Дисертації: "Visual imagination"

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Johnston, John. "Critical visual arts education : a pedagogy of conflict transformation in search of the 'moral imagination'." Thesis, University of Sunderland, 2018. http://sure.sunderland.ac.uk/9661/.

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The following portfolio is representative of my own artistic practice that combines the role of artist, educator, peace worker and researcher into one entity. The works are drawn from a back catalogue of fifty plus collaborative arts projects that has engaged with individuals and communities in different locations over the past twenty years. These works have been delivered within formal and informal educational settings. While each piece can be read as an individual artwork – collectively they talk to common issues related to visual art practice, public pedagogy and conflict transformation. I have identified four consistent themes present in the work Social Justice, Human Rights, Development Education, Democratic Education, Inclusion and Identity. My practice can be described as a socially engaged art practice. However, while I pay close attention to the aesthetics and artistic impression of my work, I place a primary importance on education by asking a simple question which often provides a myriad of highly complex answers. I ask - What is being learned? I have worked with children, young people and others who live in the midst of socio-political conflict or in societies affected by underdevelopment. This combination of experiences has enabled me to forge a deep understanding of the role of identity politics in the construction of division and conflict. I have developed what I choose to call a problem posing1 visual arts pedagogy that serves to expose and undermine the conditions that sustain such divisions. My work has uncovered an implicit interconnectivity among art practices, critical pedagogy and the concepts and practices of conflict transformation. This combination coupled with my experience in the field of peace building, has enabled me to develop a unique pedagogical form that is responsive to the context and needs of specific communities. Through the following commentary I posit this pedagogy firmly within the general discourse of peace building. The portfolio presents new knowledge that aims to inform innovative approaches to the role of the visual arts in conflict transformation and ultimately lead toward 1 Problem posing – drawing on Paulo Freire (1970) Pedagogy of the Oppressed: a problem posing pedagogy offers opportunities for learner and teacher to build a relationship based on critical inquiry. ii embedding such processes in the field of peace building and international diplomacy.

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12

Bird, Jamie. ""I couldn't move forward if I didn't look back" : visual expression and transitional stories of domestic violence." Thesis, University of Derby, 2015. http://hdl.handle.net/10545/348642.

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Psychological, sociological and feminist models of understanding domestic violence have contributed to the development of interventions that seek to raise awareness, keep women safe, and help them to create new lives for themselves and their families. Research literature has extensively paid attention to the ways in which women both live with and move away from domestic violence, documenting how they employ strategies of survival and resistance. The research methods employed to investigate domestic violence includes a range of quantitative and qualitative methods with particular emphasis placed upon enabling women to tell their stories in as authentic a way as possible. This thesis adds to the literature by considering how women construct what will be referred to as transitional stories of domestic violence, within which they imagine their future selves and develop the means to become what they hope for. The methodology used is original within the study of domestic violence in its synthesis of arts-based, feminist and participatory methods. The adopted epistemology sought to value the use of embodiment and imagination in the construction of knowledge, both of which are considered to be situated. The use of an arts-based method is chosen to enable a different way for women to tell their stories about their response to living with and transitioning away from domestic violence. The evaluation of this methodology shows that it is a valid form of enabling women to have the embodied subjectivity of their experiences and imagination witnessed in a way that complements the written and spoken word, whilst better allowing the physical and metaphorical quality of their stories to come to the foreground. Following a feminist agenda, attention is paid to the influence of gender upon the researcher’s findings, and upon the participants’ and researchers’ reflexive engagement with the research process. The research shows that the home has special significance for women as they transition away from domestic violence and plan for their future. The home becomes a physical manifestation and container for women’s hopes and fears for a harmonious future that often incorporates the desire for the return to the idea of a complete family. Relationships with family, friends and services are shown to be both enablers of women’s agency and resistance. Those same relationships are also shown to be capable of acting as barriers to women’s positive transitional journeys. The findings show that attention needs to be placed upon the appearance of women’s agency within the everyday tasks of creating and maintaining a home and managing relationships as they move away from domestic violence. The findings also point to the need for services to work harder on empowering women, both by adequately listening to the stories told about their pasts and hopes for the future, and by helping them to achieve their plans through challenging the limitations imposed by policies and economics.

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13

Simanavičienė, Giedrė. "Istorijos vadovėlių iliustracijos – penktos klasės mokinių vaizdinio mąstymo ugdymo veiksnys." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060809_083648-40279.

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History teaching has its own peculiarities as every teaching subject. At the first sight history teaching is not very different from other subject teaching, but it is not so. For example, while teaching geography, there is a possibility to observe tides, mountains, active volcanes, the change of climate, effect on production etc. While teaching biology, the visual aids can be used observing the researched phenomena, they can also be applied in acknowledgment of this area phenomena. However, it is impossible to see the past directly learning history. There are no more wars and battles, peace, country borders exchange, solemn wows, which used to be given, revolutions and rebellions. It is only possible to imagine them. That means, that the demand of visual thinking, which could only be realized by visual arts, appears in this case, and in the case of history taught at school history coursebooks, illustrations are needed. The aim of the work is to show that illustrations of history help to develop visual thinking. The object of research is the development of visual thinking during history lessons. The objectives of the work are to analyze philosophical, pedagogical, phychological literature, studies of art, related to the analysed topic, to show the conception of visual thinking, to present the survey of history coursebooks polygraphic development and the survey of illustrations art change, to research educational premises in the development of visual thinking. In this work the... [to full text]

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14

Kopczynski, Marcos Cammarosano. "A retroalimentação é fundamental para a aprendizagem de seqüências de movimentos?" Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/47/47135/tde-11122006-141423/.

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Aprendizado motor é o processo pelo qual o sistema nervoso modifica suas respostas motoras. Sendo um processo implícito, tem como principais características o desenvolvimento lento, baseado em um grande número de repetições, cujos resultados só podem ser verificados através da modificação no desempenho. Os modelos atuais de aprendizado motor consideram a realimentação sensorial fundamental para o processo à medida que permite, com base nas informações sensoriais resultantes da repetição anterior, o aperfeiçoamento da próxima tentativa. Baseados nestes modelos, as condutas fisioterapêuticas têm utilizado a realimentação sensorial como uma importante ferramenta para melhorar o desempenho motor de pacientes com disfunções nervosas, principalmente no início do treinamento. De fato, numerosos trabalhos confirmam a importância da realimentação no processo de aprendizado. Entretanto, novas evidências têm indicado, direta e indiretamente, que a influência da realimentação para o aprendizado não é completamente conhecida. Diante da importância do assunto para o melhor conhecimento do processo de aprendizado e fundamentação das técnicas fisioterapêuticas, este trabalho teve por objetivo investigar a influência da realimentação sensorial sobre o aprendizado de uma nova habilidade motora. Com este objetivo, analisamos o desempenho imediato e até 28 dias depois de uma única sessão de treino (4 blocos de 600 movimentos), realizada sob 4 diferentes condições de restrição sensorial: (1) nenhuma restrição; (2) restrição das aferências visuais; (3) restrição das aferências visuais e táteis e (4) restrição completa de aferências (prática mental), em 40 indivíduos jovens saudáveis (idade média = 26,6 + 3,59 anos). A tarefa estudada consistiu em movimentos seqüenciais de oposição dos dedos mão dominante (direita). Os resultados analisados, por meio da Análise Multivariada para medidas repetidas, mostraram que a condição de treino não influenciou o desempenho imediato e tardio, tanto em termos de acurácia como de velocidade. Assim, a melhora no desempenho conseqüente do processo de aprendizado não depende, necessariamente, das informações sensoriais procedentes dos ensaios anteriores para aprimorar a habilidade, pois o sistema nervoso é capaz de rapidamente avaliar a disponibilidade sensorial proporcionada pelas condições de treino e desenvolver estratégias igualmente eficientes para programar os movimentos, aperfeiçoando o desempenho tanto em termos de velocidade como de acurácia. Os resultados deste estudo questionam se a ênfase dada à realimentação sensorial nos treinamentos fisioterapêuticos, realmente, são essenciais para a melhora de desempenho e indicam que é necessário fundamentar melhor os princípios de tratamento utilizados.
Sensorial feedback has hitherto been considered fundamental for motor learning in that sensorial inputs resulting from previous attempts allow refinement of subsequent attempts thereby leading to performance improvement. Numerous studies however, have provided direct and indirect evidence that learning new motor abilities is possible with zero feedback. The objective of this study was to verify the influence of sensorial feedback on learning a new motor skill. We investigated the performance, during a month, of single-session training (4 blocks of 600 movements) performed under 4 different conditions of sensorial restriction: (1) no restriction; (2) visual input restriction; (3) visual and tactile input restriction and (4) total restriction of inputs (mental practice), in 40 young healthy subjects (mean age = 26.6 + 3.59 years). The task consisted of opposing finger movement sequences using the dominant hand (right). Results showed that training condition did not influence immediate or delayed performance in terms of accuracy or speed. Improvements in performance brought about by the learning process do not necessarily depend on sensorial information drawn from previous practice of a skill, for the nervous system is able to swiftly assess sensorial availability under the prevalent training conditions and consequently develop equally efficient strategies to program movements, then refine performance in terms of both speed and accuracy.

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15

Sita, Daniele Evangelista [UNESP]. "Imaginação e os processos criativos na perspectiva sócio histórica: análise do trabalho pedagógico com crianças com visão subnormal." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151322.

