A study on Visual Imagination of Baek-seok’s Poems—Focusing on There is a White Wind Wall

2021 ◽  
Vol 86 ◽  
pp. 131-157
Author(s):  
Dong-jin Jeon
Keyword(s):  
Visual Imagination

The Jewish Ghetto and the Visual Imagination of Early Modern Venice

2018 ◽  
Vol 41 (3) ◽  
pp. 235-237
Author(s):  
Dana E. Katz (book author) ◽  
Christopher F. Black (review author)
Keyword(s):  
Early Modern ◽  
Visual Imagination ◽  
Early Modern Venice

IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI

2017 ◽  
Vol 12 (2) ◽  
pp. 91
Author(s):  
Edial Rusli
Keyword(s):  
Creative Process ◽  
Single Unit ◽  
Digital Images ◽  
Visual Image ◽  
Construction Process ◽  
Multiple Images ◽  
Artistic Process ◽  
Visual Imagination ◽  
Human Thought ◽  
The Media

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

Four measures of visual imagination

1969 ◽  
Vol 7 (1) ◽  
pp. 63-69 ◽  
Author(s):  
David C. Rimm ◽  
Jil Bottrell
Keyword(s):  
Visual Imagination

scholarly journals Capacity Limits on Visual Imagination

2019 ◽  
Vol 19 (10) ◽  
pp. 74b
Author(s):  
Cristina R Ceja ◽  
Steven L Franconeri
Keyword(s):  
Capacity Limits ◽  
Visual Imagination

The Visual Imagination of D. H. Lawrence

Books Abroad ◽  
1972 ◽  
Vol 46 (3) ◽  
pp. 487
Author(s):  
Daniel J. Cahill ◽  
Keith Alldritt
Keyword(s):  
Visual Imagination

Divine Analgesia

2016 ◽  
Author(s):  
L. Stephanie Cobb
Keyword(s):  
Visual Imagination ◽  
Narrative Techniques

Chapter Three surveys narrative techniques for rejecting pain as a locus of meaning in martyrdom. A number of texts explicitly deny the experience of pain altogether by employing the language of analgesia or anesthesia in their descriptions of the martyrs’ experiences of torture; other texts employ typical terms for pain but negate them; some narratives differentiate the experiences of the martyrs’ bodies from those of their spirits. Often texts attribute Christian impassibility to the presence and support of the divine. Finally, many texts thwart the audience’s visual imagination by preparing listeners to envision a grotesque murder, but then unexpectedly describing, instead, a beautiful body unharmed by torture. In these stories, torture does not harm Christians but, rather, it heals them.

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