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Journal articles on the topic 'Visual imagination'

Author: Grafiati
Published: 11 March 2023

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1

Gregory, Dominic. "VISUAL EXPECTATIONS AND VISUAL IMAGINATION." Philosophical Perspectives 31, no. 1 (December 2017): 187–206. http://dx.doi.org/10.1111/phpe.12094.

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2

Fontaine, Philippe. "Kenneth Boulding’s Visual Imagination." History of Political Economy 53, no. 2 (April 1, 2021): 213–41. http://dx.doi.org/10.1215/00182702-8905991.

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The merits of visual images in conveying truths about the social world is widely recognized in social science, but some commentators have suggested the possible inadequacies of postwar economics on that score. Unimpressed by the omnipresence of diagrams in economics, they note that these are not images in the sense that maps are. The story of Boulding, an admirer of maps and strong believer in visual reasoning, who moved away from economics to become a general social scientist in the late 1940s, seems to confirm the above assessment. Yet, the difference between economists and other social scientists does not so much reside in the absence of images in economics—some diagrams in economics are maps—as in their declining role in postwar economic modeling. In that respect, the story of Boulding, his lack of influence on economics and his increased recognition among other social sciences testify to the gradual backsliding of visual imagination in postwar economics. If many today recognize the usefulness of diagrams for the dissemination of economic knowledge, only a few are aware that preceding the attempts to make these diagrams intelligible to their users, a real effort of visual imagination was required for their creators to ensure their explanatory power.
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Goto, Noriaki. "Visual Methods and Sociological Imagination." Japanese Sociological Review 60, no. 1 (2009): 40–56. http://dx.doi.org/10.4057/jsr.60.40.

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4

Barinaga, M. "NEUROBIOLOGY:Shedding Light on Visual Imagination." Science 284, no. 5411 (April 2, 1999): 22a—22. http://dx.doi.org/10.1126/science.284.5411.22a.

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Vertolli, Michael O., Matthew A. Kelly, and Jim Davies. "Coherence in the Visual Imagination." Cognitive Science 42, no. 3 (November 10, 2017): 885–917. http://dx.doi.org/10.1111/cogs.12569.

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6

Ceja, Cristina R., and Steven L. Franconeri. "Capacity Limits on Visual Imagination." Journal of Vision 19, no. 10 (September 6, 2019): 74b. http://dx.doi.org/10.1167/19.10.74b.

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7

Precup, Amelia. "Shakespeare and the Visual Imagination." American, British and Canadian Studies Journal 27, no. 1 (December 1, 2016): 161–63. http://dx.doi.org/10.1515/abcsj-2016-0026.

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8

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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Gilman, Sander. "Images-Imagination." IMAGES 1, no. 1 (2007): 10–11. http://dx.doi.org/10.1163/187180007782347656.

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AbstractThe new acceptability of Jewish Studies within the disciplines has been furthered by the creation of Images. As with the development of a new generation of makers of Jewish culture, Images provides a context for innovative approaches to the visual culture of the Jews, however defined.
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Maxwell, Catherine, and Kate Flint. "The Victorians and the Visual Imagination." Modern Language Review 96, no. 4 (October 2001): 1055. http://dx.doi.org/10.2307/3735879.

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Kerr, M. P. M. "NANCY MOORE GOSLEE, Shelley's Visual Imagination." Notes and Queries 61, no. 2 (June 1, 2014): 310–11. http://dx.doi.org/10.1093/notesj/gju053.

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Douglas-Fairhurst, R. "The Victorians and the Visual Imagination." Notes and Queries 49, no. 1 (March 1, 2002): 153–57. http://dx.doi.org/10.1093/nq/49.1.153.

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13

Douglas‐Fairhurst, Robert. "The Victorians and the Visual Imagination." Notes and Queries 49, no. 1 (March 1, 2002): 153–57. http://dx.doi.org/10.1093/nq/490153.

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14

Knight, G. Brandon. "Visual Myths." International Journal of Semiotics and Visual Rhetoric 6, no. 1 (March 10, 2023): 1–13. http://dx.doi.org/10.4018/ijsvr.319723.