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Essa pesquisa teve como objetivo investigar se a prática pedagógica de professores especialistas, que trabalhavam com crianças deficientes visuais, se organizava de modo que contribuísse com o desenvolvimento dos processos imaginativos e criativos de tais crianças. Os processos criativos emergem em atividades lúdicas, nos desenhos e na produção de narrativas na infância. De acordo com a teoria sócio histórica de Vigotski, assim como qualquer outra função psicológica superior, a imaginação e a criação têm sua origem no social e se modificam ao longo do desenvolvimento humano. Elas não surgem de repente, mas lenta e gradualmente, desenvolvendo-se do mais simples para formas mais complexas. Constroem-se a partir dos materiais captados do mundo real e estão diretamente relacionadas com a riqueza e a variedade das experiências acumuladas pelo homem. A presente pesquisa, fundamentada pela teoria sócio histórica, observou e analisou o trabalho de quatro professoras do Instituto Roberto Miranda, localizado na cidade de Londrina, que atende pessoas com deficiência visual. Foram realizadas entrevistas e observações em sala ao longo de cinco meses. Com os dados coletados, pôde-se perceber que não houve nenhum trabalho intencionalmente pensado com o objetivo de desenvolver nas crianças a imaginação e a criação, mas que, por outro lado, as professoras tinham como característica desenvolver suas propostas pedagógicas por meio de atividades lúdicas, então, consequentemente, tais processos estavam sendo estimulados. Além disso, deve-se ressaltar que o trabalho pedagógico didático também contribui para o desenvolvimento da imaginação e da criação, pois como dissemos, eles dependem das apropriações que as crianças fazem do mundo, então quanto mais ela conhecer, maior será sua capacidade de imaginar e criar. Podemos concluir que as atividades desenvolvidas pelas professoras do Instituto contribuem para o desenvolvimento da imaginação e da criação em crianças com deficiência visual, mas tal trabalho poderia ser potencializado se houvesse uma proposta pedagógica que valorizasse tais aspectos e trabalhasse intencionalmente para isso. A imaginação é a função psicológica responsável pela criação de cenários, de ideias e objetos que não estão presentes na realidade. Ela permite que o homem se projete para o futuro e a escola não pode continuar ignorando esse fato. As crianças precisam ser apoiadas na criação e no desenvolvimento afetivo de suas ideias, porque não podemos nos esquecer que todo o saber foi produzido historicamente por homens que tiveram a capacidade de imaginar e criar.
The aim of this research was to investigate whether the pedagogical practice of specialist teachers working with visually impaired children was organized in such a way as to contribute to the development of the imaginative and creative processes of such children. Creative processes emerge in playful activities, in the drawings and in the production of narratives in childhood. According to Vygotsky's socio-historical theory, like any other higher psychological function, imagination and creation have their origin in the social and change throughout human development. They do not arise suddenly, but slowly and gradually, developing from the simplest to more complex forms. They are constructed from materials captured in the real world and are directly related to the richness and variety of experiences accumulated by man. The present research, based on socio - historical theory, observed and analyzed the work of four teachers of the Roberto Miranda Institute, located in the city of Londrina, which serves people with visual impairment. Interviews and observations were carried out in the room during five months. With the data collected, it was possible to perceive that there was no intentionally thoughtful work with the objective of developing in children the imagination and the creation, but that, on the other hand, the teachers had as characteristic to develop their pedagogical proposals through playful activities , Then, consequently, such processes were being stimulated. In addition, it should be emphasized that didactic pedagogical work also contributes to the development of imagination and creation, because as we said, they depend on the appropriations that children make of the world, so the more they know about it, the greater their ability to imagine And create. We can conclude that the activities developed by the Institute's teachers contribute to the development of imagination and creativity in visually impaired children, but such work could be enhanced if there was a pedagogical proposal that valued these aspects and worked intentionally for it. Imagination is the psychological function responsible for creating scenarios, ideas and objects that are not present in our reality. It allows man to project himself into the future and the school can not continue to ignore this fact, children need to be supported in the creation and affective development of their ideas, because we can not forget that all knowledge has been produced historically by men who Had the ability to imagine and create.

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de, Beer Mostyn. "Out of Place : Resistance, Creativity and Play in Visual Studies Lessons." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6144.

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Both the Visual Studies classroom, and the subject of Visual Studies itself, may open possibilities for solving problems in creative, challenging ways, that in other contexts might be regarded as disruptive. My study deals with transgressive behaviour in Visual Studies lessons, and how such behaviour is understood and received by teachers. It grows out of my own experience of incomprehension and unease around surprising work produced by students in my own Visual Studies workshops, and my hypothesis that behaviour like this is a form of resistance to control. I carry out a focus group interview with children that I know from workshops that I have been holding every Saturday for two years, using visual elicitation to encourage them to talk about Visual Studies lessons in general. My intention with the interview is to develop insights into why children do things that are different from their teacher’s expectations, with the aim of increasing my understanding of the work that children do in Visual Studies lessons, benefitting my own teaching practice, and being useful to colleagues. Ideas from other studies that have to do with imaginative play and creativity help me to conceive of children’s unexpected behaviour less as of a reaction against rules and authority, and more as a response to the possibilities of a Visual Studies workshop. The visual component of my study, where I install a ping-pong table in Konstfack’s Vita Havet gallery, can be regarded as a correlative to the written part. Through placing signs on the table, and changing how it is arranged, I draw attention to the way that it seems to be regarded differently from other objects placed in public spaces around Konstfack. The work is implicitly concerned with decisions about which objects, behaviours and people are regarded as acceptable in which spaces. As in the written study, through focussing on elements that don’t seem to fit in, my intention is to better understand the system as a whole.

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Araújo, Anna Rita Ferreira de. "Mãos que tecem tapetes e realizam círculos: um estudo sobre a imaginação e a formação de educadores autores nas artes visuais." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-22022013-112828/.

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Imaginar é articular poeticamente, de maneira pessoal, única, os elementos internos, externos, materiais, imateriais, subjetivos e objetivos que perpassam e habitam a existência. Imaginação é potência, e como tal, o ser humano \"faz\" imaginação, e esse fazer é produto da ação/movimento do corpo todo, no sentido fenomenológico, que supera a separação corpo e alma. Seria, desde a infância, alicerçado na percepção, nas memórias, nos sonhos, na poiesis e no imaginário, que o ser constitui seu corpo-imaginante. Por entender a constituição da imaginação como um corpo físico/espiritual, concreto/abstrato, as suas qualidades e quantidades imaginantes se fazem à medida que ele se exercita ao longo de sua existência. Esta proposição teórica estabelece um estreito diálogo com os estudos fenomenológicos de Gaston Bachelard acerca da imaginação material. Para esta investigação foi realizado um curso-pesquisa no qual seriam criadas as condições necessárias para mergulhar nas possibilidades de uma formação de educadores autores das artes visuais por meio da imaginação e obter dados significativos que contribuíssem para a reflexão proposta. Os tapetes (metáforas poéticas) urdidos e encontrados pela investigação acerca da imaginação e os processos de criação docente são os tapetes revelados pelo corpo imaginante, que articulam movimentos fundantes do \"fazer imaginação\", a saber: os patchworks - montagens que articulam os movimentos de juntar e costurar; as tapeçarias - tessituras que articulam os movimentos de urdir, tramar e dar nós; os tapetes mágicos - suspensões que articulam os movimentos de transportar e transcender; os círculos de colheitas - vestígios que articulam os movimentos de retirar e marcar; e, por fim, as mandalas - sentidos que articulam os movimentos do ordenar e completar.
The process of imagination is to articulate poetically in a unique and personal way, the internal, external, material, immaterial, subjective and objective elements that pass and habit the existence. Imagination is power, and thus, the human being \"makes\" imagination and this making is a product of the action/movement of the whole body in a phenomenological sense that overcomes the separation of body and soul. It would be, since childhood, laid in perceptions, memories, dreams, in poiesis and in the imaginary, that the human being constitutes his \"imaginative body\". By understanding that the constitution of imagination as a physic/spiritual, concrete/abstract body, its imaginative qualities and amounts appears to develop when it is practiced through its existence. This theoretical proposition establishes a tight dialogue towards the phenomenological studies of Gaston Bachelard about material imagination. For this investigation it was carried out a course in which it would be created the necessary conditions to dive in the possibilities of a formation through the imagination and acquire significative data that could contribute to the proposed reflection. The carpets (poetic metaphors) weaved and reached by the investigation about imagination and the processes of teaching creation are the revealed carpets through the imaginative body, that articulate \"founding movements\" of making imagination: the patchworks - montages that articulate the movements of joining and sew; tapestries - tissues that articulate the movements of weaving, plotting and giving knots; the magical carpet - suspensions that articulate the movements of transporting and transcending; the circle crops - vestiges that articulate the movements of withdrawing and marking; and finally the mandalas - senses that articulate the movements of ordaining and completing.

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18

Cevallos, Barragan Carlos. "THE RESONANCE OF BIOLOGICAL MOTION THROUGH VISUAL PERCEPTION IN THE HUMAN BRAIN." Doctoral thesis, Universite Libre de Bruxelles, 2016. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/235472.

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Taking research as a tool to learn how new technology can develop new diagnosis and treatment methods in the physical field, takes place the education in motor sciences. On one hand, current research has shed light into novel methods to improve motor performance for athletes as well as for people learning new motor gestures. On the other hand it has also helped to improve treatment efficiency for people suffering motor cerebral lesions like: cerebrovascular attack (CVA) and cerebral palsy. This doctoral thesis addresses different protocols to analyze motor gestures and brain oscillations through visual perception.Our brain encompasses a changing symphony of oscillating activity throughout our lives. Up to the time we are born, we are ready to feel and move to interact with our world. Our senses develop rapidly and we start to perceive the world and learn. We visually perceive and process big amounts of information on a daily basis. At the same time we see movements from ourselves and from others in order to communicate and interact with our environment. We watch the world move. Moreover, from the links that exist between motor and sensory systems in human beings we may approach individual motor activity as a loop between a control (brain) over the effectors (muscles) which act, perceive and send the information back to the control source.The present group of works presented in this doctoral thesis is based on the correlation between human brain scalp activity, measured by means of electroencephalography (EEG) recordings, visual perception and its interpretation through different approaches.
Doctorat en Sciences de la motricité
info:eu-repo/semantics/nonPublished

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19

Canuday, Jose Jowel. "Music, dances, and videos : identity making and the cosmopolitan imagination in the southern Philippines." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:ad25b3dd-8d0c-4c9a-8b0a-c85eb3255dd3.

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This ethnography examines the processes in which rooted but overlapping forms of cosmopolitan engagements implicate the Tausug imagination of collectivity. It investigates Tausug expression of connection and belonging as they find themselves entangled into global cultural flow and caught up in the state and secessionist politics of attachment. Utilising methodological and theoretical approaches engendered by visual and material anthropology, the ethnography locates rooted cosmopolitan imagination in the works and lives of creative but marginalised and often silenced Tausug cultural agents engaged in street-based production, circulation, and consumption of popular music and dance videos on compact discs. The ethnography follows these cosmopolitan expressions as they are being imagined, embodied, reproduced, and shared by and across Tausug communities in the Zamboanga peninsula, the Sulu archipelago, and beyond through the digital spaces of the internet and cross-border flow of the videos. How the translocality of imaginaries reflected on the videos play out in everyday life and the broader politics of representation are demonstrated here as vital to the understanding of Tausug imagined community as an open, flexible, and dynamically engaging Muslim society despite long-standing political turbulence and economic uncertainty in their midst. Saliently, the thesis argues that Tausug cosmopolitanism cannot be reduced into a phenomenon driven by the expansive currents of Western-led globalisation. Rather, Tausug cosmopolitanism constitutes both continuity of and departure from past forms of translocal connections of Zamboanga and Sulu, which as a region was once integrated to a pre-colonial Southeast Asian emporium and continually through varying ways of connectedness. Old and new global processes come into play in shaping the everyday production of Tausug imaginaries inevitably rendering Tausug identity formation as a trajectory rather than an unchanging fact of being. Drawing from the Tausug ethnographic experience, the thesis contends that rooted cosmopolitanism does not necessarily constitute a singular condition but rather a contested and distinctively multifaceted phenomenon.

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King, Peter R. "What is the nature and function of Spatio-Temporal Imagination? : can it plausibly be explained as an offline simulation of the visual process?" Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/11346/.

