Bibliographies thématiques / Pictorial Experience

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Littérature scientifique sur le sujet « Pictorial Experience »

Auteur : Grafiati
Publié le 9 mars 2023
Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Pictorial Experience"

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Yang, Min Jeong. « Pictorial Experience and Imagining ». Mihak - The Korean Journal of Aesthetics 87, no 1 (30 mars 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 (septembre 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 (1 avril 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 (1 janvier 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, et 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 (18 octobre 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 (mars 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 (octobre 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 (15 décembre 2010) : 709–31. http://dx.doi.org/10.1111/j.1468-0068.2010.00800.x.

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Thèses sur le sujet "Pictorial Experience"

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Brady, Emily Suzanne. « The beholder's share : pictorial representation and imagination ». Thesis, University of Glasgow, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319954.

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Hutchinson, Laura Anne. « Seeing as sensing : the structuring of bodily experience in modern pictorial art ». Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/34556/.

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Two main arguments are developed in this thesis: first is the claim that our ability to make and understand representational pictures has a natural basis in our capacity to see. In this respect, I have drawn on the ideas of the visual scientist, David Marr and on the theory of representation expounded by John Willats. Second, I argue that the view articulated by these theorists forms a theoretical backdrop for, but does not satisfactorily explain, how pictures may heighten our sense of bodily presence. A central aim of this thesis is therefore to show how this mode of expression is also non-arbitrarily linked to the process of seeing by virtue of its relationship with our visuomotor capacities. In order to give substance to these ideas, I have attempted to weave together knowledge of art history with neuropsychological evidence and phenomenological philosophy. In applying this view to the work of particular artists, I have largely focussed on the oeuvre of Cézanne and the Cubists. However, the general form of this argument is intended to have wider implications, indicating the development of a stylistic tendency in modern art and showing how it differs from that of the Renaissance tradition. In conclusion, my thesis expresses the view that vision – and hence representation – can be divided along two separate lines: one related to a conceptual form of seeing and the other related to a bodily form of perception. The "crisis of representation" in the late nineteenth century is therefore considered indicative of a rejection of the former mode of visuality. Instead, modern artists are said to re-structure the viewing experience so that it shows the reliance of sight on the body, thus permitting the beholder a more active and constitutive role in the perception of art.
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Gardner, Jason. « Experience and Pictorial Representation : Wollheim's Seeing-in and Merleau-Ponty's Perceptual Phenomenology ». Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/42794.

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Contemporary aesthetics includes a project directed at understanding the nature of pictorial representation. Three types of theories enjoy recent favor. One explains pictorial representation by way of resemblance or experienced resemblance between the picture and what it represents. A second employs interpretation: the spectator looks at a picture and interprets conventionally determined symbols found therein to mean what it represents. The third describes pictorial representation as a matter of experience. On this approach, when the spectator looks at a picture she has a visual experience of the thing represented. Key components of representation include the representation bearing artifact and the human activity that produces it. An adequate account of pictorial representation must neglect neither. Theories focusing on resemblance fail to account for the human role in representation so that a picture may represent only what it can resemble. Theories making interpretation of conventional symbols the key fail to account for the role visible properties play in grounding representation. Wollheimâ s experience based theory, however, unifies the visible properties of the artifact and the intentions of the artist in a single experience, called seeing-in, whereby a spectator sees in a picture what an artist intends to represent. Wollheim fails to specify just how visible properties of the artifact ground seeing-in. His account of seeing-in raises other curiosities as well. These issues can be dealt with if we apply phenomenological concepts developed by Merleau-Ponty in his Phenomenology of Perception to our experience of pictures as a method of enriching Wollheimâ s account of seeing-in.
Master of Arts
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MARCHETTI, LUCA. « DEPICTING MOTION IN STATIC IMAGES. A PHILOSOPHICAL INQUIRY ». Doctoral thesis, Università degli Studi di Milano, 2022. https://hdl.handle.net/2434/946903.