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Is visual communication primarily contingent upon physical elements to be seen with the eye, or does visuality also extend into the imagination? Despite the progress of modernity since the Enlightenment, a different form of thinking exists that is predicated upon visual metaphors and mythic structures. Therefore, the purpose of this paper is to unfold the position of thinking visually to the realm of religious beliefs emanating from ancient oral cultures who often created connections of natural, rhetorical objects with the metaphysical through the mythic imagination. Throughout this paper, the author analyzes three ekphrastic texts concerning visions of God's glory at the Tabernacle, Jerusalem Temple, and in the person of Jesus within Judeo-Christian thought. This research will analyze such visual thinking through Biblical teachings that demonstrate various forms of ekphrasis (Grk. “speak out”) in which specific verbal descriptions represent interaction between physical and divine planes and thus contiguity.
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Šļahova, Aleksandra, Ilze Volonte, and Māris Čačka. "Interrelations in the Development of Primary School Learners’ Creative Imagination and Creative Activity When Depicting a Portrait in Visual Art Lessons." Discourse and Communication for Sustainable Education 8, no. 1 (June 1, 2017): 102–20. http://dx.doi.org/10.1515/dcse-2017-0008.

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AbstractCreative imagination is a psychic process of creating a new original image, idea or art work based on the acquired knowledge, skills, and abilities as well as on the experience of creative activity.The best of all primary school learners’ creative imagination develops at the lessons of visual art, aimed at teaching them to understand what is beautiful in art, as well as through their being involved in the creative process and creating art works themselves.This paper provides the characterization of the psychological process of imagination, and deals with the importance and dynamics of the development of primary school learners’ creative imagination in lessons of visual art when depicting a portrait, and it also looks at a visual art teacher’s role in organizing the educational process of developing learners’ creative imagination in a sustainable education process.
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Danang Dwi Prasetyo and Muhammad Zainal Abidin. "Pengembangan Kecerdasan Visual Spasial Melalui Kegiatan Menggunting dan Menempel di TKIT Yaumi Faitmah Pati." SALIHA: Jurnal Pendidikan & Agama Islam 4, no. 2 (July 30, 2021): 236–48. http://dx.doi.org/10.54396/saliha.v4i2.195.

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Visual-spatial intelligence is the ability to understand images or shapes to interpret things that are in their mind or imagination. Visual-spatial ability is an important ability for children, visual-spatial abilities must be developed from an early age so that what is in the imagination can be realized properly. The basic concept of visual-spatial ability comes from imagination, but if imagination is not maximally developed, children can become individuals who often daydream. With the COVID-19 pandemic, learning cannot be done as usual before the pandemic, learning can be done in groups, but after the pandemic learning is done individually. One of the ways that the Yaumi Fatimah TKIT school is trying to develop special visual skills is by using gutting media and plant pots, using qualitative methods and the use of documentation, interview and triangulation techniques. The results showed that children became enthusiastic in learning and their visual-spatial abilities increased. The improvement in visual-spatial abilities is evidenced by the daily assessment data showing that all children are at the level of development as expected
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17

Ozment, Suzanne. "Victorian Literature and the Victorian Visual Imagination." Nineteenth Century Studies 10, no. 1 (January 1, 1996): 138–40. http://dx.doi.org/10.2307/45196777.

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Ozment, Suzanne. "Victorian Literature and the Victorian Visual Imagination." Nineteenth Century Studies 10, no. 1 (January 1, 1996): 138–40. http://dx.doi.org/10.2307/ninecentstud.10.1996.0138.

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19

Rybko, I. A. "Stuart Sillars. Shakespeare and the visual imagination." Voprosy literatury, no. 4 (August 22, 2019): 280–83. http://dx.doi.org/10.31425/0042-8795-2019-4-280-283.

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The review is devoted to S. Sillars’ book Shakespeare and the Visual Imagination. Sillars introduces the concept of ‘visual imagination’ and examines it through the works of Shakespeare. Other key notions for the study include copia and ethopoeia. Sillars uses them to combine analyses of different Shakespearean plays. In his examination of the playwright’s legacy Sillars employs a variety of methods, which counts as a merit rather than a flaw of this work. However, his arguments justifying a special place for As You Like It and The Winter’s Tale among Shakespeare’s oeuvre are not convincing. In his study Sillars turns to subjects well known to researchers, but also references less common works for comparison (Hypnerotomachia Poliphili ).
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20

San Juan, R. M. "Oscillations of the Early Modern Visual Imagination." Oxford Art Journal 30, no. 3 (July 27, 2007): 521–24. http://dx.doi.org/10.1093/oxartj/kcm017.

