Academic literature on the topic 'Image contemplative'
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Journal articles on the topic "Image contemplative"
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Scott, Charles F. "What is Contemplation?" SFU Educational Review 12, no. 2 (July 31, 2019): 121–36. http://dx.doi.org/10.21810/sfuer.v12i2.936.
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Richardson, Pamela, and Susan Walsh. "Endless Open Heart: Collaborative Poetry and Image as Contemplative and Restorative Practice / Du fond du cœur : poésie concertée et imagerie pour une pratique contemplative et restauratrice." Canadian Review of Art Education / Revue canadienne d’éducation artistique 45, no. 1 (December 22, 2018): 153–64. http://dx.doi.org/10.26443/crae.v45i1.59.
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Abstract: In this article, we share how during a time of retreat from our academic careers we engaged in a shared contemplative arts process that included two practices, the first being renga, or linked verse poetry, and the second being Miksang, or contemplative photography. Through our particular collaboration, we sought to co-create a space where healthy habits of mind and open-hearted awareness were nurtured through practices of spaciousness, restfulness, curiosity, and compassion. In this way, we manifested a process that has been restorative for ourselves and that is potentially helpful for other artists, teachers and researchers.Keywords: poetry; photography; contemplative arts; collaboration; healing.Résumé : Nous racontons dans cet article comment nous nous sommes, en retrait temporaire de nos activités professionnelles, impliqués dans un processus concerté d’art contemplatif impliquant deux pratiques, à savoir le renga, sorte de poésie collaborative, et le Miksang, ou photographie contemplative. Nous avons voulu, dans le cadre de cette collaboration spéciale, co-créer un environnement favorisant de saines habitudes intellectuelles et la bienveillance en y intégrant grandeur, détente, curiosité et compassion. Nous avons ainsi amorcé un processus restauratif pour nous et potentiellement utile à d’autres artistes, enseignants et chercheurs.Mots-clés : poésie, photographie, arts contemplatifs, photographie, collaboration, guérison.
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Dorofeev, Daniil. "Visual Communications of Love in Athens and Venice: Plato and Tomas Mann." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 14, no. 2 (2020): 637–64. http://dx.doi.org/10.25205/1995-4328-2020-14-2-637-664.
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The article is devoted to the study of ontological, aesthetical and anthropological features of visual communication in Plato and Thomas Mann. I compare T. Mann’s Death in Venice artistic conception with the philosophical understanding of the image, contemplation, beauty and Eros of Plato, primarily in the dialogues Phaedrus and Symposium (with some reference to F. Nietzsche and the film by L. Visconti). The author explores the specifics of the visual-plastic worldview and the contemplative cognition of being, determined by the erotic foundation of the aesthetic contemplation of the human image as phenomenal manifestation of truth, fundamentally different from the one revealed in speech communication, and even capable of being autonomous from it, and represents the philosophical and artistic phenomenology of the development, transformation and implementation of such consciousness. The role of Athens and Venice as particularly significant historical-cultural topoi of visual communication is specially emphasized.
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Salom, Andrée. "Art Therapy and Its Contemplative Nature: Unifying Aspects of Image Making." Art Therapy 30, no. 4 (October 2, 2013): 142–50. http://dx.doi.org/10.1080/07421656.2014.846203.
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REPINA, E. A., and D. S. KAMYShEVA. "QUALITIES OF POSTINDUSTRIAL RUSSIAN ENVIROMENT: GRAPHIC EXPERIMENT." Urban construction and architecture 2, no. 2 (June 15, 2012): 24–26. http://dx.doi.org/10.17673/vestnik.2012.02.5.
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This article is devoted to specificity of environmental design of contemporary postindustrial Russian city. As an example of possible methods discussed including seeing, useless contemplative walk, naming of qualities, their graphic interpretation and returning them back in the starting image by means of photo-collage.
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Flores Barboza, José Clemente, and Franks Paredes Rosales. "La contemplación: estado superior del espíritu." Tradición, segunda época, no. 18 (January 9, 2020): 154–59. http://dx.doi.org/10.31381/tradicion.v0i18.2670.
