children at each of the distinguished stages.

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Troscianko, Emily. "Kafkaesque worlds in real time." Language and Literature: International Journal of Stylistics 19, no. 2 (April 27, 2010): 151–71. http://dx.doi.org/10.1177/0963947010362913.

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We read in a linear fashion, page by page, and we seem also to experience the world around us thus, moment by moment. But research on visual perception shows that perceptual experience is not pictorially representational: it does not consist in a linear, cumulative, totalizing process of building up a stream of internal picture-like representations. Current enactive, or sensorimotor, theories describe vision and imagination as operating through interactive potentiality. Kafka’s texts, which evoke perception as non-pictorial, provide scope for investigating the close links between vision and imagination in the context of the reading of fiction. Kafka taps into the fundamental perceptual processes by which we experience external and imagined worlds, by evoking fictional worlds through the characters’ perceptual enaction of them. The temporality of Kafka’s narratives draws us in by making concessions to how we habitually create ‘proper’, linear narratives out of experience, as reflected in traditional Realist narratives. However, Kafka also unsettles these processes of narrativization, showing their inadequacies and superfluities. Kafka’s works engage the reader’s imagination so powerfully because they correspond to the truth of perceptual experience, rather than merely to the fictions we conventionally make of it. Yet these texts also unsettle because we are unused to thinking of the real world as being just how these truly realistic, Kafkaesque worlds are: inadmissible of a complete, linear narrative, because always emerging when looked for, just in time.

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Vasic, Sandra, and Slobodan Markovic. "Denotative and connotative meanings of paintings." Psihologija 40, no. 1 (2007): 75–91. http://dx.doi.org/10.2298/psi0701075v.

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In this study the relationships between judgments of paintings denotative and connotative meanings was investigated. Denotative domain was defined as motif (represented object, e.g. portrait, landscape etc.) and message (information carried by paintings, e.g. celebration of patriotism). Connotative domain was defined as subjective experience, i.e. affective or metaphoric impression produced by painting (e.g. feeling of pleasure, impression of dynamics, and so on). In preliminary study the list of 39 motifs was specified empirically. The four dimensions of pictorial message were taken from the previous study (Markovic, 2006): Subjectivism, Ideology, Decoration and Constructivism vs. Realism. The four dimensions of paintings subjective experience were taken from the previous study as well (Radonjic and Markovic, 2005): Regularity, Attraction, Arousal and Relaxation. In Experiment 1 subjects were asked to associate 39 motifs with 18 paintings. In Experiment 2 subjects were asked to judge 24 paintings on four dimensions of pictorial message. Results form Experiment 1 have shown that dimensions of paintings subjective experience were significantly correlated with only five motifs (e.g. everyday life was negatively correlated with Arousal, battle was negatively correlated with Relaxation, and so on). Results from Experiment 2 have shown that Subjectivism and Constructivism are negatively correlated with Regularity, and positively correlated with Arousal. Decoration is negatively correlated with Arousal and positively with Attraction and Relaxation.

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YANG, Ying, and Yi ZHU. "Effects of online pictorial versus verbal reviews of experience product on consumer's judgment." Acta Psychologica Sinica 48, no. 8 (2016): 1026. http://dx.doi.org/10.3724/sp.j.1041.2016.01026.

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Hoang, Van Trung, Hoang Anh Thi Van, Cong Thao Trinh, Ngoc Trinh Thi Pham, Chinh Huynh, To Nguyen Ha, Phuong Hai Huynh, Hoang Quan Nguyen, Uyen Giao Vo, and Thanh Thao Nguyen. "Uterine Arteriovenous Malformation: A Pictorial Review of Diagnosis and Management." Journal of Endovascular Therapy 28, no. 5 (June 18, 2021): 659–75. http://dx.doi.org/10.1177/15266028211025022.

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Uterine arteriovenous malformation (UAVM) is a rare condition and is classified as either congenital or acquired UAVM. Patients with UAVMs usually experience miscarriages or recurrent menorrhagia. Ultrasound is used for the initial estimation of UAVMs. Computed tomography and magnetic resonance imaging are noninvasive and valuable methods that provide good compatibility with digital subtraction angiography to support the diagnosis and treatment of UAVM. Timely diagnosis is crucial to provide appropriate treatment for alleviating complications. This article presents a pictorial and literature review of the current evidence of the diagnosis and management of UAVM.