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The main aim of this thesis is to analyse the nature and function of Spatio-Temporal Imagination (STIm) under an imagination-as-simulation framework. STIm is defined as any imaginative act that allows you to consider a location and/or a time other than the one you are currently experiencing. I will focus on the phenomenal visual imagery aspect of this mental phenomenon and hence will not discuss other potential versions of STIm in any detail. Part I will explore the current simulation literature to get an idea of what imagination-as-simulation may mean and to see how it dovetails with other researchers who have a similar style of approach (Chapter 2). I will then defend the Kosslyn Model of visual imagery, which I will argue is ameneable to being interpreted as an imagination-as-simulation process (Chapters 3&4). Part II will look at what different perceptual theories may say about the imagination-as-simulation debate. Using the Selective vs. Generative Approach distinction as a guide, we will look at two theories that are obviously examples of each respectively: Naïve Realism (Chapter 5) and my own theory of STIm (Chapter 7). We will also look at Tye’s (1995) PANIC theory, as a related approach that will also be used to illustrate other points relevant to the debate about the relation between perception and imagery (Chapter 6). I will argue that visual STIm has much in common with visual perception in that they are both: locally generated visual style phenomenal representational mental states. This is even though there are some other crucial differences in how they are caused and experienced. The thesis will also describe a way that these images can be labeled with different spatial and temporal contexts. This is what allows STIm to be used to consider alternative possibilities both temporally and spatially and to function as a way to plan our actions in the present and to have an extended spatial and temporal awareness of our environment.

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Åsberg, Cecilia. "Looking at Science, Looking at You! : The Feminist Re-visions of Nature(Brain and Genes)." Linköpings universitet, Tema Genus, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-66375.

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Vision has often been a central concern of feminist studies of science, medicine and technology. In cultural or social feminist analysis, the male gaze and the ways in which technoscience accommodates, and in effect organizes the watching of women, has been an important part of the feminist interrogation of the gender and power relations that produce the subjects and the objects of science. This attention is due to the intimate, and power-saturated, merge of processes of seeing and processes of knowing. Inherent in the notion of vision, there is always a politics to ways of seeing, ordering and observing, of organising the knowledge of the world. Historically, this can be exemplified by the eighteen-century Swedish “father” of biological classification, Linnaeus. Taking a leap away from Christian assumptions, Linnaeus placed human beings in a taxonomic order of nature together with other animals.

ISBN 91-87792-49-4 not valid for this book.

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22

Shirley, James Michael. "Storyteller, Story-Teacher: A Portrait of Three Teachers’ Use of Story in Elementary Classes." Digital Archive @ GSU, 2005. http://digitalarchive.gsu.edu/msit_diss/3.

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The purpose of this qualitative study was to investigate the use of storytelling as a teaching strategy in the classrooms of three experienced elementary school teachers. Storytelling is defined in this study as the use of a narrative, spoken or written, in prose or in verse, true or fictitious, related so as to inform, entertain, or instruct the listener or reader. This research answers questions concerning; (a) what constitutes storytelling in these teachers’ classrooms, (b) teachers’ purposes for using storytelling, and (c) factors that have encouraged these teachers to employ storytelling in their teaching practices. Framed within constructivist theory, the study provides insight into how these three respondents teach content through storytelling and bridge information from teller to listener. Data collection included classroom observations, interviews of teacher-participants, and the collection of teacher-generated artifacts such as lesson plans and teacher notes. Portraiture is used as a method for writing up the data in order to record the perspectives and experiences of the participants in this study by documenting their voices, visions, and wisdom in a detailed exploration into the feelings about and use of storytelling in their teaching practices. The instructional strategies reported through this qualitative inquiry support a socio-cognitive interactive model of literacy and demonstrate its importance in learning content in an elementary school environment. The data were analyzed continually through a search for emerging patterns and through constant comparison analysis. The researcher found that the teachers used stories and illustrations in an impromptu manner and that storytelling served both cognitive and affective purposes. Cognitively, storytelling was employed to form connections to students’ prior knowledge and new knowledge being introduced. Storytelling was used as a mnemonic device to help students transfer storied information to new situations. Affectively, storytelling served to engage students in an enlightening and entertaining manner. Students responded to the use of stories through actively participating in classroom discussions and sharing stories of their own. Storytelling assists these teachers in their critical roles as negotiators and facilitators of meaning construction in the text and social context of the classroom.

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Baltušytė, Salvija. "Paauglių ir suaugusiųjų vaizdinio mąstymo ugdymas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060610_110231-67579.

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In this work is analysed problem – younger and older teenager and young adult visual thinking peculiarities and education. Objective of this research is to find younger and older teenager and young adult visual thinking peculiarities and provide recomendation for education of visual thinking. Research task: 1. To analyse visual thinking development singularities in nonfiction education and psichological literature. 2. Compare younger and older teenager and young adult visual abstractiveness level. 3. Compare younger and older teenager and young adult colow expression of images expressing notions: „happyness“, „anger“, „fear“, „sorrow“, „fault“, „shame“. 4. Compare younger and older teenager and young adult expression using shapes of theese notions („happyness“, „anger“, „fear“, „sorrow“, „fault“, „shame“). In this work used theese methods of objective: analyse of science literature, grapic objective, that is drawing task, data – processing using PC (SPSS package), statistics. I have used graphic research methodology provided by D. Jurkšaitė (1982): using colors and shapes express six notions („happyness“, „anger“, „fear“, „sorrow“, „fault“, „shame“). In this research used these colors: yellow, orange, pink, red, hirsch, light blue, blue, purple, salad-bowl, green, brown, black. Task perform time infinitive. In objective attendanced 150 respondents, in three age groups: 50 younger teenagers, 15-16 years, 50 older teenagers,18-21 years and 50 young adults, 22-27 years... [to full text]

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24

Yagmur-Kilimci, Elif Sezen. "3D mental visualization in architectural design." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/37132.

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Many architects report about mentally visualizing 3D aspects of their design ideas while simply working with 2D sketches of them. Indeed, in architecture, the general practice of conveying 3D building information by means of 2D drawings bears on the assumptions that every architect can mentally visualize a building in 3D by looking at its 2D drawings or sketches and that architects, as many report, can capture the 3D aspects of a building design during such 3D mental visualization practices. Additionally, many intuitively believe that the levels at which architects perform such 3D mental visualization practices is highly correlated to their spatial visualization abilities as defined by existing measures of spatial visualization ability. This thesis presents the outcomes of protocol studies and analyses that were conducted with the aim of developing an in-depth understanding about such 3D mental visualization practices and capabilities of architects on the basis of four research questions. First, what might be the nature of the 3D mental visualization phenomena that architects claim to experience: what are the features of these 3D mental visualizations as evidenced in specific tasks; and what might be the nature of the mental representations created during these visualization processes? Second, can every architect carry out these 3D mental visualization practices; might there be individual differences among architects' performances? Third, might 3D mental visualization of buildings be only an architectural skill; can non-architects, who can read 2D architectural drawings, visualize a building in 3D based on its 2D drawings and can they do so to the same levels of performance of those of architects? Fourth, might performance in 3D mental visualization tasks be related to/predicted by spatial visualization ability? The major conclusions of this thesis with regard to the first research question include that (1) architects can be visualizing the buildings in one of the two major forms or by alternatively switching between them: by imagining themselves situated within (almost) the actual size 3D building environment or by imagining a 3D small scale model of the building; (2) the mental representations they create during these visualization processes capture the various visual and spatial aspects of the buildings with a structure similar to that of an actual size or small scale model of the visualized space/form, yet the way they capture these aspects is not like the way these aspects would be captured from a certain viewpoint in reality; and (3) what they experience during these visualization processes is not like the continuous holistic visuospatial experience that one would have when looking at a building or walking inside/around a building. With regard to the second, third and fourth research questions this thesis concludes that (question 2) architects differ in their 3D mental visualization skills; (question 3) 3D mental visualization is an architectural skill in that it relies on certain abilities that become heightened in architects, possibly during education; and (question 4) 3D mental visualization skills are not related to spatial visualization ability as defined by the standard paper-folding test of spatial visualization ability.

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Foster, John-Henry Edward. "Hulle wil dit so hê : ontologiese anargie en die rewolusie van die verbeelding." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71800.

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Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of the imagination in both repression and the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy, which supplies us with tactics of resistance that strongly deviates from traditional Representational or Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z, the argument is made that these non-representasional resistive tactics could ‘open’ the category of art up to a whole network of creative and life practices – a transformation that has the ability to free art as well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or peak experience, assosiated with sorcery, plays a crucial role in this production process, and the argument is made for the use the of these experiences to create a lasting peak experience, ultimately constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of the imagination’. Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity, ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery, the everyday, Situationism, psychogeography, geophilosopy, phenomenology.
AFRIKAANSE OPSOMMING: Hierdie studie is ŉ filosofiese ondersoek na die ontwikkeling van ŉ nie-representasionele weerstand teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ŉ ontologiese anargie beskryf kan word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ŉ bespreking van Situasionisme en Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die kategorie van kuns kan ‘oopmaak’ tot ŉ hele netwerk van ander kreatiewe en lewenspraktyke – ŉ transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats op ŉ veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery geassosieer word, speel ŉ sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan word om van álle ervarings ŉ verlengde spitservaring te maak – ŉ gedeelde vlak van intensiteit onder mense wat die navorser ‘die rewolusie van die verbeelding’ noem. Trefwoorde: ontologie, anargie, anargisme, die Staat, weerstand, rewolusie, verbeelding, kompleksiteit, ontologie van kuns, poststrukturalisme, Representasie, nie-representasionaliteit, spitservaring, towery, die alledaagse, Situasionisme, psigogeografie, geofilosofie, fenomenologie.

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Ardoin, Myriam. "Le discours de la méthode selon G. K. Chesterton : l'itinéraire d'une pensée." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0372.

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Partant du constat que le monde dans lequel nous vivons requiert, pour le comprendre, l’élaboration d’une pensée critique efficace, cette thèse analyse, par le biais du mode littéraire du récit de détection, l’itinéraire de la pensée de Chesterton comme méthode de raisonnement et ensemble de stratégies intellectuelles. De la même manière que Descartes proposait d’exposer sa méthode « pour bien conduire sa raison, et chercher la vérité dans les sciences » (Discours de la méthode), nous exposons ici les mécanismes d’une manière de penser originale. En convoquant son imagination et sa « philosophie des contes de fées », Chesterton redécouvre ce qui lui était familier, voit au-delà des apparences et échappe à la folie, qu’il redéfinit comme la conséquence de l’isolement de la raison pure. Sa pensée visuelle, progressant par métaphores, analogies et paradoxes, est une pensée visionnaire, capable de renverser les perspectives pour mieux voir le monde et en saisir le sens. La pensée chestertonienne, fuyant toute forme d’isolement et de solipsisme, se construit sur différents modes dialogiques : Chesterton pense toujours avec ou contre d’autres sujets pensants, d’autres formes de pensée, et invite son lecteur à le suivre dans ce cheminement intellectuel
As Critical thinking appears more and more vital to understand the world we live in, this study resorts to detective fiction considered in its literariness to analyse the itinerary of Chesterton’s mind, both as a method of reasoning and a set of intellectual strategies. In the same way as Descartes set out his method “of rightly conducting one’s reason and of seeking truth in the sciences” (The Discourse on the Method), we intend to show the mechanisms underlying an original way of thinking. By summoning his imagination and his “ethics of elfland”, Chesterton rediscovers the things he was familiar with, sees beyond appearances, and avoids madness, which he redefines as the consequence of the isolation of pure reason. His visual mind, which progresses by way of metaphors, analogies and paradoxes, is a visionary mind that can reverse perspectives in order to see the world better and grasp its meaning. By keeping away from any form of isolation or solipsism, the Chestertonian way of thinking operates according to different dialogic modes – Chesterton always thinks with or against other thinking subjects or other forms of thinking, and invites his reader to follow him on this intellectual path

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27

Vybiral, Anna-Karin. "Barns bildskapande i naturen." Thesis, Karlstad University, Karlstad University, Faculty of Arts and Education, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3376.