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ResumenEl presente artículo está dividido en tres partes: En la primera se hace un esclarecimiento del concepto “Contemplación” refiriéndolo a los primeros filósofos griegos Platón y Aristóteles, quienes lo definieron como el asombro ante un hecho, objeto, paisaje, personaje que despierta vivencias fuertemente arraigadas en el espíritu. Se destaca el aporte de Platón a la contemplación de las ideas, particularmente el Bien como base de todo lo bueno y recto que existe. También meditaciones de Aristóteles y Plotino. En la segunda parte, se ocupa de los ámbitos de la contemplación estética, filosófica y mística, y finalmente, se vincula la educación al enriquecimiento del espíritu para contemplar lo bueno y lo bello. En cada ámbito se destaca un ejemplo: Neruda revive a Vallejo, Watanabe contempla la naturaleza y finalmente la imagen de Macchu Picchu vista desde la Casa del Guardián.Palabras clave: Contemplación estética, contemplación filosófica, contemplación mística, vida contemplativa, contemplación y educación, razón y pasión
AbstractThis article is divided into three parts. In the first part the concept “Contemplation” is clarified associating it with Greek philosophers Plato and Aristotle, who defined it as the amazement one holds at an event, object, landscape, or character that evokes experiences closely related to one’s spirit. Plato’s contribution towards the contemplation of ideas is highlighted, especially, righteousness as the foundation of everything that is good and correct. Meditations by Aristotle and Plotinus are also discussed. In the second part, it deals with the fields of aesthetic,philosophical and mystical contemplation and, finally, educationis linked to the enrichment of the spirit to contemplate the good and the beautiful. In each scenario, an example is analyzed,Neruda brings Vallejo back, Watanabe contemplates nature, and finally the citadel of Macchu Picchu as seen from Casa del Guardian.Keywords: Aesthetic Contemplation - Philosophical, cobtemplation - Mystical Contemplation - Contemplative Life - Contemplation and Education - Reasoning and Passion
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Newman, Barbara. "The Fool's Dance: Finding the Still Point in The Greater Trumps." Journal of Inklings Studies 9, no. 2 (October 2019): 154–71. http://dx.doi.org/10.3366/ink.2019.0043.
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Charles Williams and his characters need no spaceship or enchanted wardrobe to enter the otherworld, for it is simply the hidden heart of this one. Its portal is awakened vision. As both a fervent Christian and a practicing ritual magician, Williams used magic to open the supernatural dimension that features so prominently in his novels. Once a potent magical object has been loosed into the world, where it unleashes havoc, the damage must be contained by a saintly character who surrenders to the Divine, restoring the cosmic balance. Williams establishes striking parallels between magical sight and contemplative vision, as also between the performance of magic and the act of prayer. Focusing on The Greater Trumps, this essay considers the Fool (the figure numbered “zero” in the tarot deck) as an image of Christ who stands at the center of the magical dance enacted by the cards. Two maiden aunts, seemingly with little in common, turn out to be parallel seers of the divine: Nancy's aunt Sybil, a saintly contemplative, and her fiancé’s aunt Joanna, a gypsy madwoman obsessed with the goddess Isis.
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Carrabine, Eamonn. "Traces of violence: Representing the atrocities of war." Criminology & Criminal Justice 18, no. 5 (July 25, 2018): 631–46. http://dx.doi.org/10.1177/1748895818789448.
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This article explores the relationships between war and representation through the use of visual images, and takes a cue from the French cultural theorist Paul Virilio, who has written extensively on the militarization of vision in ways that have yet to be fully recognized in criminology. It then outlines some of the disputes surrounding documentary photography, not least since one of the main factors driving the development of the medium was the desire to record warfare, before turning to recent efforts to reconfigure the violence of representation by focusing on what has been termed ‘aftermath photography’, where practitioners deliberately adopt an anti-reportage position, slowing down the image-making process and arriving well after the decisive moment. This more contemplative strategy challenges the oversimplification of much photojournalism and the article concludes by reflecting on how military-turned-consumer technologies are structuring our everyday lives in more and more pervasive ways.
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Crimmins, Gail, Alison L. Black, Janice K. Jones, Sarah Loch, and Julianne Impiccini. "Rupturing the limitations and masculinities of traditional academic discourse through collective memoir." Qualitative Research Journal 19, no. 4 (November 11, 2019): 380–90. http://dx.doi.org/10.1108/qrj-03-2019-0025.
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Purpose The authors, seven women–writers–performers–artists–academics, have been working collectively for a year, storying, de-storying and re-storying the experience of our lives. The authors write to “taste life twice, in the moment and in retrospect” (Nin, 1976), to uncover and learn ourselves through writing (Richardson, 1997), to take the “risky” steps of talking to each other about our inner lives (Palmer, 1998). Cognisant of the limitations and masculinities of traditional academic discourses, in form and content, and heavily confined by neoliberal expectations to count and be counted, we write and express the stories of lives the authors did not choose or imagine – lives we are given and live through. Our expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development. The paper aims to discuss these issues. Design/methodology/approach This paper is designed as a collective memoir. Findings The authors write and express the stories of lives we did not choose or imagine – lives we are given and live through. The expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development. Research limitations/implications The research focuses on autoethnography and lived experience. Originality/value Auto-ethnography/lived experience offers rich insights into the personal and political actions and actors within higher education.
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Sosnowska, Monika. "Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM." Multicultural Shakespeare: Translation, Appropriation and Performance 17, no. 32 (June 30, 2018): 81–93. http://dx.doi.org/10.18778/2083-8530.17.08.
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Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?
Dissertations / Theses on the topic "Image contemplative"
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Lee, Sun-Woo. "Apichatpong Weerasethakul entre réalité et imaginaire." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100194/document.