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In my thesis, I deal with the rarely discussed issue of whether motion can be depicted in static images and I provide a novel, and composite, view on the matter. Part I focuses on whether various pictures usually considered to be effective in representing motion are, actually, proper depictions of motion. Part II takes up two issues concerning distinctive aspects of depiction as a peculiar kind of representation – pictorial realism and inflection - and considers them in light of motion depiction and vice versa. In the first chapter, I focus on pictures that depict objects caught in the middle of dynamic actions, and, building on psychological studies on implied motion, I argue they can properly depict motion. In fact, I maintain, motion is part of the perceptual content of our experience of such pictures – and, hence, of their figurative content - even in the absence of motion-like phenomenology. In the second chapter, I deal with various devices exploited in different pictorial styles – such as comics’ motion marks or multiple images - and argue that some of them are actual depictions of aspects of our experiences of motion since they elicit recognition responses for actual optical effects we can experience in real-life situations when tracking fast-moving objects. In the third chapter, I discuss long exposure photographs resulting in streaky images, chronophotographs, and futurists’ paintings and argue we do not interpret them pictorially, but that to understand the temporal content of such images we pretend: we play games of make-believe using what we properly see in the picture – which is what is properly depicted – as a prop. In the fourth chapter, I consider two cases of optical illusions of movement - Op art’s scintillating effects and peripheral drift illusions - and conclude that one of them, the latter, is involved in the depiction of movement. All the accounts developed in the first part have profound consequences for thinking about the nature of pictures and pictorial experience – in particular, they often act as stress tests for different theories of depiction. In the first chapter of the second part, I then argue that various instances of both depicted and merely represented motion analyzed in the previous part enlighten different aspects of the concepts of pictorial realism (and unrealism); furthermore, I show how, vice versa, existing accounts of realism make the limits of motion depiction manifest. Finally, I argue there is a sense in which we can say that motion – or, better, the sense(s) of motion - can be inflected in static pictures: this analysis, on the one hand, expands the notion of inflection and its reach, and, on the other, gives a framework for analyzing the relationships between what has often been acknowledged to be a central aspect of our aesthetic appreciation of pictures – their dynamism – and pictorial experience – intended as seeing-in.
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Taylor, Jeannine M. « A Hermeneutic Inquiry of Counselors' Experiences in the Use of Pictorial Narratives ». Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1586875445042165.

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Stewart, Heather, et heather stewart@deakin edu au. « Beyond the analogon ; the 'transfer of the referent' :bthe relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referents ». Deakin University, 1994. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20071120.120343.

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Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.
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JOLLY, ANTOINE. « Spectres d'absorption de la molecule de co dans le vuv : experiences de laboratoire et observations du disque de -pictoris ». Paris 11, 1999. http://www.theses.fr/1999PA112037.

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Grace aux observatoires spatiaux comme le telescope spatial hubble (hst), co peut etre detecte dans le milieu interstellaire par ses absorptions dans l'ultraviolet du vide (vuv). La densite colonne, la temperature et la vitesse de turbulence peuvent etre determines si les forces d'oscillateur des transitions observees sont connues. Le travail presente ici avait pour but initial de mesurer les forces d'oscillateur des bandes de la transition a(v)x(v) de co pour atteindre les niveaux vibrationnels plus eleves et reduire les contradictions entre les differentes valeurs disponibles. Une premiere experience de photoabsorption a haute resolution avec un laser vuv a permis de lever une grande partie des incertitudes pour 9
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Hwang, Ju-Yeon. « Réalisme pictural : pour une étude anthropo-comparative transculturelle sur l'expérience esthétique ». Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH051.

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Le réalisme pictural peut être conçu, par-delà la pensée ontologique dualiste, comme expérience perceptive cognitive du spectateur d’avoir l’impression de voir le « réel » dans une configuration imagée picturale. Cette impression de réel n’est pas illusoire, mais subjectivement factuelle, sans être nécessairement consciente. Elle pourrait résulter de la facilité perceptive ou de la fluidité opérationnelle du processus perceptif cognitif. Lorsque l’activité perceptive cognitive opérante dans l’expérience du réalisme pictural est régulée par la valence hédonique immanente à cette fluidité opérationnelle sous-jacente à l’impression de réel, cette expérience « subjective » peut être également « esthétique » pour cette autosuffisance fonctionnelle de la « conduite cognitive » du spectateur. Cependant, l’expérience du réalisme pictural comporte une dimension anthropo-transculutrelle, comme on peut le constater notamment dans les récits littéraires des spectateurs coréens du 18e siècle qui illustrent leurs expériences visuelles des peintures occidentales « illusionnistes » réalisées par des missionnaires jésuites à Pékin. La culture est néanmoins opérante dans l’expérience « esthétique » du réalisme pictural. Son effet est double. D’une part, la culture fonctionne comme une des variables de la fonction complexe de l’apprentissage perceptif qui pourrait modifier la dynamique du processus perceptif cognitif ainsi que l’attention perceptive visuelle. D’autre part, elle pourrait opérer un effet dans la valence hédonique globale en participant à la modélisation de l’« affect idéal » distingué de l’« affect effectif »
The pictorial realism can be conceived, beyond ontological dualistic thought, as beholder’s perceptual cognitive experience to have the impression of seeing the “real” in a picture. This impression or feeling of real is not illusory, but subjectively factual, without being necessarily conscious. It may result from perceptual easiness or from perceptual cognitive processing fluency. When the perceptual cognitive activity working in the pictorial realism experience is regulated by hedonic valence immanent in this processing fluency that underlies the impression of real, this subjective experience can also be “aesthetic” by functional self-sufficiency of beholder’s “cognitive conduct”. However, the experience of pictorial realism contains an anthropo-transcultural dimension, as we can observe especially in the stories written by 18th century Korean beholders, which illustrate their visual experiences of the western “illusionist” paintings produced by jesuit missionary painters in Beijing. Nevertheless, the culture comes into play in the “esthetic experience” of pictorial realism. Its effect is double. On the one hand, the culture acts as one of the variables of the complexe function of perceptual learning which could make difference in the perceptual cognitive processing dynamics and in the visual or perceptual attention. On the other hand, the culture might influence the global state of hedonic valence by participating in the modeling of “ideal affect” distinguished from “actual affect”
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Noordhuis-Fairfax, Sarina. « Field | Guide : John Berger and the diagrammatic exploration of place ». Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.