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Denna uppsats behandlar hur naturen används som ett pedagogiskt rum och barnets

bildskapande i naturen sett ur olika perspektiv. De flätas samman i en undersökning hur

pedagoger använder barnets bildskapande i naturen. I den här uppsatsen undersöks en förskola

för att kartlägga deras vanor och visioner om bildskapande i naturen. Utifrån intervju och studie

belyser uppsatsen både pedagogernas erfarenheter och visioner såväl som barnens upplevelser.

Studieobjektet i denna undersökning är en Ur och Skur profilerad förskola.

Huvudresultatet är att miljön för barnens bildskapande påverkar och gör sitt avtryck. Får barnet

näring till sin fantasi sker en utveckling.

This essay examines from different perspectives how the nature is used as an educational

environment for childrens creation of visual arts. Childrens creations of visual arts in the nature

are brought together with educationists practice. More closely, one preschool class and their

educationists have been examined and interviewed about their experiences, practices and visions

of creating art in the forest. The school in this inquiry has focus of outdoor education (sv. ”Ur

och Skur”).

The main result is that the environment for childrens creation of visual art make sense and takes

an impression of. May children get livelihood/stimulation for their imagination it will be a

progress

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Lucato, Daniel Ferreira. "Sistemas do imaginário: a transformação de dispositivos industriais em arranjos artísticos." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/18066.

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Made available in DSpace on 2016-04-29T14:22:51Z (GMT). No. of bitstreams: 1 Daniel Ferreira Lucato.pdf: 47377168 bytes, checksum: 2b257bac5182b8ef29e103b7cf8ff7e6 (MD5) Previous issue date: 2011-04-13
To study the transformation of industrial devices in artistic arrangements, this research does an analysis of a corpus of the artistic production. This research presents the process which involves the development of objects, especially the appropriation, the deconstruction of some appropriations, storing these appropriations and finally the construction of the artwork. This presentation aims to place the reader inside to the production of an artwork. In a second moment, comparisons are made between the properties and functions of the developed work with the properties and functions perceived by a sample of viewers. With some questions received by viewers, on the occasions when the artwork was exposed, It was possible to confirm the influence of the perceptual filters of each subject. We saw how perception contributes to the various formats of the same artwork. The early research aims to show all the processes involved in a creation of an artwork. It analyzes the characteristics of each production stage. The research uses as objects of study, the artwork produced so far. It presents images, characteristics, materials, mounting needs and description os actions if It is available. With that, the research contributes to form a consistent analysis of a period of career development. To support of this analysis are presented throughout the text, some artists who contributed to this artwork be recognized in the artistic field. This research also present some contemporary artists, Brazilians, who produce works which have affinities with the objects of study, visual, but mostly conceptual. They are artists who produce recycled hacks with industrial devices, creating artworks that run in error, uncertainty and inactivity, giving them goals and other characteristics. At the end of the production analysis are brought reports of a sample of viewers. The purpose of analyzing the contact between the spectator and the artwork artistic arrangements It is to prove that they can share a moment of creation, formatting functions, joints, assemblages and properties in accordance with their own perceptual filters. At that stage, the theories used are the assemblages of double Gilles Deleuze and Félix Guattari and the concepts of imagination, perception and open work, especially for authors like Juremir Machado da Silva, Umberto Eco e Maurice Merleau-Ponty to serve as support to the raise hypothesis
Para estudar a transformação de dispositivos industriais em arranjos artísticos esta pesquisa faz a análise de um corpus de produção artística. São apresentados os processos que envolvem o desenvolvimento dos objetos, em especial a apropriação, a desconstrução de algumas apropriações, o armazenamento dessas apropriações e por fim a construção dos trabalhos artísticos. Essa apresentação visa colocar o leitor a par desse tipo de produção artística. Em um segundo momento, são feitas comparações entre as propriedades e funções dos trabalhos desenvolvidos, com as propriedades e funções percebidas por uma amostra de espectadores. Com algumas questões recebidas pelos espectadores, em ocasiões nas quais os trabalhos estiveram expostos, foi possível confirmarmos a influência dos filtros perceptivos de cada sujeito. Vimos como a percepção contribui para as diversas formatações de um mesmo trabalho artístico. O início da pesquisa visa destrinchar todos os processos que envolvem a criação dos trabalhos artísticos. São analisadas as especificidades presentes em cada etapa da própria produção. Para tanto são utilizados como objetos de estudo os trabalhos produzidos até então. São apresentadas imagens, características, materiais, necessidades de montagem e descrições de ações - quando existem. Com isso a pesquisa contribui para formar uma análise consistente de um período da carreira artística em desenvolvimento. Como apoio a essa análise são apresentados, ao longo do texto, alguns artistas que contribuíram para que tais trabalhos sejam reconhecidos no campo artístico. São apresentados também alguns artistas contemporâneos, brasileiros, que produzem trabalhos os quais possuem afinidades com os objetos de estudo, sejam elas visuais, mas principalmente conceituais. São artistas que produzem gambiarras com dispositivos industriais reciclados, criando trabalhos que operam no erro, na incerteza, na inoperância, dando a eles outras finalidades e características. Ao término da análise da produção são trazidos os relatos de uma amostra de espectadores. O objetivo de analisar o contato do espectador com o trabalho - arranjos artísticos - é demonstrar que os mesmos podem partilhar de um momento de criação, formatando funções, articulações, agenciamentos e propriedades de acordo com os seus próprios filtros perceptivos. Nessa etapa são utilizadas as teorias de agenciamentos da dupla Gilles Deleuze e Félix Guattari, e os conceitos de imaginário, obra aberta e percepção, com destaque aos autores, respectivamente, Juremir Machado da Silva, Umberto Eco e Maurice Merleau-Ponty, para servirem de apoio à hipótese levantada

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Crippa, Benedetta. "World of Desire." Thesis, Konstfack, Grafisk design & illustration, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5855.

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This project report offers an in-depth, detailed account of my creative process and work during my two-year Master in visual communication at Konstfack, Stockholm. My degree project is a celebration of plurality and visual democracy. Starting with identifying different norms pervading the graphic design discipline in the Western world today, both in terms of aesthetic values and systems of thinking, I have worked to propose and visualize alternative possible futures. Drawing has been my main carrier through an intense journey of un-learning and re-learning resulting in an artist’s book in unique copy. With this book, I want to problematize the dominant discourses around objectivity as a utopian ideal with a suppressive agenda, while visualizing a world I can recognize myself in. I have used decoration as a method, emotion and femininity as explorative standpoints, giving space to the metaphorical, the ambiguous and the spiritual to challenge current visual norms. This book emerges as an affirmation of my own quest for visual belonging as a graphic designer and a woman; a testimony of the practice of drawing as actualized power.

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Campagnaro, Marnie. "Libri e Albi illustrati. Analisi, strumenti e prospettive per una pedagogia dell'immaginazione." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3421674.

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Introduction There is a peculiar place that inhabits the immense space of children’s literature, a place in which children enjoy a “special statute”. This is a place where, unlike other fields and due to the illustrated book’s structural specificity according to which the story is narrated through images, children can hold an equal dialogue with adults, and, if properly stimulated, show unsuspected liveliness and reading ability sometimes greater than those of adults. This special place dwells in the literary space of the picturebook. Traditionally employed with very young children (nursery and infant school) as an instrument of initiation into the pleasure of reading, the picturebook is proving to be an excellent resource for reading promotion also with older children. Objectives The research intends to examine the potential of the picturebooks and illustrated books to develop cognitive and emotional processes of visual literacy, artistic awareness and formation of critical and imaginative thought. Description The research is divided into two parts. The first part of the research concerns an international investigation on the picturebook, aiming to delineate the state of the art, in Italy and abroad, of the features, nature , potential and future perspectives of the contemporary picturebook. Such investigation has been accomplished by gathering the opinions expressed by a selected group of experts using Delphi Method. The investigation has involved some of the most important scholars of the international scientific community. Three categories of experts have been identified: professors and critics, illustrators, publishers. The expert group involved was formerly formed of 38 experts coming from Italy and the rest of the world: Europe (France, Germany, Great Britain, Portugal, Slovakia), Northern America (USA and Canada), Central America (Mexico) Africa (Senegal), Asia (Korea), and Australia. The second part of the research has employed the information gathered in the first part of the research to accomplish an observation research on the field. The field research has taken place in a primary school of the Province of Padua. Using the participant observation, the research group has observed the modalities of interaction, the response typology and the preferences expressed by children (6, 8 and 10 years) about the picturebooks and the illustrated books presented. The research has lingered over a the reading, analysis and iconic interpretation of the illustrated version of Red Riding Hood, Hansel & Gretel and Bluebeard. Children have been incited to move and orient themselves inside the aesthetic-visual dimension, and will be invited to express their critical evaluation through the comparison of seven different illustrated versions of the same fairy tale. The instruments of analysis employed for the observation research have been integrated by the use of a diary on the part of the child and of his family. A figurative questionnaire has been used too. Results The results have pointed out that there is a connection between the formation of the aesthetic-visual dimension and the formation of critical and imaginative thought: teaching to look into and through things and visual-emotional literacy are deeply tied to the constructivist mental operation of meaning attribution and “meaning making”.
Introduzione C’è un luogo singolare che abita lo spazio sterminato della letteratura per l’infanzia, un luogo in cui i bambini godono di uno statuto speciale. È un luogo in cui, a differenza di altri ambiti e grazie al peculiare linguaggio della narrazione, i bambini possono dialogare alla pari con gli adulti e, se opportunamente sollecitati, dimostrano vivacità e abilità di lettura insospettabili, a volte perfino superiori a quelle degli adulti. Questo luogo speciale dimora nello spazio letterario degli albi illustrati, altresì denominati picturebook. Tradizionalmente utilizzato con i bambini più piccoli (asilo nido e scuola dell’infanzia) quale strumento di iniziazione al piacere di leggere, il picturebook si sta rivelando un’ottima risorsa anche per la promozione della lettura nei ragazzi più grandi. Obiettivi Focus della presente ricerca è quello di studiare le potenzialità che l’albo e il libro illustrato hanno di sviluppare processi emozionali e cognitivi di visual literacy, di formazione del pensiero critico e immaginifico nei bambini in età scolare. Descrizione La ricerca è suddivisa in due parti. La prima parte riguarda una ricognizione internazionale sul picturebook che ha l’obiettivo di delineare lo stato dell’arte, in Italia e all’estero, delle caratteristiche, della natura, delle potenzialità di utilizzo e le prospettive dell’albo illustrato contemporaneo. Tale ricognizione è stata effettuata raccogliendo i pareri espressi da un selezionato gruppo di esperti attraverso la tecnica Delphi. La ricerca ha coinvolto gli studiosi più accreditati della comunità scientifica internazionale che, oltre a fornire i paradigmi più significativi della ricerca sul territorio mondiale, hanno orientato il successivo lavoro di sperimentazione sul campo. Il gruppo di esperti coinvolto nella prima parte della ricerca è costituito da 28 esperti provenienti dall’Italia e da altri paesi europei ed extraeuropei: Francia, Germania, Gran Bretagna, Portogallo, Slovacchia, USA e Canada, Senegal, Messico, Corea e Australia. La seconda parte della ricerca consiste nella restituzione dei risultati di una sperimentazione osservativa sul campo, a partire dalle indicazioni raccolte nella prima parte della ricerca stessa. Durante la sperimentazione, attuata in una scuola primaria della provincia di Padova, si sono osservate le modalità di interazione, la tipologia di risposta e le preferenze espresse dai bambini (6, 8 e 10 anni) rispetto ad alcuni albi e libri illustrati di fiabe. La ricerca si è soffermata sulla lettura, sull’analisi e sull’interpretazione iconica di Cappuccetto Rosso, Hansel & Gretel, Barbablù. I bambini sono stati sollecitati a muoversi e orientarsi all’interno della dimensione estetico-visiva e invitati a formulare una propria valutazione critica attraverso il confronto di sette diverse versioni illustrate della stessa fiaba. Oltre alle note etnografiche, si sono utilizzati ulteriori strumenti di indagine quali il diario di bordo e di famiglia e un questionario figurativo. Risultati I risultati hanno evidenziato che esiste una relazione tra il piacere della lettura e la formazione della dimensione estetico-visiva, del pensiero critico e immaginifico. E, ancora, quanto l’educazione allo sguardo e l’alfabetizzazione visivo-emozionale siano intimamente legate all’operazione mentale di stampo costruttivista dell’attribuzione di senso, del “fare significato”. Grazie alla loro articolata struttura visiva, gli albi e i libri illustrati hanno suscitato, attraverso il coinvolgimento emotivo e il sentimento della curiosità, una lettura “sensuale” del libro, hanno favorito nel giovane lettore l’attitudine all’osservazione, hanno incoraggiato una maggiore partecipazione nell’interpretazione della storia.