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Cette étude est consacrée à l’analyse de la coexistence de la réalité et de l’imaginaire dans l’œuvre d’Apichatpong Weerasethakul. Les modalités de rencontre et de croisement de ces deux dimensions dans un film ou entre des films sont éclaircies à travers des observations pratiques et détaillées. Partant de l’analyse de l’influence de deux cultures différentes – la sensibilité autochtone thaïlandaise et la tendance du cinéma expérimental occidental – nous envisageons d’une part les modalités de captation des scènes de la vie réelle et d’autre part la manière de découvrir et de révéler le côté invisible qui entoure ce champ visible. La narration filmique est représentée de manière diverse en déviant de la règle classique. Dans le processus de formation d’une histoire, des matières hétérogènes sont englobées et des textes divers sont connectés. Par ailleurs, l’univers flexible et libre de Weerasethakul présuppose toujours des temps multiples virtuels, caractéristique essentielle que l’on retrouve dans toutes ses œuvres, des courts-métrages aux installations en passant par les long-métrages. Par conséquent, la distinction entre la dimension réelle et la dimension irréelle/surréelle perd en clarté ; la ligne de distinction est quasiment annulée. Le réalisateur propose ainsi une autre vision du monde se basant sur la tradition bouddhique thaïlandaise qui pourrait sembler absurde du point de vue du rationalisme moderne de l’Occident. En traversant ainsi les discussions autour du monde hybride de Weerasethakul, cette étude a pour ambition de démontrer que son cinéma (re)trouve la beauté et la puissance de la réalité à travers l’imaginaireThis study is about the analysis of the coexistence of reality and imagination in the work of Apichatpong Weerasethakul. The modalities of encountering and crossing of these two dimensions in a film or between films are clarified through practical and detailed observations. On the basis of an analysis of the influence of two different cultures – the Thai indigenous sensibility and the tendency of Western experimental cinema –, we search on the one hand the modalities of capturing the scenes of real life, and on the other hand how to discover and reveal the invisible side that surrounds this visible field. The narrative of his films is represented in a diverse way by deviating from the classical rule. In the process of forming a narrative, heterogeneous materials are embraced and various texts are connected. Moreover, the flexible and free world of Weerasethakul always presupposes virtual multiple times, an essential characteristic that can be found in all his works, from short films to installations to the feature films. Therefore, the distinction between the real dimension and the unreal / surreal dimension loses clarity; the line of distinction is virtually canceled. The filmmaker thus proposes another view of the world based on the Thai Buddhist tradition that might seem absurd from the point of view of modern rationalism of the West. By crossing the discussions around the hybrid world of Weerasethakul, this study aims to demonstrate that his cinema (re)finds the beauty and power of reality through the imagination
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Frémy, Anne. "L'image édifiante. Le rôle des images de référence en architecture." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLD001.
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L'image édifiante.Le rôle des images de référence en architecture. L'iconographie est la seconde nature de l'architecture, elle est à la fois son double et son ombre car sans cesse l'architecture se manifeste conjointement dans sa matérialité construite et dans des ensembles d'images, qu'ils soient inventaires, documentaires, prospectifs ou publicitaires.Outil de connaissance, de transmission, de diagnostic, d'investigation ou de projet, l'image agit sur l'architecture comme source d'inspiration noétique et poétique. Consciemment ou inconsciemment, la mémoire des images, de toutes les images, architecturales ou non, participe à l'édification des bâtiments.Le principe de la référence visuelle, énoncé d'abord comme le moyen d'échafauder, de démontrer et de partager des règles et des méthodes, s'avère déterminant pour la construction de l'édifice comme pour celle de l'architecte. En effet, dès Vitruve, les architectes furent encouragés à enrichir leurs œuvres de références piochées dans tous les domaines de la connaissance ; chaque corpus visant à mettre en évidence non seulement un savoir disciplinaire mais aussi le stock symbolique sans lequel un architecte ne saurait se situer ni s'affirmer comme tel. Quelles sont les conditions d'apparition de ces images ? Quel rôle jouent-t-elles dans le régime global d’un projet d’architecture ou d’urbanisme ? Comment et quand une image ou un ensemble d’images peuvent-ils inspirer ou déclencher un projet, le contextualiser, en révéler le hors champ, le stimuler ou le sublimer ? Comment ces iconographies agissent-elles sur la formalisation et la transmission des œuvres de ces architectes qui vagabondent entre l’espace et le temps grâce aux images ? Il s'agit aujourd'hui d'approfondir ces questions intuitives, en inscrivant le principe de la référence visuelle dans une perspective historique et théorique qui l'éclaire : les procédures contemplatives et divinatoires, les arts de la mémoire et la pratique contemporaine de l'atlas sont mis à contribution pour vérifier l'hypothèse que ces images pensantes sont pour l'architecte des outils de projet puissamment opérantsThe Edifying Image. The role of reference images within architecture. Iconography is architecture’s second nature; it is both its double and its shadow in that architecture reveals itself jointly in its constructed materiality and within numerous bodies of images, whether they are documentary, archival, prospective or commercial in nature.The image as an instrument of knowledge, transmission, diagnostics, investigation and projection, casts its influence over architecture in the guise of both noetic and poetic inspiration. Consciously or unconsciously memories of images, of all images, architectural or not, play a role in the construction of buildings.The tenet of visual reference, at first formulated as the means to devise, demonstrate and share rules and methods, was soon recognised to be as vital to the construction of an edifice as to the development of the architect himself. Indeed, since the days of Vitruvius, architects have been encouraged to enrich their oeuvres with references gleaned from every field of knowledge; each corpus sought not only to highlight the knowledge within the discipline but also the symbolic stock, without which an architect would not know how to position himself or even affirm himself as such. Under what conditions did these images appear? What role do they play in the overall scheme of an architectural or urban design project? How and when can an image or a series of images inspire or initiate a project, put it in context, reveal its hidden environment, stimulate or even sublime it? How does this iconography affect the formalization and transmission of the works of those architects, who drift between space and time by means of these images?Today it is important to deal with these intuitive questions in greater depth, by placing the principle of visual reference within an historical and theoretical perspective that sheds greater light on the subject: the contemplative and divinatory procedures, the art of recollection and the contemporary practice of atlas making are all called upon to test the hypothesis that these thinking images are to the architect, highly effective tools for his projects
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Giannouri, Evgenia. "Marches des corps, [dé]marches des images. Image et mouvement a l'aune du regard contemplatif et du corps en acte." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030160.
