Bibliographies thématiques / Visual imagination

Littérature scientifique sur le sujet « Visual imagination »

Auteur : Grafiati
Publié le 11 mars 2023

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Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Visual imagination ».

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Articles de revues sur le sujet "Visual imagination"

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

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Fontaine, Philippe. « Kenneth Boulding’s Visual Imagination ». History of Political Economy 53, no 2 (1 avril 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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Barinaga, M. « NEUROBIOLOGY:Shedding Light on Visual Imagination ». Science 284, no 5411 (2 avril 1999) : 22a—22. http://dx.doi.org/10.1126/science.284.5411.22a.

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

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

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

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Stadler, Jane. « Imitation of Life : Cinema and the Moral Imagination ». Paragraph 43, no 3 (novembre 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, et Kate Flint. « The Victorians and the Visual Imagination ». Modern Language Review 96, no 4 (octobre 2001) : 1055. http://dx.doi.org/10.2307/3735879.

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Thèses sur le sujet "Visual imagination"

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Ayers, Drew R. « Vernacular Posthumanism : Visual Culture and Material Imagination ». Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.

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Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery.
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Miyapuram, Krishna Prasad. « Human neuroimaging of visual presentation and imagination of reward ». Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611283.

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Chow, Olivier. « The cruel imagination : visual politics of cruelty in contemporary culture ». Thesis, SOAS, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499991.

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This thesis deals with cruelty, its representation and its underlying symbolic and political subtext on a psychic as well as on a social level. The perspective that will be adopted within this research is one with a strong emphasis on French theory, psychoanalysis and continental philosophy. This research provides an interface between philosophy and the visual through the angle of cruelty. The central hypothesis of this thesis is that cruelty is an archaic and transversal phenomenon which, while it finds many local, individual and specific expressions throughout cultures and histories, nevertheless indexes a global resonance of pain, desire, death and obscene enjoyment. Cruelty operates a return to the body, a return to desire, a return to archaic beliefs and representations. Cruelty is also an act of mediation between self and other, a relation where the other is integrated through destruction. This power-relation of cruelty is highly political in the sense that it inevitably begs questions of sovereignty and subjection. This power-relation survives in our imagination, contemporary culture and politics under very specific forms, psychic as well as collective figures, postures, enactments, sensations and movements. The objective of this thesis is thus to analyse the trans-cultural and trans-historical visual politics of cruelty.
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Howe, Sarah Louise. « Literature and the visual imagination in Renaissance England, 1580-1620 ». Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609769.

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Konoshima, Nanako. « Dickens and the Visual Arts : Literary Imagination and Painted Image ». 京都大学 (Kyoto University), 2014. http://hdl.handle.net/2433/189331.

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Curtis, John Gerard. « Traces of the visual imagination : image and word in Victorian England ». Thesis, University of Essex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282460.

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Snell, Edgar William. « Close focus : interpreting Western Australia’s visual culture ». Thesis, Curtin University, 2011. http://hdl.handle.net/20.500.11937/2309.

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Distance from the centres of world art and from national hubs of creative practice provides both opportunities and constraints for Western Australian visual artists. Informed but isolated, they have learned to direct the lens shaped by received ideas onto the extraordinary natural environment they inhabit. Regional perspectives influence this act of re-focusing, which is inflected by local knowledge and personal experience in a process of reinvention and re-imagination that has escalated since the Second World War.The objective of this PhD by supplication is to situate my practice as an art historian, critic and curator within the broader context of Australian visual culture and to examine how the process of assimilation, described by George Seddon as taking 'imaginative possession', has contributed to our understanding of local identity within the wider framework of a national identity.In my writing and through my activity as a curator of exhibitions over the past two decades, I have identified the importance of local conditions in generating a critical, regional practice and I have shown how imported ideas have been absorbed, modified and accommodated within the work of the State’s leading artists to create a vibrant sense of regional identity that makes a significant contribution to our understanding of a wider and more comprehensive view of cultural practice in Australia.
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Clarkson, Jonathan. « The theory of fantasy and the visual imagination in the English school of psychoanalysis ». Thesis, University of Essex, 1997. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690040.

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Allred, Sarah R. « The Neural basis of visual object perception / ». Thesis, Connect to this title online ; UW restricted, 2006. http://hdl.handle.net/1773/10645.

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Coles, T. J. « The knotweed factor : non-visual aspects of poetic documentary ». Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8716.