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Frandsen, Paul J. "On Categorization and Metaphorical Structuring: Some Remarks on Egyptian Art and Language." Cambridge Archaeological Journal 7, no. 1 (April 1997): 71–104. http://dx.doi.org/10.1017/s0959774300001487.

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This article discusses some aspects of the way the ancient Egyptians classified their world. The Egyptian method of representation aimed at showing things as they existed in the imagination of the artist who accordingly rendered them as they ‘really were’, and not as they were seen, that is, without having recourse to foreshortening, shadow, perspective. What is stored is a mental image of the prototype or ‘genus’ of the object. Linguistic and pictorial material provide evidence of the existence of inalienable properties of a given mental picture. Another set of components is the interactional properties. Both are grounded in the basic experience of the perceptual, motor and intellectual apparatus of the body. Their distribution is overlapping, because the factual inalienability of its own members is one of the first experiences of a child. While some aspects of the conceptual system and categorization grow out of this immediate experience, others can only be understood in terms of other types of experience, such as metaphors in the sense of Lakoff and Johnson. Hieroglyphs and art are discussed in terms of the notion of metaphorical structuring.

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Suárez, Luis Alfonso de la Fuente. "TOWARDS EXPERIENTIAL REPRESENTATION IN ARCHITECTURE." Journal of Architecture and Urbanism 40, no. 1 (April 6, 2016): 47–58. http://dx.doi.org/10.3846/20297955.2016.1163243.

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Planning and predicting the experiences that buildings will produce is an essential part of architectural design. The importance of representation lies in its ability to communicate experiences before a building is materialized. This article will treat the topic of representation of architecture works without putting aside our direct experience with edifices. By understanding the perceptual, associative and interactive phenomena that arise from the human encounter with buildings, it becomes possible to comprehend the representation of these phenomena through pictorial means. The first objective of this theoretical article is to define the inherent and unavoidable factors that are present in the creation and interpretation of all architectural representations, regardless of the technical means used. Any representation conveys two processes: the representation of experience (a creative process), and the experience of representation (an interpretive process). Furthermore, there exist two layers in any representation: the what (the architectural object) and the how (the representational medium). The second objective is to suggest alternatives to visual realism, in order to create representations that embody the particular phenomena that an architectural work will be able to produce. On the one hand, representations that pretend to copy reality produce in the observers detailed visual experiences; on the other hand, certain representations reflect the experiences themselves after they have been produced; they represent buildings as they are transformed by experience. This article focuses on those representations that are not only the reflection of an object, but also the reflection of our way of experiencing it.

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Purgar, Krešimir. "Nulti stupanj reprezentacije: Umjetnost, tehnika i slikovno pojavljivanje." Ars Adriatica, no. 6 (January 1, 2016): 241. http://dx.doi.org/10.15291/ars.189.