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Cette étude a des assises autant dans l’histoire de l’art que dans l’esthétique du cinéma. Son point de départ est une aporie : « Qu’est-ce que le mouvement en image dès lors il s’agit de le chercher en dehors des représentations et de leurs techniques ? ». La substance mobile des images dont nous souhaitons faire ici le cas se situe à l’intérieur même du point de vue et non pas à l’enchaînement entre points de vue. Il s’agit de penser sa construction en termes d’un clivage interne, d’une bifurcation. Il s’agit surtout de placer la construction du point de vue au croisement de deux apprentissages [mathésis] : d’un côté celle de la contemplation du monde à partir d’un point fixe, unique ou changeant, de l’autre celle de la mobilité inhérente qui régit tout aspect de la vie. Dans ce contexte, le mouvement des images ne serait pas seulement le résultat d’une révolution du regard ou l’aboutissement d’une aventure technique, mais également et au même titre qu’eux, le résultat d’un événement conflictuel entre deux configurations du [sa]voir différentes bien que totalement pondérées. « Qu’est-ce qui ne marche pas ? » est la question qui nous guide à travers l’écriture. Les images témoignent d’une forme de [dé]marche transversale, d’un accident de la « marche » tant au niveau structurel du film qu’au niveau diégétique. Elles renvoient à quelque chose comme un trouble, un dissentiment. Chaque partie de ce travail constitue, enfin, une étude de cas. Chaque cas dénonce une aporie de point de vue : pittoresque, elliptique, théorique. Les films analysés, très différents les uns des autres, proviennent du cinéma et de ses pratiques élargies. Mais chacune des trois parties est également conçue autour d’un « metteur-en-scène » au sens large : Robert Smithson, Gus van Sant, Victor Burgin. Issus de la grande famille des artistes et non seulement de celle des cinéastes confirmés, ils nous guident à travers la construction de récits ancrés autant dans l’histoire des arts [peinture, sculpture, architecture] que dans les péripéties du cinéma contemporainBoth art history and cinema aesthetics lie at the foundations of this study. Our starting point is a perplexing difficulty [an aporia]: “What is an image motion when we think about movement beyond its representations and the techniques that accompany them?”. In this dissertation, we examine the mobile substance of images from within the standpoint itself and what resembles to an internal cleavage. We argue that a particular kind of viewpoint can emerge at the crossroads of two different understandings [mathesis]: on the one hand, the contemplation of the world from a single or interchangeable fixed point; on the other hand, the corporeal mobility inherent to every aspect of life. Within this context, image motion is more than just the consequence of a major change in our “ways of looking”, or the outcome of a technical adventure. We argue that image motion is equally the result of a conflict between two different configurations of knowledge - seeing. The images attest to a way of thinking and unthinking motion, illustrated by a disruption in “the walk of the images” which takes place both in the film’s narrative and in the film’s structure revealing something like a trouble, or a dissent. Each section in this work constitutes an autonomous case study. Each case relates to a particular bifurcation of the standpoint: picturesque; elliptical; theoretical. The films in question, very different from one another, stem from cinema and its expanded practices. These three sections are also articulated around three “metteurs-en-scène”: Robert Smithson, Gus Van Sant, Victor Burgin. Belonging to the larger family of artists [and not only to that of confirmed filmmakers], they guide us through the unfolding of a narrative, whose roots are to be found as much in the history of the arts [painting, sculpture, architecture], as in the vicissitudes of contemporary cinema
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Li-kuei, Chien. "The Siwei Bodhisattva : the contemplating image in popular Buddhism of sixth century China." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/29776/.