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Vila, Guevara Adriana. "Reflejos de un making of. Una etnografía del proceso creador de la película “Belén”." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/460802.

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La antropología (en paralelo con la sociología, la historia y la psicología) se ha interesado a lo largo de su historia por la construcción biográfica como referencia pero también como fin para el estudio de las estructuras sociales. En torno a ello han surgido reflexiones sobre cómo se construye la representación de sí mismo (quién se es y quién se fue: historia de vida y de recuerdo) como un acto performativo. Este estudio parte del análisis de los elementos que componen la historia de vida y muerte de una mujer: Belén María Palacios, para encontrarse con la realización de un retrato cinematográfico. En este sentido el objetivo general de esta investigación es el estudio reflexivo del proceso completo de realización de la película, enfocado en el análisis no sólo de las distintas etapas de su construcción (trabajo de campo, desarrollo de guión, producción, postproducción y distribución), sino también los dilemas teóricos, empíricos, éticos y estéticos, de cada una de sus fases de exploración y creación. Tanto los objetivos como la metodología se van delineando transversalmente y en transformación a lo largo de la tesis, en cuanto categorías que se redimensionan en simultáneo al reconocimiento de un proceso de mutación de su autora. El carácter reflexivo de la investigación y del discurso de esta tesis se dirige a entender que el intento de construcción biográfica de “Belén” va de la mano de una autoetnografía del proceso, reconociendo la función de las experiencias personales durante el trabajo de investigación, y cómo su análisis puede convertirse en parte del aporte epistemológico. En este sentido una de las hipótesis de este trabajo se funda en que la antropología y el cine tienen en su realización proyectual muchos traumas en común y en el tránsito de este lugar compartido se puede profundizar la comprensión de sus etapas procesales.
This study exposes several theoretical and epistemological challenges that have been raised both in the field of anthropology and filmmaking, contextualized in the creation of a film portrait. Based on the analysis of the elements that conform(ed) the story of life and death of Belén María Palacios, also known as the “queen of quitiplá”, this study deals with the concepts of authorship, creation, imagination and representation as a performative act. The general objective of this research is the reflexive study of the complete process of making a cinematographic portrait, focused on the analysis not only of the different stages of its construction (field work, script development, production, postproduction and distribution), but also the theoretical, empirical, ethical and aesthetic dilemmas of each of its phases of exploration and creation. The objectives and the methodology are delineated transversally and in transformation throughout the thesis, in terms of a series of categories that are outstretched simultaneously to the recognition of a process of personal transformation of the author. In this sense, the creation of the film rather than being the result used to illustrate the description and analysis of data, became in itself an object of study, dragging the author into becoming another subject of study. The reflective nature of this research shows how the attempt of composing the film portrait "Belén" goes hand in hand with an autoethnography of the process, recognizing the function of personal experiences during the research work, and how its analysis can become part of the epistemological contribution. In this sense, one of the hypotheses of this work is based on the fact that anthropology and cinema have many common traumas in their projective realization and in the transit of this shared place, the understanding of their procedural stages can be developed.

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Weilander, Johan. "På väg till en narrativt fantasifull skola : Inlevelse, visuell litteracitet och narrativ kompetens i årskurs 4–6." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85380.

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Den svenska skolans undervisning i det svenska språket har för avsikt att göra eleverna narrativt kompetenta, det vill säga, de ska kunna förstå och skapa berättande texter. Inom läroplanen finns dock en öppning för ett mer vidgat textbegrepp där det inkluderas visuell litteracitet, att eleverna exempelvis ska kunna förstå filmiska berättelser. Denna studies syfte är att undersöka på vilka sätt mellanstadieelever kan arbeta med en dokumentär filmberättelse om fyra skolbarn för att utveckla sina förmågor att skriva berättelser och vidga sina vyer av omvärlden. Begreppet narrativ fantasi, myntat av den amerikanska filosofen Martha C. Nussbaum, är framträdande i undersökningen. Med det menas en slags förmåga till inlevelse, att läsandet av olika texter vidgar läsarens förståelse för sin omvärld. Eleverna är uppmanade att välja karaktär och typ av berättelse. Genom både kvalitativ och kvantitativ textanalys visar deras berättelser på en varierad, men ändå utbredd narrativ fantasi. Denna förmåga är dock beroende av både visuell litteracitet, att förstå filmen, och narrativ kompetens, att skapa en egen berättelse.

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Ribeiro, Tambi Carraro. "Cultura, contexto sócio-familiar e imaginação:um estudo exploratório sobre a cor na infância." Universidade do Estado de Santa Catarina, 2007. http://tede.udesc.br/handle/handle/735.

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This dissertation is presented as a requirement for the title of Master in Visual Arts, being part of the Education of Visual Arts research line. Its theorical central axle is an explanatory study about colors in childhood, over all about childrens in preschool. Some important theorical aspects have been observed, such as: the choice and the use of colors, the cultural and partner-familiar aspects, beyond the imagination itself, having Vygotsky as the main theoretical base. Beyond the theorical research, this dissertation also includes a Field Research in a Junior Education School, in the city of Florianópolis. For a more detailed study, two children have been chosen: a four years old boy and a five years old girl. During the field research, it has been collected some artistic works of both children, as well as interviews with the children and their parents. Some domestic visits have also been included in the research, in which the researcher had the oportunity to get in contact with each children's life context, and also take photos of their personal objects for data usage.The methodology used for the Field Research analysis was the "Content Analysis", by Bardin.Using this methodology, two main analysis categories have been presented: "Cores, interação social e contexto sociocultural: uma complexa trama na infância" and "Cor e imaginação: o fio da infância na construção do conhecimento", each one of them subdivided in its own respective categories
A presente dissertação apresenta-se como requisito para a obtenção do título de Mestre em Artes Visuais, estando inserida na linha de pesquisa Ensino das Artes Visuais. O eixo teórico central é um estudo exploratório sobre a cor na infância, com crianças em fase pré-escolar. Para tanto, foram observados aspectos teóricos importantes no que se refere: à escolha e ao uso das cores, aos aspectos culturais e sócio-familiares, além da própria imaginação tendo como base principal o suporte teórico de Vygotsky. Juntamente com a pesquisa teórica, tal dissertação incluiu também uma pesquisa de campo em uma escola de Ensino Infantil de Florianópolis. Para um estudo mais detalhado, foram escolhidas duas crianças: um menino de 4 anos de idade e uma menina de 5 anos de idade. Durante a pesquisa de campo foram coletados materiais artísticos destas duas crianças, bem como foram realizadas entrevistas com as próprias crianças e com seus pais. Foram também incluídas visitas domiciliares, nas quais a pesquisadora teve a oportunidade de entrar em contato com o contexto de cada uma das crianças, fotografando objetos de uso pessoal das mesmas para inclusão de dados práticos. A metodologia utilizada para a análise dos dados da pesquisa de campo foi a .Análise de Conteúdo., fundamentada por Bardin. Segundo tal metodologia foram obtidas duas principais categorias de análise:.Cores, interação social e contexto sociocultural: uma complexa trama na infância. e .Cor e imaginação: o fio da infância na construção do conhecimento., cada uma delas subdividida em suas respectivas subcategorias

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Kama, Lunga. "Imaginative acts of photographic of self-representation as a critical response to representations of the black male body in South African photography." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86412.