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21

Marrapodi, Michele. "Stuart Sillars. Shakespeare and the Visual Imagination." Shakespeare Quarterly 68, no. 4 (2017): 398–400. http://dx.doi.org/10.1353/shq.2017.0045.

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22

MELO, Marcos Ribeiro de, Michele De Freitas Faria de VASCONCELOS, and Larissa Leite BATISTA. "Trans-ver o gênero e inventar a vida: infância e imaginação em “Minha vida em cor-de-rosa”." INTERRITÓRIOS 4, no. 6 (June 4, 2018): 140. http://dx.doi.org/10.33052/inter.v4i6.236742.

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Este artigo toma as artes visuais como caminho para o contato com infâncias, suas línguas brincantes e seus modos imaginativos de desconsertar a realidade pela fabulação de mundos. A aposta é a de que a novidade a que correspondem, estremeçam as certezas que nos cercam e deseduquem nossos olhares. Assim, entre imagens, planos, enquadramentos e ângulos, num diálogo com o filme “Minha vida em cor-de-rosa” (1997) e inspiradas pela etnografia de tela, somos guiadas pela imaginação de Ludovic na possibilidade de criar fissuras naquilo que concebemos como real e possível, projetando mundos. Nesse sentido, a imaginação infantil pode trans-ver o gênero e forçar um pensamento que problematiza a materialização dos corpos na fixidez binária de masculinidades e feminilidadesInfância. Gênero. Imaginação. Etnografia de telaTrans-see the gender and invent the life: childhood and imagination in "My life in pink"This article takes the visual arts as a way for contact with childhoods, their ludic languages, and their imaginative ways of disconcerting reality creating worlds. The bet is that the novelty to which they correspond, shake the certainties that surround us and change our views. Thus, between images, plans, frames and angles, in a dialogue with the film "My life in pink" (1997) and inspired by screen ethnography, we are guided by Ludovic's imagination in the possibility of creating fissures in what we conceive as real and possible, constructing worlds. In this sense, the infantile imagination can trans-see the gender and force a thought that problematizes the materialization of the bodies in the binary fixity of masculinities and femininities.Childhood. Gender, Imagination. Screen ethnography
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23

Shimizu, Hirokatsu, and Ramesh Srinivasan. "Improving classification and reconstruction of imagined images from EEG signals." PLOS ONE 17, no. 9 (September 21, 2022): e0274847. http://dx.doi.org/10.1371/journal.pone.0274847.

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Decoding brain activity related to specific tasks, such as imagining something, is important for brain computer interface (BCI) control. While decoding of brain signals, such as functional magnetic resonance imaging (fMRI) signals and electroencephalography (EEG) signals, during observing visual images and while imagining images has been previously reported, further development of methods for improving training, performance, and interpretation of brain data was the goal of this study. We applied a Sinc-EEGNet to decode brain activity during perception and imagination of visual stimuli, and added an attention module to extract the importance of each electrode or frequency band. We also reconstructed images from brain activity by using a generative adversarial network (GAN). By combining the EEG recorded during a visual task (perception) and an imagination task, we have successfully boosted the accuracy of classifying EEG data in the imagination task and improved the quality of reconstruction by GAN. Our result indicates that the brain activity evoked during the visual task is present in the imagination task and can be used for better classification of the imagined image. By using the attention module, we can derive the spatial weights in each frequency band and contrast spatial or frequency importance between tasks from our model. Imagination tasks are classified by low frequency EEG signals over temporal cortex, while perception tasks are classified by high frequency EEG signals over occipital and frontal cortex. Combining data sets in training results in a balanced model improving classification of the imagination task without significantly changing performance in the visual task. Our approach not only improves performance and interpretability but also potentially reduces the burden on training since we can improve the accuracy of classifying a relatively hard task with high variability (imagination) by combining with the data of the relatively easy task, observing visual images.
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24

Rusli, Edial. "IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 2 (January 20, 2017): 91. http://dx.doi.org/10.24821/rekam.v12i2.1426.