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My starting hypothesis in the theory of pictorial appearing is that Gottfried Boehm’s notion of iconic difference can serve as a sufficiently comprehensive concept for differentiating between image and non-image in all visual artefacts that have been created during the several millennia of visual representation. This era started with the first paleolithic drawings and includes the entire visual production from the period “before art”, as well as all those visual representations that emerged in the early modern period beyond the needs of religious worship, only to be substituted through the technosphere. However, since the technosphere is characterized by increasingly evolved systems of visual immersion, from the all-accessible OLED screen and IMAX cinema theatres to Oculus Rift glasses and further to the experience of total immersion, which recreates synesthetic visual-haptic impressions, ontological differentiation between the visual surface as such and the extra-iconic reality can no longer be established with the idea of difference alone. Namely, the notion of difference can serve as a qualifier for defining the relationship between the separate categories in an object – in our case, the pictorial and non-pictorial ones – only insofar as the reality in which they are situated is identical or equivalent. Thus, nobody questions the clear ontological separation between the two-dimensional represented reality such as established in cinematic fiction and the non-represented, that is actual reality existing outside of that fiction. Many films and artworks count on that implied separation and can therefore afford to question the borderline between the two, primarily within a strictly artistic discourse. Boehm’s theory of iconic difference and Jean-Luc Nancy’s understanding of the cut have helped establish the semiotic-phenomenological criteria for a theoretical differentiation between various experiences that are innate to man’s picture of the world. In other words, the difference or ontological cut between image and non-image can exist only because even a modestly capable individual can empirically grasp these two categories. However, my hypothesis is that iconic difference reveals itself as an inadequate concept for that ontological cut, not only because the status and the possibilities of human experience are radically altered in the time and space of the technosphere, but also because this new type of experience has not yet been “normalized” within the process that Flint Schier has termed “natural generativity”. The space and time of the technosphere require that one should no longer approach the image merely as the ancient Greek eikon, i.e. mirroring or representation, but rather as an experience, event, and a specific type of phenomenon. The modalities of pictorial appearing in the technosphere can be recognized as symptoms of the most recent visual turn, in any case the first in the 21st century, which no longer occurs in an encounter between image and language, as lucidly described by Mitchell and Boehm, but in an encounter between analogue and digital images, between representation and post-representation, reality and virtuality, semiotics and phenomenology. In order to understand this epochally new reality, one can use concepts such as Bolter’s and Grusin’s remediation, or Žarko Paić’s idea of the technosphere, as well as some other approaches, such as Paul Crowther’s categorization of “transhistorical images” or the phenomenologically based interpretation of art and images that Martin Seel has termed “the aesthetics of appearing”.

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Ernst, Nina. "Bodily Experience and Visual Metaphor in Two Swedish Trans Graphic Narratives." European Comic Art 15, no. 1 (March 1, 2022): 66–86. http://dx.doi.org/10.3167/eca.2022.150105.

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This article examines how transgender themes are conveyed in two Swedish graphic narratives. Olivia Skoglund’s debut graphic memoir, Nästan i mål! En komisk transition [Almost there: A comical transition] (2020) follows Olivia who navigates as a trans woman through a clueless cis society, while Elias Ericson’s graphic novel Diana & Charlie (2021) depicts the relationship between two transgender friends and their struggle to find emotional stability in a heteronormative society. Drawing on Elisabeth El Rafaie’s visual metaphor theory of pictorial, spatial and stylistic metaphors, it is argued that both Skoglund and Ericson place bodily experience, appearance, and perception at the centre of their concerns of being transgender, conveying the struggle for gender recognition as well as showing the misgendering of trans people by society.

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Lan, Shindy. "Style of “the Pictorial Shakespeare”—— Auteur Theory Applying to Akira Kurosawa’s Work." Review of Educational Theory 1, no. 4 (December 4, 2018): 137. http://dx.doi.org/10.30564/ret.v1i4.340.

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By investigating the cinematography and thematic concerns of Akira Kurosawa’s work under the auteurist criteria, it can be argued that Kurosawa is an auteur whose work possesses three distinctive authorial signatures: the active involvement of nature, the strong sense of stage-performance, the editing on movement; and the consistent visual style has corresponding meaning concerning his personal experience and socio-historical circumstances.

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Szczepanski, Anders. "Platsens betydelse för lärande och undervisning – ett utomhuspedagogiskt perspektiv." Nordic Studies in Science Education 9, no. 1 (April 25, 2013): 3–17. http://dx.doi.org/10.5617/nordina.623.

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The study describes how 19 teachers linked to preschool and comprehensive school experience the importance of place for learning and teaching in an outdoor educational context. The methodological approach is phenomenographic. The semi-structured interviews are based on pictorial material intended to illustrate different physical learning environments. Nine categories and four place-related perspectives can be distinguished. The result shows that there is sometimes a didactic uncertainty around places for teaching and learning outside the classroom walls. The availability of different places in the outdoors, a woodland environment and natural materials is seen as meaningful complements in teaching. Town settings, parks and industrial landscapes are to a lesser degree perceived as learning environments. The study shows the experience of teachers using other contexts for learning and teaching than the classroom. Outdoor education is experienced as a place-related toolkit with opportunities to integrate different subjects and anchor teaching in the real world.

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Journal articles on the topic 'Pictorial Experience'

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