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This dissertation examines the visual characteristics and religious background of a distinctive Buddhist iconographic form, the contemplative or pensive image (banjia siwei xiang).This dissertation aims to shed new light on the long-standing scholarly debates regarding the pensive figure's identity, but more importantly to understand the way in which the image's changing forms and the changing meanings assigned to the image were linked to the formation of a new and distinctive complex of religious beliefs and practices.;This dissertation is based on an examination of more than two hundred sculptures of the pensive image, many of which are accompanied by dedicatory inscriptions. Approximately one-third of the images and inscriptions have not previously been described in any scholarly publication. The geographic and chronological coverage ranges from early Gandhara (the first to third centuries), Dunhuang and Jingta examples (c. 400-470 AD), through the Yungang, Maijishan and Longmen cave-temple complexes (c. 460-530 AD), to sixth-century examples from Shanxi, Hebei and Shandong.;The iconographic development shows a clear progression in the pensive figure's importance, from a minor role as attendant to a prominent deity in its own right. At the same time, my analysis of the accompanying inscriptions reveals that the figure gradually began to take on a distinct religious significance. To reconstruct the religious concepts that the Siwei Bodhisattva represented, I examine both textual and visual evidence relating to this figure, showing how it embodied ideas about mental discipline' in pursuit of enlightenment and the belief in Pure Lands. By reconstructing the religious beliefs and practices surrounding the cult of Siwei, I illustrate the ways in which Chinese religion was constituted through the interaction of texts, images and ritual practices.
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Silva, Marcella Marino Medeiros. "\"Fantasia e consciência de imagem\", lições apresentadas por Husserl no semestre de inverno de 1904 - 1905: tradução, introdução e notas." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-06112012-104628/.
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O presente trabalho consiste na tradução anotada da Terceira Parte das Lições do Semestre de Inverno de 1904-1905 intitulada Fantasia e Consciência de Imagem, acompanhada de uma introdução. Nesta apresentamos inicialmente a teoria da intencionalidade desenvolvida nas Investigações Lógicas, cujos elementos são fundamentais para a compreensão da análise da estrutura intencional das imagens físicas e da fantasia empreendida nas Lições. Num segundo momento, buscamos retraçar o percurso analítico feito por Husserl nas Lições, o qual conduz ao reconhecimento de que as fantasias, consideradas inicialmente imagens, possuem uma estrutura intencional semelhante à das percepções. Esta descoberta o levará ao questionamento e à crítica do esquema apreensão-conteúdo de apreensão, até então válido para descrever os diversos modos de consciência intencional, e ao esboço de uma nova teoria para explicitar a diferença entre o caráter atual dos atos presentantes e o caráter inatual dos atos presentificantes, como a memória, a fantasia e a expectativa.This dissertation comprises the annotated translation of the Third Part of the Lectures from the Winter Semester 1904/1905, entitled Fantasy and Image Consciousness, and an introduction. In the introduction, we initially present the theory of intentionality developed in the Logical Investigations, whose elements are fundamental to understand the analysis of the intentional structure of physical and fantasy images carried out in the Lectures. Secondly, we seek to retrace the analytical path taken by Husserl in the Lectures, which leads to the recognition that fantasies, initially considered as images, have an intentional structure similar to that of perceptions. This discovery will lead him to criticize the scheme apprehension-content of apprehension, hitherto valid for describing the various modes of intentional consciousness, and to outline a new interpretation to explain the difference between the actual character of the acts of presentation and the inactual character\" of the acts of representation, such as memory, fantasy and expectation.
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Horn, Lindsay R. "The Transformation of the Human Person Through Contemplation: An Analysis of John Cassian's Conferences." University of Dayton / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1626084936036699.
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Gardette, Philippe. "Spécularité et psychanalyse : recherches à partir de la "Lecon III" de Pierre Legendre : ou la représentation au centre de la cure psychanalytique." Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30029.
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Le psychanalyste Pierre Legendre propose une vision structuraliste du rapport de l'homme à l'image. Notre projet est de partir de cette réflexion fondatrice pour ensuite l'enrichir du concept de dynamisme -en se fondant sur des cultures autres qu'occidentales – qui viendra se substituer à celui de structure. Plus généralement, notre travail a pour objet de déconstruire certains stéréotypes liés à la relation entre l'homme et l'image dans le souci de restaurer une vision psychanalytique englobant la relation éthique (de 'je' à l'autre), sociale (de 'je' aux autres) et spirituelle (de 'je' au Tout Autre)qui correspond à une vision plus holistique de la cure psychanalytique mais sans la trahirPierre Legendre adopts a structuralist point of view in his studies. Our project is to establish – with the help of different cultures – a position more dynamics to deconstruct three sorts of stereotypes : – First, the stereotype as an obstacle between me and the others (social dimension) ; – the stereotype as a hitch between me and the Other (spiritual dimension) ; – and, finally, stereotype as an obstacle between me and me. As we can see, this question is deeply ethical and concerns the roots of the psychoanalysis
Books on the topic "Image contemplative"
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Gallery, Vadehra Art, ed. Dhyanachitra: Contemplative images : paintings in watercolour. New Delhi: Vadehra Art Gallery, 2012.