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AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.
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Young, Kelly. "Exploring a Curricula of Visual and Poetic Aesthetics / Exploration de programmes d’esthétisme visuel et poétique." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 1 (January 29, 2019): 44–59. http://dx.doi.org/10.26443/crae.v46i1.49.

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Abstract: In this article, I explore the role of visual arts in shaping the future direction of the literary arts in my pre-service teacher education classroom. I outline a cross-curricular curriculum by exploring a theoretical and practical relationship between visual and poetic aesthetics. Drawing upon the imagination, we are able to become critical storytellers as we engage in ekphrastic poetics, that is—a poetic response to a form of art. Ultimately, we modify and expand on the practice to include responses to photography or works of art—that are themselves aesthetic responses. Key words: Arts; Education; Imagination; Ekphrastic Poetics; Curriculum. Résumé : J’analyse dans cet article le rôle des arts visuels dans l’orientation future des arts littéraires dans le contexte de ma classe de formation initiale des enseignants. Je donne un aperçu d’un programme transdisciplinaire en analysant le lien théorique et pratique entre l’esthétisme visuel et l’esthétisme poétique. Nous pouvons, grâce à l’imagination, devenir des raconteurs critiques par le biais de la poésie ekphrasique, c’est-à-dire par le biais d’une réaction poétique vis-à-vis une forme d’art. En bout de ligne, nous modifions et élargissons la pratique pour y inclure les réactions face à la photographie ou à des œuvres d’art, qui sont elles-mêmes des interprétations esthétiques.Mots-clés : arts, éducation, imagination, poésie ekphrasique, curriculum.
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Campos, Roland Azeredo. "Poesia visual e imagens da matéria." Aletria: Revista de Estudos de Literatura 15, no. 1 (June 30, 2007): 22–32. http://dx.doi.org/10.17851/2317-2096.15.1.22-32.

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Resumo: O propósito deste artigo é discutir alguns poemas visuais pós- concretos no contexto da teoria da imaginação poética proposta por Gaston Bachelard, baseada nos arquétipos dos quatro elementos (ar, água, terra e fogo). Os poemas aqui considerados estão diretamente relacionados ao tema dos elementos.Palavras-chave: poesia visual brasileira; poesia concreta; Bachelard; imaginação poética.Abstract: The purpose of this article is to discuss some postconcrete visual poems in the context of Gaston Bachelard’s theory of poetical imagination, which is based on the archetypes of the four elements (air, water, earth and fire). The poems considered here are directly related to the theme of the elements.Keywords: Brazilian visual poetry; concrete poetry; Bachelard; poetical imagination.
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Baymetov, Botir Boltabaevich, and Laylo Misoatova. "DEVELOPMENT OF CREATIVITY AND IMAGINATION OF SCHOOLCHILDREN IN FINE ARTS CLASSES." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 05 (May 30, 2021): 55–61. http://dx.doi.org/10.37547/philological-crjps-02-05-14.

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The article describes how visual activity contributes to the development of abstract thinking and specific, sensory experiences in schoolchildren, and in the process of the image, the child selects from the integral visual image proportions, color, silhouette, line as general and constant characteristics of the reality visually perceived by it.
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Montuori, Simone, Giuseppe Curcio, Pierpaolo Sorrentino, Lidia Belloni, Giuseppe Sorrentino, Francesca Foti, and Laura Mandolesi. "Functional Role of Internal and External Visual Imagery: Preliminary Evidences from Pilates." Neural Plasticity 2018 (2018): 1–8. http://dx.doi.org/10.1155/2018/7235872.