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This thesis is an inquiry into the creative processes of poetry and poetic expression in documentary. The practice-based element is a 60 minute video about a poet living in Exeter, UK, called James Turner. The documentary is entitled, The Knotweed Factor. This written element of the thesis contextualises the investigation as a discourse on blindness and visual impairment. There are few representations of blindness and/or visual impairment (VI) in The Knotweed Factor. Rather, the documentary is concerned with how visual information (e.g., filming a poet) is translated non-visually (e.g., the sound of the poem being recited). It also addresses the issue of how the non-visual is translated into the visual. I argue in this text that blindness/VI is marginalised in visual studies/culture. This is unfortunate because blindness/VI studies provides valuable context for understanding the dynamics of sound and vision in creative media, which is a central concern of The Knotweed Factor. The rationale for taking this approach is as follows: During the editing, it was noticed that Turner (who is sighted) provides a kind of unprompted audio description (AD) of events in his environment to the audience, as if he is participating in a radio documentary. This raised questions, not only about the ekphrastic possibilities of his technique, but also about the potential to contextualise such scenes as a disquisition on blindness/VI. Blindness/VI is an important and under-theorised element of visual studies/culture (VS/C). Many films, plays, animations, documentaries, and television programmes are audio described. AD enables the blind/visually impaired (also VI) to comprehend and enjoy visual action. It is suggested here that AD theory is an insufficient model for critically reflecting on the creative processes in The Knotweed Factor. This is because the field is presently more concerned with practicability than with aesthetics. It seemed more helpful to address the broader question of how blindness/VI is positioned in VS/C. Doing so has highlighted instances of exclusion and marginalisation in VS/C. In the course of the video production, it was discovered that the interaction of dreams, memories, and ideas (the mindscape) informs the temporal creative process. Most analytical models within VS/C (e.g., Deleuze) offer a dialectical approach to understanding creativity. Henri Bergson, however, proposes a theory of multiplicity, which considers the interplay of phenomenological creativity of the mindscape as a homogenous, multifaceted process, in place of a dialectical one. Martha Blassnigg interrogates Bergson’s responses to audiovisual media and argues that Bergson’s multiplicity formula is more useful for understanding these processes, both for artist and audience. Blassnigg interprets Bergson’s theory as a universality of idea communication. This thesis considers what the universality of audiovisual experience implies for blindness/VI studies. It does so by contextualising the written research as a discourse on VS/C. In The Knotweed Factor, the emotions, sounds, and visual ideas, memories, and dreams which inform James Turner’s creativity are conveyed to the audience in two ways: 1) By sound (Turner’s recitations, interviews, and conversations), and 2) by the documentary’s abstracted audiovisualisations of Turner’s poetry and mindscape. For Turner, the ‘image’ is a personalised, innate phenomenon. It is ephemeral, intangible imagination. Turner’s experience (audiovisualised in The Knotweed Factor) is compared in this written part of the thesis to pre-Socratic ideations of image-making. It is argued that for many cultures, the image was (and for some remains) an emanation of spirit or idea. In other words, the image was considered a transcendent force, and the ‘soul’ of the image eternal and universal. This transcendence is considered in this written element of the thesis as a bridge between the present academic gap in the fields of blindness/VI studies and visual studies/culture. In this text, The Knotweed Factor serves as a case-study to test how non- and minimal-visual elements of audiovisual art and media are positioned in VS/C. Constructed here is a history of the interpretation of blindness and the image, from pre-Socratic aesthetics to the Enlightenment, where ideas concerning the phenomenology of blindness and visual impairment were transformed into epistemological inquiries. This approach enables the researcher to reflect critically on the aesthetics of The Knotweed Factor, using the framework of the non-visual (in this case recited poetry) to test and interrogate the visual (i.e., ‘poetically’ visualised poetry).
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Livres sur le sujet "Visual imagination"

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Shelley's visual imagination. Cambridge : Cambridge University Press, 2011.

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Visual imagination : An introduction to art. Englewood Cliffs, N.J : Prentice-Hall, 1987.

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The Victorians and the visual imagination. Cambridge : Cambridge University Press, 2000.

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Image und Imagination. Oberhausen : Athena, 2011.

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T, Christ Carol, et Jordan John O, dir. Victorian literature and the Victorian visual imagination. Berkeley : University of California Press, 1995.

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Pickover, Clifford A. Computers and the imagination : Visual adventures beyond theedge. Stroud : Alan Sutton, 1991.

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Pickover, Clifford A. Computersand the imagination : Visual adventures beyond the edge. New York : St. Martin's Press, 1991.

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Play : Sports, games, toys, imagination. New York : Abbeville Kids, 1999.

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Chris, Foges, et Imagination Limited, dir. Imagination. London : Phaidon, 2001.

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Pickover, Clifford A. Computers and the imagination : Visual adventures beyond the edge. New York : St. Martin's Press, 1991.

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Chapitres de livres sur le sujet "Visual imagination"

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Kommers, Piet. « Visual Imagination ». Dans Springer Texts in Education, 369–81. Cham : Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-88903-6_25.