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Speyr, Adrienne von. Light and images: Elements of contemplation. San Francisco: Ignatius Press, 2004.
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Lucas, Thomas M. Virtual vessels, mystical signs: Contemplating Mary's images in the Jesuit tradition. St. Louis, MO: Seminar on Jesuit Spirituality, 2003.
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Rutter, Thad. Where the heart longs to go: A new image for pastoral ministry. Nashville, TN: Upper Room Books, 1998.
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If today you hear God's voice: Biblical images of prayer for modern men and women. Kansas City, MO: Sheed & Ward, 1992.
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Weemes, John. The portraiture of the image of God in man, in his three estates, of [brace] creation, restauration, glorification: Digested into two parts, the first containing the image of God both in the body and soule of man, and immortality of both, with a description of the severall members of the body, and the two principall faculties of the soule, the vnderstanding and the will, in which consisteth his knowledge, and liberty of his will : the second containing the passions of man in the concupiscible and irascible part of the soule, his dominion over the creatures, also a description of his active and contemplative life, with his conjunct or married estate : whereunto is annexed an explication of sundry naturall and morall observations for the clearing of diverse Scriptures : all set downe by way of collation, and cleered by sundry distinctions, both out of the schoolemen and moderne writers. London: Printed by T.C. for Iohn Bellamie, and are to be sold at his shop at the signe of the Three Golden Lyons in Cornehill, neere the Royall Exchange, 1985.
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Tollefsen, Torstein Theodor. True Image or Idol of Deceit. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816775.003.0005.
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This chapter reaches the conclusion that it is possible to paint a true image of Christ. Theodore’s understanding of the Old Testament prohibitions of images is treated and the usefulness of material elements in order to present the essence of faith is discussed. The likeness that is the connecting link between the prototype and the image is again brought into focus. In this chapter the icon is seen as contributing to the Christian memory or recollection of the basics of faith. It is shown how the icon serves contemplation and that the veneration of the image and the prototype is one and the same.
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Beattie, Tina. The Theological Study of Gender. Edited by Adrian Thatcher. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199664153.013.33.
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This chapter traces the academic development of postmodern theology and gender studies, from the feminist theologies of the 1960s–1980s through the ‘linguistic turn’ to the emergence of the concept of ‘intersectionality’. Beattie argues that gender theory restores to theology the forgotten wisdom of its own tradition with regard to language and the interpretation of scripture. However, she cautions against the Manichaean seductions of postmodernism, arguing that the theology of gender must be rooted in the goodness of creation, including the human created male and female in the image of God. Analysing differences between Protestant and Catholic theologies in terms of grace and sacramentality, and with reference to Christian mysticism, she argues for a contemplative, sacramental theology of gender that is open to the divine mystery, animated by desire while remaining attentive to the distorting effects of sin on desire, and actively expressed in love of neighbour and of creation.
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Klement, Podnar, and Balmer John M. T, eds. Contemplating corporate marketing, identity and communication. New York, NY: Routledge, 2010.
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Balmer, John, and Klement Podnar. Contemplating Corporate Marketing, Identity and Communication. Taylor & Francis Group, 2016.
Find full textBook chapters on the topic "Image contemplative"
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Dufourcq, Annabelle. "Image, Contemplation Esthétique Et Époché." In Phaenomenologica, 113–24. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-9797-2_4.
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Papy, Jan. "Joachim Camerarius's Symbolorum et Emblematum Centuriae Quatuor: From Natural Sciences to Moral Contemplation." In Imago Figurata. Studies, 201–34. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.ifstu-eb.4.2017099.
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Delville, Jean-Pierre. "L’interprétation de la parabole évangélique du IIe au XVIe s. : de la contemplation de l’icône à la rhétorique de la peinture." In Imago Figurata. Studies, 147–63. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.ifstu-eb.4.2017010.
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Jaminet, Jean, Gabriel Esquivel, and Shane Bugni. "Serlio and Artificial Intelligence: Problematizing the Image-to-Object Workflow." In Proceedings of the 2021 DigitalFUTURES, 3–12. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_1.
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AbstractVirtual design production demands that information be increasingly encoded and decoded with image compression technologies. Since the Renaissance, the discourses of language and drawing and their actuation by the classical disciplinary treatise have been fundamental to the production of knowledge within the building arts. These early forms of data compression provoke reflection on theory and technology as critical counterparts to perception and imagination unique to the discipline of architecture. This research examines the illustrated expositions of Sebastiano Serlio through the lens of artificial intelligence (AI). The mimetic powers of technological data storage and retrieval and Serlio’s coded operations of orthographic projection drawing disclose other aesthetic and formal logics for architecture and its image that exist outside human perception. Examination of aesthetic communication theory provides a conceptual dimension of how architecture and artificial intelligent systems integrate both analog and digital modes of information processing. Tools and methods are reconsidered to propose alternative AI workflows that complicate normative and predictable linear design processes. The operative model presented demonstrates how augmenting and interpreting layered generative adversarial networks drive an integrated parametric process of three-dimensionalization. Concluding remarks contemplate the role of human design agency within these emerging modes of creative digital production.