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The present study investigates whether a functional difference between the visualization of a sequence of movements in the perspective of the first- (internal VMI-I) or third- (external VMI-E) person exists, which might be relevant to promote learning. By using a mental chronometry experimental paradigm, we have compared the time or execution, imagination in the VMI-I perspective, and imagination in the VMI-E perspective of two kinds of Pilates exercises. The analysis was carried out in individuals with different levels of competence (expert, novice, and no-practice individuals). Our results showed that in the Expert group, in the VMI-I perspective, the imagination time was similar to the execution time, while in the VMI-E perspective, the imagination time was significantly lower than the execution time. An opposite pattern was found in the Novice group, in which the time of imagination was similar to that of execution only in the VMI-E perspective, while in the VMI-I perspective, the time of imagination was significantly lower than the time of execution. In the control group, the times of both modalities of imagination were significantly lower than the execution time for each exercise. The present data suggest that, while the VMI-I serves to train an already internalised gesture, the VMI-E perspective could be useful to learn, and then improve, the recently acquired sequence of movements. Moreover, visual imagery is not useful for individuals that lack a specific motor experience. The present data offer new insights in the application of mental training techniques, especially in field of sports. However, further investigations are needed to better understand the functional role of internal and external visual imagery.
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Ranasinghe, Prashan. "Refashioning vagrancy: a tale of Law's narrative of its imagination." International Journal of Law in Context 11, no. 3 (August 6, 2015): 320–40. http://dx.doi.org/10.1017/s1744552315000178.

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AbstractThis paper explicates the relation between vagrancy and public disorder, a relation constituted by a dialecticism that is at once (dis)continuous and (dis)connected. This relationship is important not only to appreciate the place of public disorder vis-à-vis contemporary urban public space and social life, but historical vagrancy as well. The paper examines the refashioning of vagrancy, paying attention to the semantic legal reformatting of its constitution and how this process permits the regulation of essentially the same historical problems and concerns by translating them into legally sound language, visible in the shift from vagrancy to public disorder. This shift was necessary not simply to preserve the vestiges of vagrancy, now conspicuous in public disorder, but for the preservation of the images of, and imaginations about, Law, including its claims to justice. Loosely taking its cue from the visual culture movement which pays homage to the place of images in the ordering of the social world, the paper invokes (and, then, conflates) the concepts of image and imagination and explicates the manner in which the images of, and imaginations about, Law spearheaded the transmutation of the legal category of vagrancy by re-imagining the vagrant, a re-imagining which itself was the product not just of the Law's imagination, but, imaginations about the Law as well. The paper concludes by locating the place of the image and imagination to propounding a narrative of, and about, Law.
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Fryer, Louise, Linda Pring, and Jonathan Freeman. "Audio Drama and the Imagination." Journal of Media Psychology 25, no. 2 (January 2013): 65–71. http://dx.doi.org/10.1027/1864-1105/a000084.

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Presence describes immersion in a mediated environment such that it seems unmediated. For people with visual impairment, audio description replaces missing visual information with a verbal commentary, transforming an audiovisual medium into audio. Media forms are more or less immersive, with audio-only at the bottom of the scale. Anecdotally, however, pictures are said to be better on radio. Sound effects may contribute by triggering vivid mental images. Yet the role of sound effects on presence has been little explored. The aim of this study was to test the influence of sound effects and visual experience on presence. Participants (N = 73) with full, some, or no sight reported presence levels for a scene from an audio drama presented with or without sound effects. Participants with full vision reported higher levels of ecological and spatial presence for dialogue and sound effects than for dialogue alone. For participants with impaired vision, sound effects made no significant difference to presence levels. This was a small, exploratory study. Sound effects increased two dimensions of presence for those with sight. For blind people, words alone provided a rich imaginative experience. This has positive implications for audio description, which necessitates dipping the soundtrack to insert descriptive commentary. It suggests sound effects have a key role in stimulating presence, but this is dependent on the sensory characteristics of the listener.
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Horn, A. "Imagination: Visual Culture and Identity since the 1940s." Screen 44, no. 2 (June 1, 2003): 229–34. http://dx.doi.org/10.1093/screen/44.2.229.

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Zhang, Chunjie, Jinwei Cai, and Wenshi Li. "Mini NIR Auricular BCI Based Visual Imagination Decoding." Journal of Physics: Conference Series 1069 (August 2018): 012137. http://dx.doi.org/10.1088/1742-6596/1069/1/012137.

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33

Markson, Lucy, and Kevin B. Paterson. "Effects of gaze-aversion on visual-spatial imagination." British Journal of Psychology 100, no. 3 (August 2009): 553–63. http://dx.doi.org/10.1348/000712608x371762.

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34

Spooner, Tom. "Resurrecting place: Visual representation and the poetic imagination." Journal of Illustration 7, no. 1 (August 1, 2020): 67–85. http://dx.doi.org/10.1386/jill_00025_1.