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Thesis(MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: The first part of this thesis discusses some of the problematic photographic practices that form part of the modern visual discourse employed in defining the representation of the black man in South African photography. The aim of this thesis is to critically investigate the visual discourse in contemporary South African photography and to outline the inherent flaws whereby the black male subject is represented according to racial stereotypes inherited from the photographic conventions of colonial discourse. The purpose of this is to investigate my own photographic practice by drawing a critical comparison with the works of German photographer Gustav Theodor Fritsch (b.1834-1927), South African photographers Alfred Martin Duggan-Cronin (b.1874-1954), the Caney brothers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo (b.1976-), Zanele Muholi (b.1972-) and Zwelethu Mthethwa (b.1960-), and Nigerian-born British photographer Rotimi Fani-Kayode (b.1955-1989). My argument is centred around the discussion of these photographer’s works and the visual impact on the manner in which the black subject is portrayed as a ‘noble savage’. The predominant visual representation of the black body in South African photography perpetuates the kinds of discourse that rely on anthropological photographic methods of representation. I argue that where the depiction of the black male body is concerned, a number of contemporary South African photographers mentioned in this thesis continue to unconsciously appropriate a colonial discourse wherein the body of the black man is cast in the exotic role of ‘noble savage’ with extreme attributes regarding sex and gender, either as extremely ‘effeminate’ or, alternatively, as ‘hyper-masculine’ and exuding a ‘raw’ sexual prowess (Read, 1996:64). The work that I create and my photographic practices utilise some of the abovementioned artists’ problematical visual devices in order to subvert them but also to create an alternate perception of black representation. In the second chapter of this thesis, I critically evaluate the work of Rotimi Fani-Kayode as a strategy to employ alternate means of visual representation of the black body in order to critically re-evaluate the work of contemporary South African artists in their depiction of the black male body through either studio photography or documentary photography. The aim is to point out imaginative forms of representation as an alternative to either of the two modes of photography mentioned above. The argument then aims to put emphasis on acts of imaginative self-representation, a contemporary mode in photographic art practice made popular by Rotimi Fani-Kayode. Imaginative self-representation involves “the ritualistic transformation of the colonial imagery into creations of our own” as black artists in order to subvert the dominant discourses on representations of the black body (Fani-Kayode, 1997:6). This is just one of the important strategies used by the artists mentioned in this thesis to critique black sexuality. My works and practices draw their influence from the discourses that dominate the contemporary discourse on the representation of the black body. My argument looks at stereotypical forms of photographic practice and critiques the problematical construct of such representations of black male sexuality. The purpose is to expose some of the Western principles that seek to regulate and control the black body. My own practice focuses on creating works of art that form part of my cultural and historical background. Sexuality and gender are discussed in the third part of this thesis as a means to outline my own photographic practice and its influences. The third chapter investigates the masculinity of the black subject through a discussion of sexuality and gender performativity. In this chapter, gender proves to be a performative, unlike some of the essentialist assumptions made about how sexuality and gender are unchanging. A visual mechanism that seeks to critically question racist representations of black sexuality such as drag and performativity is applied in the construction of affirmative imagery of black masculinity. The final chapter of the thesis focuses on my own work as an example of imaginative forms of self-representation. The first, second and third parts of the argument serve to provide a theoretical framework in which to situate my own practice.
AFRIKAANSE OPSOMMING: Hierdie tesis bespreek van die problematiese fotografiepraktyke wat deel uitmaak van die visuele diskoers waarvolgens die swart man in Suid-Afrikaanse fotografie uitgebeeld word. Die doel van die tesis is die kritiese ondersoek van die visuele diskoers in kontemporêre Suid-Afrikaanse fotografie, en die blootlegging van die inherente leemtes waarin die swart manlike subjek uitgebeeld word volgens rassestereotipes wat uit fotografie gebruike van die koloniale diskoers spruit. Die oogmerk is om my eie fotografiese praktyk te verken deur ’n kritiese vergelyking te tref met die werk van die Duitse fotograaf Gustav Theodor Fritsch (b.1834–1927); die Suid-Afrikaners Alfred Martin Duggan-Cronin (b.1874-1954), die Caneybroers (1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo(b.1976-), Zanele Muholi (b.1972-) en Zwelethu Mthethwa (b.1960-), en die Britse fotograaf Rotimi Fani- Kayode (1955-1989), ’n Nigeriër van geboorte. ). My argument is gesentreer rondom die bespreking van hierdie fotograaf se werke en die visuele impak op die wyse waarop die swart onderwerp word uitgebeeld as 'n 'edel barbaar ". Die visuele voorstelling van die swart liggaam in Suid-Afrikaanse fotografie is hoofsaaklik ’n voortsetting van die soort diskoerse wat op antropologiese fotografiese uitbeeldingsmetodes berus. Ek voer aan dat, wat die uitbeelding van die swart manlike liggaam betref, ’n paar kontemporêre Suid-Afrikaanse fotograwe wat in hierdie tesis ter sprake kom, steeds onbewustelik ’n koloniale diskoers handhaaf wat die eksotiese rol van ‘edel barbaar’ met uiterste geslags- en genderkenmerke – hetsy uiters ‘vroulik’ of ‘hipermanlik’ met ’n ‘rou’ seksuele manhaftigheid (Read, 1996:64) – aan die swart man toeken. In my eie werk en fotografiepraktyke het ek van bogenoemde kunstenaars se problematiese visuele middele gebruik gemaak, nie net om dit bloot te lê nie, maar ook om ’n alternatiewe opvatting van ‘swart’ uitbeelding te skep. In die tweede hoofstuk van die tesis gebruik ek alternatiewe metodes om die swart liggaam visueel uit te beeld in ’n kritiese herbeoordeling van die werk van kontemporêre Suid- Afrikaanse kunstenaars wat die swart manlike liggaam deur hetsy ateljeefotografie of dokumentêre fotografie voorstel. Sodoende verskuif die klem na verbeeldingryke vorme van uitbeelding as alternatief vir bogenoemde twee vorme van fotografie. Daarná val die soeklig op handelinge van verbeeldingryke selfvoorstelling – ’n kontemporêre metode in fotografiese kunspraktyk wat deur Rotimi Fani-Kayode gewild gemaak is. Verbeeldingryke selfvoorstelling behels “die rituele transformasie van koloniale beelde tot ons eie skeppings” as swart kunstenaars, ten einde die oorheersende diskoerse oor die uitbeelding van die swart liggaam omver te werp (Fani-Kayode, 1997:6). Dít is bloot een van die belangrike strategieë wat die kunstenaars in hierdie tesis gebruik om op swart seksualiteit kritiek te lewer. My werk en praktyk word beïnvloed deur die oorheersende kontemporêre diskoerse oor die voorstelling van die swart liggaam. In my argument bestudeer ek stereotiepe vorme van fotografiese praktyk, en lewer ek kritiek op die problematiese konstruk van sodanige voorstellings van swart manlike seksualiteit. Sodoende word sommige van die Westerse beginsels wat die swart liggaam wil reguleer en beheer aan die lig gebring. My eie praktyk konsentreer op die produksie van kunswerke wat deel uitmaak van my kulturele en historiese agtergrond. Deel 3 van die tesis ondersoek seksualiteit en gender ten einde my eie fotografiepraktyk, én die faktore wat dit beïnvloed, te omskryf. Die derde hoofstuk ondersoek die manlikheid van die swart subjek deur ’n bespreking van seksualiteit en gender performatiwiteit. Uit hierdie hoofstuk blyk dit dat gender as performatief verskil van die essensialistiese aannames oor die onveranderlike aard van seksualiteit en gender. Visuele meganismes om rassistiese voorstellings van swart seksualiteit te bevraagteken, soos fopdossery en performatiwiteit, word toegepas in die konstruksie van bevestigende beelde van swart manlikheid. Die laaste hoofstuk van die tesis konsentreer op my eie werk as voorbeeld van verbeeldingryke vorme van selfvoorstelling. Gesamentlik dien die drie dele van die argument as teoretiese raamwerk waarin my eie praktyk geplaas kan word.

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35

Wood-Willems, Christine. "Making marks: Handlability in landscape and learning." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/134481/1/Christine_Wood-Willems_Thesis.pdf.

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Drawing together Steiner philosophy, Landscape Architecture, and Visual Art, this Master of Design (Research) thesis explores and redefines a pedagogical practice which maintains the Steiner philosophy of 'Head, Heart and Hand', but which simultaneously enhances awareness and embraces contemporary notions of sustainability in this educational setting. Utilising a qualitative, action research methodology, this research explores how educators might rethink, reimagine and refit a sense of place and outdoor learning, by cultivating a framework of sustainable practice. The resulting model — Culture for Renewal — may be extrapolated to apply to the wider pedagogical context, awakening a consciousness, crucial for the times in which we live.

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MOURA, Lisandro Lucas de Lima. "O imaginário como mística do ensino em Sociologia: sobre a "atenção imaginante" nas narrativas visuais de Bagé." Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/1622.

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Анотація:

Made available in DSpace on 2014-08-20T13:47:50Z (GMT). No. of bitstreams: 1 Lisandro Lucas de Lima Moura_Dissertacao.pdf: 5681749 bytes, checksum: cc19155b1430ffc86ee170a6d7610ed0 (MD5) Previous issue date: 2013-08-23
This Master s thesis, which was developed in the Post-graduate Program in Education (FAE) at the Universidade Federal de Pelotas, in Pelotas, RS, Brazil, in the line of research named Written Culture: Languages and Learning, deals with the construction of new educative experiences in Sociology teaching based on some aspects of the cultural tradition in Bagé, Rio Grande do Sul (RS), Brazil. Studies carried out by the Research Group on the Imaginary, Education and Memory (GEPIEM) and theoretical references in the field of the imaginary, such as Gaston Bachelard s poetic phenomenology, Gilbert Durand s science of the man and tradition and Michel Maffesoli s Sociology of Everyday Life, have provided the basis for this research. This investigation aims at identifying how Sociology teaching can contribute to the process of (re)enthrallment with the world and Education. Therefore, I have used (self)development practices in immersive experiences - similar to teaching mysticism which take into account imaginative attention (Gaston Bachelard) in the production of visual narratives (photos) collected in Bagé. The study has been carried out in three methodological steps: estrangement, embedment and convergence. In the first stage, I have reflected upon the images of personal experiences that have led me to the theme of this research, i. e., I have shown symbolic and imaginary representations which have encouraged my task as a teacher-researcher and as a dweller in Bagé. In the second part, I have shown the construction of an educational project called Narradores de Bagé aimed at students who go to IFSul Campus Bagé; students have been stimulated to dive into the city s everyday life while they focus on themes and spaces of popular and ancestral culture found in traditional communities. The community that was chosen for the visual narratives which were constructed by me and by the students was the one in the Rincão do Inferno, located in the Quilombo de Palmas (Bagé, RS). Finally, the third methodological stage has represented the confluence of the previous steps towards the synthesis of the study in which the teacher-researcher puts into practice his/her own imaginative attention and the one found in his/her teaching, thus, believing in the fictionalization of Education and research itself towards world reenchantment. With the help of the phenomenological method, influenced by Gaston Bachelard, I have gotten symbolic cores which summarize the most common themes of every methodological step: Return, Rooting, Lasso and Tradition. Results have shown the importance of visual narratives and imaginative attention in the construction of mysticism in Sociology teaching, in agreement with the elements of world enchantment: rooting in time and surrounding space remythicalization, the power of rituals and spells , the intuition of the moment, everyday activities, community bonds, sharing moments, original enthusiasm and romanticism of ideas. Imaginative attention, which was awaken by the use of visual narratives, represented the bonds that students and the teacher-researcher constructed with the spaces in Bagé s tradition, thus, helping them to exercise Sociology of poetic imagination. On one hand, imaginative attention mitigated logical, rationalized and utilitarian elements in Sociology teaching. On the other hand, it enhanced ludic, indirect, oneiric and spontaneous aspects which are also indispensable for knowledge construction.
Esta pesquisa de mestrado, desenvolvida na linha de pesquisa Cultura Escrita: linguagens e aprendizagem, do Programa de Pós-graduação em Educação (FAE/UFPel), trata da construção de novas experiências educativas para o ensino da Sociologia, a partir do contato com alguns aspectos da tradição cultural do município de Bagé (Rio Grande do Sul). Com base nos trabalhos desenvolvidos no interior do Grupo de Estudos e Pesquisas sobre Imaginário, Educação e Memória (GEPIEM), tomo como referencial teórico os estudos do campo do Imaginário, dentre eles a fenomenologia poética de Gaston Bachelard, a ciência do homem e da tradição de Gilbert Durand e a Sociologia do Cotidiano de Michel Maffesoli. A problemática desta investigação é identificar de que modo o ensino da Sociologia pode contribuir para o processo de reencantamento do mundo e da educação. Para isso, utilizo-me de práticas de (auto)formação em experiências imersivas, próximas de uma mística do ensino, que contemplem a atenção imaginante (Gaston Bachelard) na produção de narrativas visuais (fotografias) de Bagé. O trabalho se desenvolve em três etapas metodológicas: do estranhamento, do entranhamento e da convergência. Na primeira etapa, medito sobre as imagens de experiências pessoais que me levaram ao tema desta pesquisa. É o momento em que exponho as representações simbólicas e imaginárias que fomentam minha atividade como professor-pesquisador e como habitante da cidade de Bagé. Na segunda parte, apresento a construção de um projeto de formação voltado para os estudantes do IFSul Campus Bagé, chamado Narradores de Bagé. Nesse momento, os estudantes são estimulados a adentrarem o cotidiano do município a partir de temas e espaços da cultura popular e ancestral das comunidades tradicionais. A comunidade escolhida para apreciação das narrativas visuais, construídas por mim e por estudantes, é a da região do Rincão do Inferno, situada no Quilombo de Palmas (Bagé RS). Por fim, a terceira etapa metodológica representa a confluência das etapas anteriores, em direção à síntese do trabalho. Nesse momento, o professor-pesquisador coloca em prática a atenção imaginante de si e do seu próprio fazer docente, investindo na ficcionalização da educação e da própria pesquisa, em direção ao reencantamento do mundo. Com o auxílio do método fenomenológico, sob influência de Gaston Bachelard, extraí núcleos simbólicos que remetem aos temas mais recorrentes de cada uma das três etapas metodológicas: Retorno, Enraizamento, Laço e Tradição. O resultado aponta para a importância das narrativas visuais e da atenção imaginante para a construção de uma mística do ensino em Sociologia, em consonância com os elementos do reencantamento do mundo: enraizamento ao tempo e ao espaço circundante, remitologização, poder do ritual e do feitiço , intuição do instante, agir cotidiano, laços comunitários, momentos de partilha, entusiasmo primordial, romantismo das ideias. A atenção imaginante, despertada pelo uso das narrativas visuais, representou a adesão dos estudantes e do professor-pesquisador aos espaços da tradição bageense, ajudando a exercitar uma sociologia da imaginação poética. A atenção imaginante, portanto, reduziu os elementos lógicos, racionalizantes e utilitários do ensino da Sociologia e aumentou os aspectos lúdicos, indiretos, oníricos e espontâneos, indispensáveis também para a construção do conhecimento.