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O’Reilly, Jennifer. "St John as a Figure of the Contemplative Life." In Early Medieval Text and Image 2, edited by Carol A. Farr and Elizabeth Mullins, 243–75. Routledge, 2019. http://dx.doi.org/10.4324/9780429270215-13.
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"“Cut Away Excess and Straighten the Crooked:” The Simplicity of Contemplative Cinema in the Light of Plotinus’ Philosophy." In Plotinus and the Moving Image, 8–27. Brill | Rodopi, 2017. http://dx.doi.org/10.1163/9789004357167_003.
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Arbib, Michael A. "Atmosphere, affordances, and emotion." In When Brains Meet Buildings, 221–86. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780190060954.003.0004.
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The atmosphere of a building is the pervading mood it provides, and can be considered a non-Gibsonian affordance. Atmosphere may frame our experience of a building, but over time our perception of the atmosphere may change. This chapter explores atmosphere in relation to motivation and emotion and the role of the limbic system of the brain. Emotion builds on a set of primordial emotions, but human cognition adds subtlety and supports aesthetic emotions. Paintings by Turner and Constable are examined to take the reader beyond the phenomenology of atmosphere and to explore the idea that the artist “inverts” vision. A visual pathway judges the emerging sketch; a visuomotor pathway updates the sketch. In iterating the process, the sketch changes, but so too will the mental image. An fMRI study of architects observing images of “contemplative” building grounds a critique that suggests challenges for designing further experiments. A crucial obstacle is the distance between cog/neuroscience experiments that seek to isolate the influence of a few key variables and the whole-person experience of using and contemplating a building in all its varied complexity.
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Brainerd, Madeleine, and Kaori Kitao. "Yogini and Mynah Bird: On the Poetics and Politics of Transspecies Meditation." In Mocking Bird Technologies. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823278480.003.0011.
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This chapter discusses the painting “Yogini and Mynah Bird” painted around 1605 in Bijapur, India, for a Persian court, placing it within four overlapping contexts: classical Sanskrit aesthetics; Sufi aesthetics; cultic tantra and yoga texts and practices; and Persian court culture. Focusing on the contemplative gaze that links the central two figures of the painting, the yogini and the mynah, the chapter reflects on the image of meditation—and the practices of meditation—embodied in that pairing of human and bird. Madeleine Brainerd’s reflections on the poetics and politics of transspecies meditation are supplemented by further thoughts on the topic by the art historian Kaori T. Kitao.
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McMahon, Laura. "Actual/Virtual: Bovines ou la vraie vie des vaches." In Animal Worlds, 161–91. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474446389.003.0006.
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Gras’s Bovines/A Cow’s Life is a contemplative documentary reflection on a herd of Charolais cows, offering up delayed, wandering images of bovine life. The film invites particular links to be drawn between the ‘pure optical and sound situations’ of the Deleuzian time-image and the account of animal art and expressive territory given by Deleuze and Guattari in What is Philosophy?. Building also on Bailly’s notion of pensivity, while expanding this account beyond its privileging of the gaze (through attention to bovine sounds in the film), this chapter allows for further development of dynamics of worlding traced in previous chapters. Yet it also suggests that Bovines allows us to probe the possible limitations of Deleuze and Guattari’s thought. In risking a privileging of what Hallward calls, in his critique of Deleuze, ‘virtual creatings’ over ‘actual creatures’, the film’s time-images might be seen as aestheticising political paralysis over political action, favouring a celebration of biovitality over a critique of biopolitics. While Bovines’s pastoral setting and lingering, durational aesthetic thus stage a set of ambivalences and contradictions, the film also points to the limitations, as well as the ongoing possibilities, of a Deleuzo-Guattarian engagement with cinema’s animal worlds.
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Thayer, Willy. "The Clash of Film and Theater." In Technologies of Critique, translated by John Kraniauskas, 51–53. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286744.003.0019.
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This chapter talks about spectators in the theatrical matrix that retreat contemplatively into themselves before the work. It describes how an audience concentrates on theater while being absorbed in its perspectival ideality under the polytechnical matrix of the image. The cinematographic instrument of ballistics does not allow for contemplation and suppresses the theatron and point of view within a continuous tactility, introducing profound changes in the perceptive apparatus on a grand scale. The chapter also explains the contrast to the canvas that invites the spectator to contemplation and before being abandoned to the flow of the association of ideas. It further emphasizes that before the film screen, the fascinated eye is subsumed in the movement image without noticing the metamorphosis that it suffers.
Conference papers on the topic "Image contemplative"
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Meng, Qinglei, Elliot Hong, and Fow-Sen Choa. "Electroencephalograph (EEG) study on self-contemplating image formation." In SPIE Commercial + Scientific Sensing and Imaging, edited by Brian M. Cullum, Douglas Kiehl, and Eric S. McLamore. SPIE, 2016. http://dx.doi.org/10.1117/12.2225132.