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With reference to an ongoing practice-based project, illustration in this article is considered for its capacity as an authorial practice able to complement and communicate ideas emanating from academic research. This article discusses the phenomenon of ‘place’, specifically, place as a lived concrete site comprising both physical and emotional phenomena and culminating in a meaningful experience of ‘being-in-the-world’. With particular reference to more marginal settings of everyday public experience, this article argues that as a result of current cultural phenomena relating to the economic and practical necessities of daily action, and historical developments in western thinking, place is an idea that is commonly obscured from daily experience. Through the teachings of phenomenology and early German romanticism, this article explores ideas that, through visual representation, meaningful notions of place can be resuscitated and transmitted between the illustrator and viewer. Further, through discussion of ideas emerging from postmodernism, conditions that affect our experience and expectations of place in the present are also addressed. Whilst place as a lived and meaningful totality is invariably informed by structures of subjectivity, visual representation is considered here, for its usefulness in appealing to meaningful, poetic dimensions of wider human experience.
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Cipriani, Roberto, and Emanuela C. Del Re. "Imagination and society: the role of visual sociology." Cognitive Processing 13, S2 (February 9, 2012): 455–63. http://dx.doi.org/10.1007/s10339-012-0433-4.

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Waade, Anne Marit. "Imagine Paradise in Ads." Nordicom Review 31, no. 1 (June 1, 2010): 15–33. http://dx.doi.org/10.1515/nor-2017-0118.

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Abstract Paradise has been a significant concept in tourism as well in consumer culture. The present article demonstrates how paradise is presented as visual, spatial and ideal concepts in ads, and how they illustrate imagination as a central communicative effect in marketing and consumer culture. Through an analysis of selected consumer and tourism ads for TV and cinema presented in Denmark, the author points out different ways of reflecting viewers’ imagination of paradise as a place and condition. The author outlines a theoretical framework for understanding imagination from a media-specific perspective as involving cognitive, emotional and sensuous processes, respectively, and looks at how paradise, as an active and present visual matrix in tourism and consumer communication, has a specific appeal to viewers’ imagination.
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Doyle, Denise. "Art, Virtual Worlds and the Emergent Imagination." Leonardo 48, no. 3 (June 2015): 244–50. http://dx.doi.org/10.1162/leon_a_00708.

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This paper presents a framework for the emergent imagination that arises out of the transitional spaces created in avatar-mediated online space. Through four categories of transitional space identified in artworks created in virtual worlds, the paper argues that, as the virtual remains connected to time, the imagination becomes connected to space. The author’s analysis of the imaginative effects of artworks presented in the two virtual (and physical) gallery exhibitions of the Kritical Works in SL project demonstrates a mode of artistic exploitation of the particular combination of user-generated and avatar-mediated space.
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Fox, Albertine. "The Auditory Imagination and the Polyphony of Listening: A Study of Chantal Akerman's South (1999)." Paragraph 43, no. 3 (November 2020): 265–80. http://dx.doi.org/10.3366/para.2020.0340.

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In this article I consider the presence of negative space in the form of imaginative listening spaces in Chantal Akerman's documentary South (1999). This article examines the workings of memory and imagination from an auditory perspective, aided by two conceptions of the imagination, set out by Hannah Arendt and Toni Morrison, which I equate to a process of listening. Focusing my attention on the ‘inverted face’ or ‘back’ of the face-to-face encounter, my study brings together Don Ihde's work on relative silence and the auditory imagination, Max Silverman's concept of ‘palimpsestic memory’ and Sara Ahmed's theorizing of a ‘politics of sides’. It suggests that a polyphonic mode of listening is required if the spectator is to see with doubled vision, beyond a racialized dichotomy, thereby gaining access to the ‘non-forms’ of hidden voices, stories and histories.
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Miftahul Jannah, Ahmad Fajian, Husin, Rizka Maulida, and Abdul Rashid bin Abdul Aziz. "DEVELOPING CHILDREN'S IMAGINATION THROUGH THE STORY METHOD." Proceeding of The International Conference on Economics and Business 1, no. 1 (November 22, 2022): 49–58. http://dx.doi.org/10.55606/iceb.v1i1.138.