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Mollard, Ingrid. "L’homme volant : l’imaginaire aéronautique dans la culture visuelle européenne de 1903 à 1937." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040054.

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Le monde aéronautique a connu un essor significatif durant les premières décennies du XXe siècle. Propulsé par des avancées technologiques sans précédents, l’aéronautique fut rapidement omniprésente dans tous les secteurs de la vie et de la culture européennes. De la figure du pilote d’aéroplane émergea subtilement, puis avec force, l’image d’un homme robuste et valeureux qui personnifiait son pays. Trouvant un réceptacle favorable dans les héros nés de la Grande Guerre, les gouvernements totalitaires qui émergèrent façonnèrent le pilote comme l’avatar d’un homme idéal. L’imaginaire européen du premier tiers du XXe siècle vit alors naitre « l’homme volant », une facette de « l’homme nouveau », incarnant la grandeur de sa nation
Aeronautics underwent a significant development during the first decades of the 20th century. Helped by new technological advancements aeronautics quickly became omnipresent in all sectors of the European life and culture. From the figure of the airplane’s pilot emerged subtly, then with strength, the image of a strong and brave man personifying his country. Finding a favorable receptacle in the Great War’s heroes, the totalitarian governments shaped the pilot as the avatar of an ideal man. The European imagination of the first third of the 20th century gave birth to the "flying man", a facet of the “new man”, embodying the greatness of its nation

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38

Sonderstrup, Soren. "Film for Change, Communication Rights and Social Change in Tanzania." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21495.

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The thesis presents a view of film for change set against the manifold approaches, practices or ideologies influencing it, and analysis it as a tool for the self-representation, self-determination and mediation of marginalised people in the face of globalization and the democratization of communication. It seeks to find an answer to the question of how film for change works as a method to empower the disadvantaged inhabitants of three villages in Tanzania, where fieldwork was carried out. The thesis tracks down core parameters that connect the visual communication experience to the social reality and bear the potential to change it. The use of visual communication technology, interactive and horizontal communication practices, fictionalizations and empowerment strategies enable processes among spectators and participants that permit them to reframe or reconsider representations that they witness. Film for change potentially reaches beyond the community and through convergence with Web 2.0 into the much larger public sphere, nationally as well as globally. The thesis suggests that film for change should be adapted to the present day media environment as citizens’ media, whereby media users also become media producers and start broadcasting self-communicated alternatives to the images and interpretations produced by established media corporations that dominate the global flows of information. In this way film for change connects to the right to communicate and becomes a tool for citizens to influence power relations and advocate social change.

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39

Khatri, Priyadarshini A. "Global Discontents." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1146.

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My creative project explores toys as means to express economic issues of globalization. By exploiting the educational and imaginative aspects of toys for adults and children, I intend to reflect on the impact and pressures of globalization on employment, technology and environment. In creating these toys I hope to make a visual statement concerning critical issues of human survival, sustainability and the divisive side of globalization.

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MANCINI, Francesca. "Neural correlates of visual imagination." Doctoral thesis, 2007. http://hdl.handle.net/11562/337989.

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L'immaginazione visiva rappresenta un aspetto fondamentale della nostra vita. Può essere definita come l'abilità di generare immagini visive, simili agli oggetti fisici realmente percepiti, in assenza di uno stimolo retinico. Vedere un oggetto è sicuramente un'esperienza diversa dall'immaginarlo. Tuttavia, questi due fenomeni mentali appaiono strettamente interconnessi esercitando una reciproca influenza l'uno sull'altro. Ad esempio, esistono studi recenti che mettono in evidenza l'esistenza di circuiti neurali comuni implicati sia nella percezione che nell'immaginazione visive. La definizione dei processi cognitivi coinvolti nell'immaginazione visiva è uno dei settori di ricerca più attivi nell'ambito della psicologia cognitiva come testimoniato dallo "storico" dibattito fra Kosslyn e Pylyshyn sulla natura analogica o preposizionale dell'immaginazione visiva. La teoria di Pylyshyn sostiene che, come il linguaggio, anche le immagini siano simboliche e abbiano poco in comune con la percezione. Secondo tale approccio teorico non viene ipotizzata un'attivazione delle aree visive primarie durante l'immaginazione. Diversamente, Kosslyn ipotizza che le immagini mentali condividano con la percezione visiva rappresentazioni di tipo analogico...
The rationale of the present study was to investigate more closely the neural correlates on which the visual imagery relies on. Recent fMRI and neuropsychological studies have showed a crucial involvement of the visual areas in the generation of visual mental images. Nevertheless, the neural bases of the visual imagery still controversial and little is known about the cognitive operations that can be carried on the generated mental images. To cast light on this problem, we have studied possible behavioural effects that visual perception and imagery have in common, based either on simple neural physiological features proper of the perceptual system or on complex cognitive operations. In order to do this, we have tested by means of a series of experiments, whether visual effect on reaction time, based on a morpho-functional caratheristic of the visual system, might be replicated also within the visual imagery. A well known effect obtained with visual stimuli concern the increase of the RT with peripheral in contrast of the central stimuli (eccentricity effect)...

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Chen, Nai-Ling, and 陳乃綾. "Imagination and No Position—Visual Sensitivity." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/59425440524402765597.

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碩士
台南科技大學
美術研究所
96
The formation of this creative production is based on imagination, the drawing pieces accomplished from 2004 to 2008. This thesis attempts to explore the influence of visual media—comic books, animated cartoon, TV and movies—on the author’s works. This thesis also tries to examine the relationship between the mass communication media and the author. The finding shows that the drawing mode is formed by the habitual process of watching these media. In Chapter 2, imaginative contents and media influence will be explored. Imagination first needs to be well-liked and it, then, remains in the mind. Through illusion, the author, skittering away from the present moment, draws images on the canvas. As Merleau-Ponty stated, his body works as a medium and perceives whatever the living world offers. The contents of his works are his world; in other words, I exist in the works (the tableau). This is what he calls “le corps proper”. The previous chapter, Imagination and No Position—Visual Sensitivity, is the foundation of the thesis development. The first chapter is the introduction. The second chapter is imagination interaction. The first section of Chapter 2 introduces how animation influences the author and analyses how the author feels and perceives the animation. The second section of Chapter 2 explains how mass communication media influence the author, the analyses of work producing based on the concept of information-processing theory of learning. Several elements are concerned in the analysis: visual stimulus, sensory register, gazing, memory, encoding, transformation, individual habit, imagination needs, author’s body, decoding, and product outputs. In fact, there is a sense of overlap—compound concept—between chapters and the author’s works, any piece of work containing the above-mentioned concept. For the author, the third section of Chapter 2 brings out the most crucial drawing concept, imagination logic. There is no logic while imaging. The author savors the contents and process that stories give. With my life experience, the author is inspired by the animation to form my own imagination. In other words, the surroundings are transformed into nutrients of imagination. Chapter 3 focuses on the work producing methods. The analyses of materials, quality, and effects will be included to relate to creative imagination and meanings. Drawing cannot be thoroughly defined. It depends on how you think about it. I offer a drawing channel where drawing for me is a medium of communicating the inner thoughts to create an impossible interesting space, a space where I exists and containing the works that are my world—that is, the tableau of my whole works.

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Tong, Peng-Wen, and 董芃彣. "Problem decomposition patterns affect visual thinking learners imagination in Design Computational Thinking course." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/dkj2fw.

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碩士
國立臺北科技大學
互動設計系
106
With the prevalence of the programming education, programming related subjects have become one of the essential skill for students. Through learning logical thinking, students can further solve problems in different situations. Such as computational thinking, which is defined as a problem-solving method, is also a basic skill that everyone need to learn. Design students as the learners of visual thinking, usually communicate and create through imagination. Through the course of computational thinking, learning how to solve the problem is also a design strategy for design students, which indirectly affect the students’ design. Therefore, this study is intended to explore whether the students’ problem decomposition models will affect their imagination. The paper observes the relationship between the students problem decomposition modes and their imagination through the records of classroom activity. According to the activity records, four kinds of models named by programming decision structures were "switch case", "if else", "for loop" and " create ", and the students from "for loop" and " create " models have high originality. From the imaginary test results, it was found that the course can improve the students whose original imagination was low achieved, but originality values from students with higher originality are reduced. As a result, imagination is related to the logic of problem deconstruction, and students can use their imaginations to inspire different logical patterns of deconstruction.

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Liu, Pei-Tong, and 劉沛彤. "The Effect of Infusing Future Imagination into Visual Arts Instructional Program on the Imagination and Drawing Performance Ability of the Elementary School Students." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/12527502988796440017.

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碩士
國立臺灣師範大學
創造力發展碩士在職專班
103
This research attempts to explore the effect of “infusing future imagination into visual arts instructional program” on the imagination and drawing performance ability of the elementary school students. This research uses a quasi-experimental, nonequivalent pretest-posttest control group design. Sampling from fifth grade students in elementary school in Taipei City. The Imagination Tests, Imagination-Disposition Scale, and Drawing Performance Ability Rating Scale are used to test all the students, the experimental group consisting of 24 students received future imagination infusing into visual arts instructional program, the control group consisting of 24 students received the regular visual arts instruction. Before and after the program was carried out, quantitative data are analyzed by ANCOVA, qualitative data like notes of reflections about teaching, students’ works and worksheets, and the feedback questionnaires for the whole course of research were collected, described, and interpreted. They are used to understand the result of the imagination and drawing performance ability of the two groups of the students. The major outcomes of this research are summarized as follows: 1. The program of infusing future imagination into visual arts instructional can improve the imagination of the elementary school students. 2. The program of infusing future imagination into visual arts instructional can improve the drawing performance ability of the elementary school students. 3. Analyzed from the end of the curriculum feedback questionnaires, the experimental group students who receive “infusing future imagination into visual arts instructional program” were positive. According to the findings and reflection of this research, conclusions for practical application and suggestions for further research are discussed.