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NK, Sajeel, Karthik Kannan, Mohammad Houkan, Mohamed Ismail Saleh, and Kishor Kumar Sadasivuni. "Thermal, Electrical, and Sensing Properties of Composite Material from Environmental and Industrial Wastage." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0105.
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This work is an endeavour to contemplate a valueadded conductive plastic composite material derived as recycled plastic depending on Polyethylene (PP)/carbon black. We choose to add Carbon black (CB) as a filler material in order to enhance the electrical conductivity as well as other properties associated with the composite. Solution mixing method was adopted to develop this composite where the consequences of CB loadings on various parameters like processability, morphology and thermal stability of the composites were examined. Electrical conductivity increased with the increasing amount of the CB loading. The clearly perceived better filler-matrix interaction and filler dispersion were observed in images obtained from Scanning Electron Microscope (SEM). These are the underlying reason behind the improved electrical, thermal, sensing and dielectric properties of the prepared plastic composite material.
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Benoit Morinière, Claude. "Images de l’eau dans l’œuvre yourcenarienne." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3180.
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L'élément le plus présent dans les œuvres romanesques et les textes autobiographiques de Marguerite Yourcenar est, de beaucoup, cette aqua permanens qui nous maintient en vie en tant que partie constitutive de notre organisme. Elle est aussi l'eau primitive qui recouvrait le « primordial et l'illimité » ; l'eau funèbre du Nil où se noie volontairement le jeune Antinoüs ; celle, tombée du ciel, qui préside à la tentative d'assassinat de Marcella en la personne du dictateur à Rome; celle, chantante, de la Fontaine de Trévi ; l'eau qui purifie Zénon lors de son bain sur la plage de Heyst ; celle de la mer déchaînée sur l'île frisonne où agonise Nathanaël, dévasté par l'eau qui emplit ses poumons; celle des fleuves canadiens parcourus par l'auteur, ou encore, les cascades d'eau qui résonnent aux oreilles de Zénon au moment de sa mort, lorsqu'il atteint finalement l'œuvre au rouge.Chez la romancière, habituée dès l'enfance aux terres meubles et humides du nord, aux plages où elle jouait sous la surveillance de Jeanne, sa seconde mère et, plus tard, friande de croisières et de voyages transatlantiques mais fervente de la contemplation de l'eau sous toutes ses formes, il n'est pas étonnant que l'élément liquide constitue l'un des piliers de son imaginaire. â travers une analyse de ces images symboliques qui abondent dans ses textes, et plus particulièrement dans ceux de sa maturité et de la fin de sa vie, nous tenterons de montrer la richesse et la variété des représentations de l'eau dans la majeure partie des textes yourcenariens.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3180
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Blasco Cubas, María. "Permeado, el mundo se expande." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4864.
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La situación a partir del desarrollo de las tecnologías de la información e Internet, la telemática y la electrónica, se ha convertido en una verdadera ventaja para el arte. Tanto la realidad como el sentido de lo público se han transformado, y muchos artistas y pensadores actuales, consideran que se necesita una nueva perspectiva que abarque una realidad ambigua, inestable, pero, sin embargo, cada vez más asimilada; en vez de recrear de manera simbólica objetos sociales y culturales, desarrollar y producir percepciones lo más cercanas posibles a la realidad que nos acontece. ¿Cómo? En la presente comunicación lo haremos pensando sobre el futuro del espacio público interconectado, incluyendo la manera de desarrollarnos y entendernos con él, e incluso resistirnos, albergando elementos antes invisibles, en otras palabras, desbordar la pantalla para inundar físicamente el espacio público y proponer nuevas narrativas híbridas del espacio habitado. Desde este enfoque, la imagen ha salido del interfaz; el mundo entero se ha vuelto interfaz, y muchas prácticas artísticas cuestionan dicha situación. De de la mano de teóricos y artistas como Lev Manovich, Nicolás Bourriaud, Hito Steyerl, Aram Bartholl, intentaremos dar cuenta de ello. Las relaciones entre humanos producen, transforman y acondicionan continuamente espacios heterogéneos y entrelazados. Por ello, no sólo nos colocamos ante espacio público en actitud de espectadores contemplativos, pues pasamos mucho tiempo modificando y adecuando los espacios en que vivimos conectando, articulando e introduciendo otros objetos. La segunda parte del libro de Pierre Lévy, “El Espacio del Conocimiento” (2004) nos sirve para comprender cómo el estado de movilidad es fundamental para entablar una reflexión sobre el espacio urbano (permeado por lo virtual/digital). Desde esta perspectiva, la movilidad hoy en día, tanto en sus dimensiones físicas como informacionales, crean interesantes sinergias que reflejan nuestro acontecer: tradicional, territorial, globalizado y ahora con las redes telemáticas y electrónicas, la virtual/digital, suscitan un modo de relación a la inversa, de lo total al espacio-contexto concreto.http://dx.doi.org/10.4995/ANIAV.2017.4864