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Nowadays there are many visual media or other media that influence children's imagination. Which causes a decrease in children's imagination. The child's imagination begins to decline, this is due to the existence of visual media that makes it easier for someone to tell a story through several pictures, or to show the events of a story directly. This study aims to develop children's imagination of stories read, heard, or stories told by someone, and direct them in a positive direction, not in a negative direction. The research method used is the library research method or library research. The results obtained from this study are that a child's imagination can be developed using the story method with a variety of structured stories, using language that is easy to understand, attractive illustrations and designed in such a way. And there are several things that need attention in the story so that it is in a positive direction and not in a negative direction. In developing a child's imagination, it is necessary to pay attention to several things related to the child's imagination, such as the characteristics of the child and some stories that do not contain elements of a sad story
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Sharma, Devika. "The Captive Imagination." Humanimalia 6, no. 2 (March 6, 2015): 85–110. http://dx.doi.org/10.52537/humanimalia.9913.

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Taking an outset in American artist Matthew Barney’s film Cremaster 2(1999), which is a part of the expansive work The Cremaster Cycle, this essay asks how notions of captivity reflect upon our concepts of inhumanity and animality. Captivity and confinement are in themselves favored themes of the popular imagination, but Barney’s speculative film suggests that notions of captivity also form part of the framework through which we imagine aspects of inhumanity and animality. Discussing the film in the light of contemporary theoretical reflections on what is commonly termed “the question of the inhuman” and “the question of the animal,” respectively, I understand the film to be a visual engagement with captivity and its significance for the discourses, images, and institutions that govern the boundaries of the human.
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Maulida, Sarah, and Muhamad Sofian Hadi. "Using Audio Visual Media to Improve English Learning Outcomes." Jurnal Studi Guru dan Pembelajaran 5, no. 1 (April 30, 2022): 11–15. http://dx.doi.org/10.30605/jsgp.5.1.2022.1297.

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Video recordings, slides, and sound are examples of audio-visual media. It is thought that learning to use audio visuals in English lessons will help students better understand the problems or lessons presented. Because listeners are encouraged to use their imagination and optimize their left and right brain function. Audio-visual media in the form of animated learning videos and power points are used in English subjects at SMK Grafika that are conducted online or online. The purpose of this study was to see if audio visuals could boost students' motivation and enthusiasm for learning during online classes.
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Kumar, Alok, and Minakshi Hooda. "WOMEN FIGURES IN FANTASY ART." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (March 16, 2022): 100–107. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.72.

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People say that “Never judge a book by its cover,” but the cover of the book invites us towards it. I remember, during my college years, of going to a bookstore, named” IDEA” in New Delhi, and buying an expensive book named “ENCHANTMENT” stories by Doris Vallejo, Illustrated by Boris Vallejo. The thing, that attracted me, was cover of the book. At that point of time, I was not prepared for reading stories, but I bought this book because of its illustrations, which enchanted me.In Fantasy Art, we see a visual world and feel a World of Imagination which is a representation of reality. In Fantasy art, we can time travel and become anything of our choosing. This is not the world, we know and live in, but a world of our conceived and perceived imagination.In this imaginative world, female figures, plays a key role in provoking our feelings, invite us, for a heroic journey to explore an unknown world.Through this article, I would like to invite you to join me, on a fantastic journey of this female representation in Visual World and become part of this Fantasy Artwork.To build the idea of FANTASY ART from a linguistic understanding following writings lead us on, the Meriam webster dictionary define art as “The conscious use of skill and creative imagination, especially in the production aesthetic objects; also; works to produce”.In Shabdkosh Hindi Dictionary, “The creation of beautiful or significant things”. “The product of human creativity; works of art collectively”.The definition, I listen in my college is “Art Is Representation of Reality”.Regardless of definition, we all know about what art is and what it is not.Dictionary meaning of word fantasy is “Imagination unrestricted by reality” and fantasy art meaning is, an imaginative world, that could be, may it be, would have been, or could never be. In this imaginative art style, the artwork which can be thought provoking, whimsical, challenging, disturbing, unreal, and challenging of notions of rationality.
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Naeem, Asma. "The Aural Imagination." American Art 24, no. 3 (October 2010): 14–17. http://dx.doi.org/10.1086/658205.

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Harold, James. "Flexing the Imagination." Journal of Aesthetics and Art Criticism 61, no. 3 (July 2003): 247–58. http://dx.doi.org/10.1111/1540-6245.00110.