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Berman, Kim Shelley. "Agency, imagination and resilience: facilitating social change through the visual arts in South Africa." Thesis, 2009. http://hdl.handle.net/10539/7366.

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ABSTRACT This thesis presents case studies of five projects that use the visual arts to effect social change in post-apartheid South Africa. Artist Proof Studio, Paper Prayers, Phumani Paper, Community Engagement at the University of Johannesburg and the AIDS Action Intervention exemplify a range of approaches to social activism through the arts that parallels the political transformation to democracy. The first case study traces the history of the community printmaking studio, Artist Proof Studio, from 1991 to 2008 in three phases: redress, reconciliation and rebuilding. Artist Proof Studio was founded in 1992 to provide visual arts training to highly creative, but previously disadvantaged individuals. The Paper Prayers for AIDS Awareness initiative was implemented as a program of the studio in 1998. Originally funded by government, the campaign reached thousands of people nationwide. Phumani Paper, a national hand papermaking programme for job creation, was founded in response to a state directive to higher education institutions to implement technology transfer and poverty alleviation initiatives. The Papermaking Research and Development Unit was established at the University of Johannesburg in 1996. The principles and approaches established through these programs are analysed in the fifth case study, the AIDS Action Intervention. This three-year intervention brings all the initiatives together in a multi-disciplinary program that applies participatory action research as well as visual arts methodologies that help catalyse meaningful social action. There are common elements running through each of the case studies that derive from the fact that each intervention was based on the democratic values of human rights and equity. Further, the methodology throughout is dialogical, consultative, and designed to facilitate participants recognizing their own voices. The idea is that practice leads to understanding and stems from a fundamental ethical principle or ideal that all human beings have the capacity to realize their potential in their own way. The central argument of these case studies is that the projects continue to survive, against significant odds, because of the power of imagination, aspiration and dreaming. I interrogate the projects’ foundational premise that participants are empowered by the creative process, which promotes a sense of pride, and generates leadership as well as income. In addition, I argue that grass-roots visual arts projects, which ordinarily go un-analysed in any systematic way, can offer a model for transforming knowledge-creation through their non-hierarchical and participatory methodologies. In sum, this thesis documents and analyses eighteen years of arts activism; it assesses the actual outcomes of the interventions against the idealistic aims on which the projects were founded, and provides a resource guide for cultural activism in South Africa. It demonstrates the dynamic possibilities that exist in the domain of development and arts education.

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45

Stifel, Jessica L. "Beyond visual imagery and imagination : a connection between art-making and the reading process /." 2004. http://www.consuls.org/record=b27083305.

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Thesis (M.S.)--Central Connecticut State University, 2004.
Thesis advisor: Cora Marshall. " ... in partial fulfillment of the requirements for the degree of Master of Science in Art Education." Includes bibliographical references (leaves 148-159). Also available via the World Wide Web.

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46

Stuart, Amanda Graham. "The Dingo in the colonial imagination." Phd thesis, 2013. http://hdl.handle.net/1885/109295.

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This thesis is comprised of two parts: a Studio Research component with accompanying Exegesis (66%), and a Dissertation (33%). The Dissertation provides the historical theoretical component that informs the Studio Research and Exegesis, entitled The Dingo in the Colonial Imagination.This body of work investigates the tensions between humans and animals that share boundaries. It focuses on the terse relations between humans, dingoes and wild dogs in southeastern Australia. Ideological and practical themes emerged through the studio-based and theoretical research, which spans a range of disciplines including art, science, culture and history. At its core is how humans and undomesticated animals share arbitrary boundaries and suffer the transgression of these boundaries. Primary field research informed the studio and theoretical aspects of the project. It involved consultation with individuals and agencies affected by dingoes and wild dogs in interface zones where private and government managed lands intersect. The 30,000 word dissertation traces colonial visual representations of the Australian native dog during the century that spans early European settlement to Federation. It follows perceptions of the dingo as it is imagined and encountered by European settlers. The dingo's guise ranges from scientific curiosity, object of desire, symbol of wilderness, metaphor for a dying race and as an enemy that threatens the social and economic fabric of the colonial project. The studio work amplifies the influence of these colonial perceptions on contemporary attitudes to dingoes. It follows a trajectory of the disappearing dingo in its representational form, to its implied remnant presence within the farmers' psyche. Early studio work explored a range of materials and practices, encompassing sculptural and drawing strategies, and took its cue from a macabre ritual of animal shaming in remote regional Australia, the so-called 'dog trees', that display the carcasses of one or multiple dingoes and wild dogs. The studio work has culminated in a large-scale sculptural installation, designed to pare back the visual language to its essential elements. This work incorporates the dissolution of the dingo form, which becomes absorbed into the personal objects embedded into the farmers' private territory. The poetic objects that form the final sculptural work presented for examination, Lines of desire, become metaphors for the dingo's capacity to survive and unsettle the rural subconscious.

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47

"Poems from the mirror: The re-imagination of indigenous identities through literary and visual narratives in Oaxaca." UNIVERSITY OF CALIFORNIA, DAVIS, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3329710.

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48

Young, Scott Jason. "Visual Discrimination of Speed-accuracy Tradeoffs." Thesis, 2007. http://hdl.handle.net/1807/26485.

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Although research has highlighted the importance of decisions when learning and performing motor actions, few studies have focused on individuals’ ability to choose between potential motor actions. To help bridge this gap, this thesis presents a series of studies that investigate the behaviour of able-bodied individuals when attempting to choose movements based on a speed-accuracy tradeoff. In the first study, a two-alternative forced-choice task was used to determine whether people are consistent with Fitts’s law when choosing the movement they perceive to require the least movement duration. Participants performed almost perfectly when clear visual cues were available—when one of the targets was closer, wider, or both. Contrary to Fitts’s law, however, participants showed a preference for closer targets when visual cues were not informative—when one of the targets was closer and narrower. This study demonstrates that motor decisions are not always optimal, especially when participants are naïve at the task. To determine the basis of individuals’ preference for closer targets, a pair of studies explored the relation between motor decisions, imagined movements, and visual perception. Participants showed a similar deviation from Fitts’s law when imagining movements—believing that movement duration increased with distance within the same index of difficulty. Participants did not behave similarly, however, in a perceptual version of the decision task. These results suggest that imagined movements and motor decisions are linked, but they are not always based on veridical representations of actual movement. To further probe the origin of individuals’ erroneous belief about movement duration, the final study of this thesis measured movement duration for movements made at speeds other than ‘as fast as possible’. Movements made at more natural movement speeds shared important similarities with decisions and imagined movements. This study suggests that the biases seen in naïve motor decisions might originate from participants considering movements for which they have more experience, such as target-directed movements made at a naturally-selected pace. Together, the findings presented in this thesis may help to identify the ways that motor decisions can deviate from optimal, suggesting how those decisions must change with practice to better accomplish a task.

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Morey, Connie Michele. "Resonance, ecology and imagination: a practice-based enactment of imagining as an eco-ontological process." Thesis, 2016. http://hdl.handle.net/1828/7600.

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By situating ecology as an ontological position, this dissertation adapts Jan Zwicky’s notion of resonance to probe imagining as a complex collaborative process involving diverse emergent variables. As a practicing artist, writer, teacher and researcher, I combine theoretical research and (visual arts) practice-based research to posit a sense of imagining that is unsituatable. The structure of this dissertation is grounded in the form of the essay (as a “try” or an “attempt”) which adapts explanatory text, metaphorical text and visual elements as a way to expand qualitative practices that have engaged critically with the politics of accepted forms and structures of academic writing. The project is intended for an off-line format, as a series of six distinct yet interdependent hand-made books that focus on: (1) An Emergent Methodology; (2) Ontology, Form and a Reconstitution of the Individual; (3) Zwicky, Thisness, Ecology & Ontological Ethics; (4) Zwicky, Imagination and the Image; (5) An Envisioning of Imagining as a Resonant Ecological Process and lastly, (6) Moments of Engaging Eco-Imagining in the Post-Secondary Classroom. The research-writing expands a body of work, through visual-textual, theoretical-metaphorical form, to enact imagining as a resonant ecological process that unfolds through the emergence of a complex co-mingling of a deluge of variables.
Graduate

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Hung, Tzu-Ting, and 洪子庭. "A Study of Visual and Tactile Graphics Pictures Applied in Storytelling Playing Card of Board Game Associate with Imagination." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/f9r5gq.

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碩士
國立臺灣師範大學
設計學系
106
Tabletop games are media designed to be played by a number of players, feature great development potential, and promote interpersonal interaction. In this study, a visual and tactile graphics design was employed to develop 2D cards, in which players could identify the cards in two ways: by looking at them or by touching them. Such a design enabled players with or without visual impairment to play the game together. The two player types were asked to tell stories based on the thoughts that arose in their minds after identifying the cards, which facilitated the communication and interaction between them as well as the understanding of the other player type. A three-stage research method was adopted to teach players with the blind to paint, interview people, and perform actual analyses. The following design principles were obtained: (1) adopting simplified principles; (2) transmitting information transmission at the same speed; (3) providing a five-senses experience; (4) linking imagination; and (5) practicing equal participation rights. On the basis of the five design principles, Stories, a game with visual and tactile graphics that can be played by both people with or without visual impairment, was created. In this study, the planning and design tasks included creating tactile graphic cards, a tactile graphic instruction manual for the game, and a voice instruction for the game (on a CD). Ultraviolet (UV) printing technologies were used to complete the designs to allow images and text to become embossed (similar to braille text), which fulfilled the design purposes and the study objectives. For both players with or without visual impairment, they could use five different card types (i.e., character card, event card, magic card, lightning card, and crown card; the types of images and functions of the cards for any card type differed from those of another card type) to inspire their imagination, and use the thoughts that arose in their minds to tell stories. The players’ varying interpretations of the images made the game entertaining. The study results are as follows: 1. By telling stories during the visual and tactile graphics game, the social barriers between players with or without visual impairment were broken. 2. The simplified images and partial colors used in the visual and tactile graphics game enabled players with or without visual impairment to explore stories. 3. Tabletop games that can be played by both players with or without visual impairment should be designed in a way that graphic and text information are transmitted synchronously. 4. 2D designs should be more than just vision-based; multisensory designs should be used. This study offers following recommendations: 1. Tabletop games that can be played by both people with or without visual impairment should be popularized on the general market. 2. The tactile graphic design should be adopted to design various parts in tabletop games. 3. The tactile graphic method should be employed to transmit color information, which people with visual impairment have difficulty understanding. In addition, color information should be included in games. 4. Tabletop game-based tactile graphic designs should be introduced to places where people with normal vision receive their education or socialize. 5. Governments and schools should pay attention to studying and promoting tactile graphic designs so that people with or without visual impairment can play tabletop games together.

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