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Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.
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Livres sur le sujet "Pictorial Experience"

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Marais, Anna Louise. Etosha experience. Windhoek : Gamsberg Publishers, 1995.

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Galvin, Kathryn E. A Québec experience. Edmonton : Arnold Pub., 1991.

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Rowing : The experience. Philadelphia, PA : Boathouse Row Sports, 1988.

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An African experience. Halfway House : Southern Book Publishers, 1993.

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M, Jeffery Betty, MacRae Allan J, MacRae Allan J et Alberton Millennium Committee (Alberton, P.E.I.), dir. Alberton and area : A pictorial experience through time. Alberton, P.E.I : Alberton Historical Preservation Foundation, 2000.

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The Italian experience in America : A pictorial history. Scranton, PA : University of Scranton Press, 2005.

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Carter, Smith C., dir. The Black experience. New York : Facts on File, 1990.

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Reichman, Louis C. The Orange County experience. Sous la direction de Cardinale Gary et LeRoque Roger C. Temple City, Ca : Pacific Shoreline Press, 1987.

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Illawarra experience : Wollongong, Shellharbour, Kiama. Crows Nest [N.S.W.] : Kingsclear Books, 1993.

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Shahidan, Mohd Fairuz. Melaka sketching through experience. Serdang : Universiti Putra Malaysia Press, 2016.

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Chapitres de livres sur le sujet "Pictorial Experience"

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Zeimbekis, John. « Pictorial Experience and Perceptual Activity ». Dans The Pleasure of Pictures, 93–106. 1 [edition]. | New York : Taylor & Francis, 2018. | Series : Routledge research in aesthetics ; 4 : Routledge, 2018. http://dx.doi.org/10.4324/9781315112640-6.

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Bantinaki, Katerina. « Stylistic Deformity and Pictorial Experience ». Dans The Pleasure of Pictures, 125–44. 1 [edition]. | New York : Taylor & Francis, 2018. | Series : Routledge research in aesthetics ; 4 : Routledge, 2018. http://dx.doi.org/10.4324/9781315112640-8.

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Mion, Regina-Nino. « Threefold Pictorial Experience and Aesthetic Attitude ». Dans The Pleasure of Pictures, 107–24. 1 [edition]. | New York : Taylor & Francis, 2018. | Series : Routledge research in aesthetics ; 4 : Routledge, 2018. http://dx.doi.org/10.4324/9781315112640-7.

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Remond, Jaya. « The Pictorial Idioms of Nature ». Dans Premodern Experience of the Natural World in Translation, 273–96. New York : Routledge, 2022. http://dx.doi.org/10.4324/9781003258704-22.

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Preston, D. F., S. J. Dwyer, W. H. Anderson, K. S. Hensley, L. T. Cook, S. L. Fritz et Joy A. Johnson. « Experience with a Prototype PACS System in a Clinical Environment ». Dans Pictorial Information Systems in Medicine, 357–67. Berlin, Heidelberg : Springer Berlin Heidelberg, 1986. http://dx.doi.org/10.1007/978-3-642-82384-8_12.