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Trini, Tommaso, and Lucinda Byatt. "Imagination conquers the Earth." Art in Translation 12, no. 3 (July 2, 2020): 309–13. http://dx.doi.org/10.1080/17561310.2020.1876816.

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Geymonat, Ludovico V. "Drawing, Memory and Imagination in the Wolfenbüttel Musterbuch." Medieval Encounters 18, no. 4-5 (2012): 518–83. http://dx.doi.org/10.1163/15700674-12342118.

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Abstract The Wolfenbüttel Musterbuch (Cod. Guelf. 61.2 Aug. 8°, fols. 75-94, Herzog August Bibliothek, Wolfenbüttel, Germany) is considered a crucial example of a medieval modelbook. The collection of drawings contained within its pages has long been identified as key evidence for the transmission of artistic motifs between Byzantium and western Europe in the thirteenth century. Offering an in-depth analysis of the drawings and the quire that contains them, the present article suggests that the drawings were made with the purpose of working through visual representations that the draftsman found intriguing and that he sketched in order to train his own hand, memory and imagination. This hypothesis challenges some of the assumptions behind the category of medieval modelbooks as a means of faithfully reproducing images so that they can be further copied in another context. If the main goal of the drawings in Wolfenbüttel was that of enriching the draftsman’s visual memory and exploring imaginative possibilities, their value as reproductions might have been marginal, but their role as means of cross-cultural encounter was decisive.
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Gotera, Vicente F., and Yusef Komunyakaa. "Killer Imagination." Callaloo 13, no. 2 (1990): 364. http://dx.doi.org/10.2307/2931712.

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Maillet, Arnaud, Phoebe Prioleau, and Elaine Briggs. "Kaleidoscopic Imagination." Grey Room 48 (July 2012): 36–55. http://dx.doi.org/10.1162/grey_a_00079.

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Jirjis Nehme, Akram, and Ahmed Naima Obaid. "Visual effects in contemporary animation design." Al-Academy, no. 106 (December 15, 2022): 407–30. http://dx.doi.org/10.35560/jcofarts106/407-430.

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The current research, tagged (visual effects in contemporary animation design), discussed visual effects, creative imagination, design idea, and the employment of animation in graphic design using typographic units. Through the methodological framework, the researcher found his research problem clear through the following question: What are the visual effects in animation design contemporary?The importance of the research is seeking to clarify the design concepts that will enhance the concept of technical development of software, the active contribution in consolidating the idea of dealing with those influences and modalities that guarantee positive results in achieving the applied aspects in their functional and aesthetic dimensions.The aim of the research is to identify the visual effects in contemporary animation design.The objective limits of research is the study of visual effects in the design of contemporary animation. The spatial limitation is the visual effects used in MBC Iraq.In the period from 2019-2021. The most important terms mentioned in the title were identified. The theoretical framework in the first topic dealt with the concept of visual effects and creative imagination in the design idea.The second topic is the employment of animation and typographic units in graphic designThe most important indicators that resulted from the theoretical framework were concluded, and the researcher did not find a previous study that was close to or converged with the current study.1- The sample appeared expressive of visual effects in animation through imagination, idea and design.2- The designers used the typographic units appropriately (image, shapes and text).3- Animation was used to establish the functional and aesthetic dimension4- The design elements and foundations had an important and effective role in distributing the design vocabulary and exploiting the dynamic space.And he drew conclusions from it1- The imagination and design ideas were clear through the role of the visual effect in the moving partitions2- The use of vocabulary and typographic elements was expressive of the intellectual and aesthetic content3- The rhythmic and dynamic organization of the elements and the method of their distribution had a role in creating a high-performance visual effectThe researcher recommended taking advantage of the results of this study to enhance the visual effects in the design of contemporary animation, which has taken a large part in the fields of making introductions and visual breaks to focus the importance of graphic design in society.The researcher suggested conducting studies on the following:1- Implications of graphic techniques on visual effects3- Functional data for visual effects in graphic design
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Friedman, Dawn, and Clifford A. Pickover. "Computers and the Imagination: Visual Adventures beyond the Edge." Leonardo 25, no. 3/4 (1992): 386. http://dx.doi.org/10.2307/1575867.

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