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Hughes, Michael, et Marian Tye. « Masking tape, mats and imagination ». Dans Visual Spatial Enquiry, 83–97. New York : Routledge, 2019. | Series : Routledge research in architecture : Routledge, 2018. http://dx.doi.org/10.4324/9781315182766-6.

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Wilcox, Timothy. « Embodying Failures of the Imagination ». Dans Cyberpunk and Visual Culture, 21–34. New York : Routledge, 2018. : Routledge, 2017. http://dx.doi.org/10.4324/9781315161372-3.

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Chatterji, Roma. « Myths and the Visual Imagination ». Dans Seeing South Asia, 93–109. London : Routledge India, 2022. http://dx.doi.org/10.4324/9781003276753-7.

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Olin, Margaret. « Attentiveness and Visual Imagination in Looking and Photographing ». Dans Photography and Imagination, 118–32. New York, NY : Routledge, 2020. | Series : Routledge history of photography : Routledge, 2019. http://dx.doi.org/10.4324/9780429457005-8.

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Richardson, Alan. « Individual Differences in Visual Imagination Imagery ». Dans Individual Differences in Conscious Experience, 125. Amsterdam : John Benjamins Publishing Company, 2000. http://dx.doi.org/10.1075/aicr.20.07ric.

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Gana, Nouri. « Visual dissidence and postcolonial Tunisian film ». Dans Futurism and the African Imagination, 166–82. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003179146-11.

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Lusebrink, Vija Bergs. « Active Imagination, Guided Daydreams, and Dreams ». Dans Imagery and Visual Expression in Therapy, 141–65. Boston, MA : Springer US, 1990. http://dx.doi.org/10.1007/978-1-4757-0444-0_7.

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Panciroli, Chiara, Laura Corazza et Anita Macauda. « Visual-Graphic Learning ». Dans Proceedings of the 2nd International and Interdisciplinary Conference on Image and Imagination, 49–62. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41018-6_6.

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Forcucci, Luca. « Sonic Imagination : Body, Visual Mental Imagery, and Nomadism ». Dans Sounds from Within : Phenomenology and Practice, 197–248. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72507-5_9.

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Actes de conférences sur le sujet "Visual imagination"

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Brown, Paul. « Reality versus imagination ». Dans ACM SIGGRAPH 92 Visual Proceedings. New York, New York, USA : ACM Press, 1992. http://dx.doi.org/10.1145/131340.260549.

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Tarallo, Donald. « Instigating Imagination ». Dans AVI '16 : International Working Conference on Advanced Visual Interfaces. New York, NY, USA : ACM, 2016. http://dx.doi.org/10.1145/2909132.2926056.

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Kmetova, Maria. « INTUITION, IMAGINATION AND VISUAL EVIDENCE IN GEOMETRY ». Dans 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.1356.

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An, Hyogyun, Huiju Kim, Hyuntae Park et Victoire Cyrot. « Perceptual-IQ : Visual Commonsense Reasoning about Perceptual Imagination ». Dans 2022 IEEE International Conference on Big Data (Big Data). IEEE, 2022. http://dx.doi.org/10.1109/bigdata55660.2022.10020633.

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Bedek, Michael A., Alexander Nussbaumer, Eva-C. Hillemann et Dietrich Albert. « A Framework for Measuring Imagination in Visual Analytics Systems ». Dans 2017 European Intelligence and Security Informatics Conference (EISIC). IEEE, 2017. http://dx.doi.org/10.1109/eisic.2017.31.

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Xu, Xiaoxiao, Zhiling Wang et Zonghai Chen. « Visual Tracking Model Based on Feature-Imagination and Its Application ». Dans 2010 International Conference on Multimedia Information Networking and Security. IEEE, 2010. http://dx.doi.org/10.1109/mines.2010.83.

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Lin, Xiao, et Devi Parikh. « Don't just listen, use your imagination : Leveraging visual common sense for non-visual tasks ». Dans 2015 IEEE Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2015. http://dx.doi.org/10.1109/cvpr.2015.7298917.

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Chu, Sharon Lynn, et Francis Quek. « The effects of visual contextual structures on children's imagination in story authoring interfaces ». Dans IDC'14 : Interaction Design and Children 2014. New York, NY, USA : ACM, 2014. http://dx.doi.org/10.1145/2593968.2610484.

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Lengler, Ralph, et Andrew Vande Moere. « Guiding the Viewer's Imagination : How Visual Rhetorical Figures Create Meaning in Animated Infographics ». Dans 2009 13th International Conference Information Visualisation, IV. IEEE, 2009. http://dx.doi.org/10.1109/iv.2009.102.

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Caetano, João Manuel, et Rosa Maria Oliveira. « Illustration and childhood imagination : narrative paths through the image in books for children ». Dans 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo : Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-21.

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Rapports d'organisations sur le sujet "Visual imagination"

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

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

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