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Voltolini, Alberto. « Pictorial Experience and Aesthetic Appreciation:Wollheim Reassessed and Vindicated ». Dans The Pleasure of Pictures, 75–92. 1 [edition]. | New York : Taylor & Francis, 2018. | Series : Routledge research in aesthetics ; 4 : Routledge, 2018. http://dx.doi.org/10.4324/9781315112640-5.

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Aßmann, K., R. Venema et K. H. Höhne. « Software Tools for the Development of Pictorial Information Systems in Medicine - The ISQL Experience - ». Dans Pictorial Information Systems in Medicine, 333–56. Berlin, Heidelberg : Springer Berlin Heidelberg, 1986. http://dx.doi.org/10.1007/978-3-642-82384-8_11.

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Carrasco, Magdalena. « 2. Sanctity and Experience in Pictorial Hagiography : Two Illustrated Lives of Saints from Romanesque France ». Dans Images of Sainthood in Medieval Europe, sous la direction de Timea Szell, 33–66. Ithaca, NY : Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501745508-004.

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Kapoor, Vinay K. « Institutional Experiences in Gall Bladder Cancer ». Dans A Pictorial Treatise on Gall Bladder Cancer, 287–312. Singapore : Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-5289-2_18.

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Abdulcadir, Jasmine, Noémie Sachs Guedj, Michal Yaron, Omar Abdulcadir, Juliet Albert, Martin Caillet, Lucrezia Catania et al. « Assessing the Infant/Child/Young Person with Suspected FGM/C ». Dans Female Genital Mutilation/Cutting in Children and Adolescents, 3–14. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-81736-7_1.

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AbstractFemawle Genital Mutilation/Cutting (FGM/C) comprises all procedures that involve partial or total removal of the external female genitalia or injury to the female genital organs that are medically unnecessary (i.e. performed primarily for cultural or religious reasons), especially when done without the consent of the affected person. Such procedures are usually carried out in infancy or childhood and, most often before the age of 15. Although some pictorial and training tools are available, existing literature focuses primarily on adults. The signs of FGM/C particularly in prepubertal girls, can be subtle and depend on the type as well as on the experience of the examiner. The health care provider (HCP) should be trained to be familiar with, and able to identify a wide range of both modified and unmodified genitalia, as well as findings that may superficially look like FGM/C but actually reflect the normal range of genital anatomy. Knowledge of FGM/C types and subtypes, as well as complications and differential diagnoses of physical findings, are critical. We present a reference guide and atlas containing iconographic material of both the pre- and post-pubertal external female genital area with and without genital cutting/alteration. Our purpose is to facilitate training of health care professionals in making accurate diagnoses, providing appropriate clinical management, ensuring culturally informed/sensitive patient–provider communication, and accurate recording and reporting to child welfare/law enforcement agencies, where required.
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Actes de conférences sur le sujet "Pictorial Experience"

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Frasca, Roberto, Antonio Mazzeo, Davide Pantile, Matteo Ventrella et Giovanni Verreschi. « Innovative systems for the enjoyment of pictorial works the experience of Gallerie dell'Accademia Museum in Venice ». Dans 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413899.

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Mitrović, Aleksandar. « VIRTUAL ART MUSEUM AS EDUCATIONAL CONTENT ICT IN TEACHING FINE ARTS (THEORETICAL ASPECT) ». Dans SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.417m.

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The educational goal of teaching fine arts is to adopt visual literacy and visual expressiveness. Learning by means of information and communication technologies (ICT) involves the use of digital devices for the effective and creative extension of knowledge. The production of electronic educational materials is increasing daily, and thanks to the Internet, it is available on almost all ICT devices. In this paper virtual museums are presented as educational contents of ICT in the teaching of fine arts, as well as their method of application in teaching. The contents presented by virtual museums provide an interactive and non- interactive method of learning and exploration. The interactive educational content of virtual museums is often in the form of educational applications or websites that can be found on ICT and have well-intended educational goals. The contemporary approach and use of ICT in the teaching of fine arts provides new learning opportunities that focus on the aesthetic experience and theoretical aspect of visual content. Given that it takes less time to adopt pictorial content than to adopt verbal content, today’s approach to fine arts education involves the use of ICT.
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Le, Huy, Minh Nguyen et Wei Qi Yan. « CSPM : A Novel Curtain Style Pictorial Marker for Enhancing Augmented Reality Experiences ». Dans 2018 International Conference on Image and Vision Computing New Zealand (IVCNZ). IEEE, 2018. http://dx.doi.org/10.1109/ivcnz.2018.8634697.

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