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Articles de revues sur le sujet « Pictorial Experience »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 31 juillet 2025

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1

Yang, Min Jeong. "Pictorial Experience and Imagining." Mihak - The Korean Journal of Aesthetics 87, no. 1 (2021): 107–34. http://dx.doi.org/10.52720/mihak.87.1.4.

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CHASID, ALON. "Pictorial Experience and Intentionalism." Journal of Aesthetics and Art Criticism 72, no. 4 (2014): 405–16. http://dx.doi.org/10.1111/jaac.12106.

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Newall, M. "Pictorial Experience and Seeing." British Journal of Aesthetics 49, no. 2 (2009): 129–41. http://dx.doi.org/10.1093/aesthj/ayp002.

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Tye, Michael. "Filling In and the Nature of Visual Experience." Harvard Review of Philosophy 27 (2020): 59–69. http://dx.doi.org/10.5840/harvardreview202092533.

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This essay begins with a discussion of the phenomenon of filling in. It is argued that filling in is naturally accounted for by taking visual experiences to be importantly like drawn pictures of the world outside. An alternative proposal is then considered, one that models visual experiences on incomplete descriptions. It is shown that introspection does not favor the pictorial view. It is also shown that the phenomenon of blurriness in visual experience does not provide a good reason for favoring the pictorial view either. Why, then, be a pictorialist? It is argued that visual experiences con

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Hyman, J. "Pictorial art and visual experience." British Journal of Aesthetics 40, no. 1 (2000): 21–45. http://dx.doi.org/10.1093/bjaesthetics/40.1.21.

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Scerri, Josianne, and Amy Bonnici. "Navigating the Storm to Recovery through the Pictorial Representations of Persons in the Recovery Phase from Unipolar Depression." International Journal of Environmental Research and Public Health 19, no. 20 (2022): 13426. http://dx.doi.org/10.3390/ijerph192013426.

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Depression is a highly complex mental illness that presents challenges, such as difficulties for persons with depression to communicate their experiences. This is compounded further by a paucity of in-depth and pictorial accounts on their experiences of the recovery process. The combination of pictorial representations and interviews with persons who are recovering from depression, may assist them in communicating these lived experiences. Five participants recovering from unipolar depression and who were in the late stages of recovery were recruited through purposive sampling. Data were collec

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Briscoe, Robert. "Depiction, Pictorial Experience, and Vision Science." Philosophical Topics 44, no. 2 (2016): 43–81. http://dx.doi.org/10.5840/philtopics201644217.

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Benbassat, Danny, Abigail Konopasky, and Ting Dong. "Ranking Pictorial Cues in Simulated Landing Flares." Aviation Psychology and Applied Human Factors 11, no. 1 (2021): 23–32. http://dx.doi.org/10.1027/2192-0923/a000205.

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Abstract. Two-dimensional pictorial cues provide depth perception information that help pilots initiate the landing flare 10–20 ft from the ground. Although prior studies established the importance of three specific cues, they failed to rank-order their importance. This exploratory paper presents two studies, with different methodologies, that examine the effect of these pictorial cues on depth perception. In both studies, participants experienced simulated scenarios and attempted to initiate the landing flare 10–20 ft above ground level. Study 1 included 121, and Study 2 included 141, naïve p

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Chasid, Alon. "Imaginatively-Colored Perception: Walton on Pictorial Experience." Southern Journal of Philosophy 54, no. 1 (2016): 27–47. http://dx.doi.org/10.1111/sjp.12159.

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Veldeman, Johan. "Reconsidering Pictorial Representation by Reconsidering Visual Experience." Leonardo 41, no. 5 (2008): 493–97. http://dx.doi.org/10.1162/leon.2008.41.5.493.

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In one sense, the visual experience of a thing in a depiction is similar to seeing the actual thing. In another sense, the experience is quite different, involving a “twofold” simultaneous awareness of the picture surface and what it depicts. The author argues that the standard ways of explaining depiction in terms of perception fail to properly accommodate the complex twofold nature of pictorial experience. He proposes an alternative account, based on an “enactive” approach to perception.

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Hopkins, Robert. "Factive Pictorial Experience: What's Special about Photographs?" Noûs 46, no. 4 (2010): 709–31. http://dx.doi.org/10.1111/j.1468-0068.2010.00800.x.

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Chasid, Alon. "Pictorial experience: not so special after all." Philosophical Studies 171, no. 3 (2014): 471–91. http://dx.doi.org/10.1007/s11098-014-0279-y.

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Dorsch, Fabian. "Pictorial Experience, Imagining from the Inside, and Imaginative Penetration [Experiencia pictórica, imaginando desde el interior y penetración imaginativa]." Analysis. Claves de Pensamiento Contemporáneo 19, no. 8 (2016): 1–34. https://doi.org/10.5281/zenodo.1295676.

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In pictorial experience, we are normally aware of the visible features of two distinct sets of objects: the depicting surface and the depicted entities. Imagination-based accounts of pictorial experience maintain that our awareness of the depicted (e.g., of a landscape or a man) is essentially imaginative. My main aim in this paper is to provide a specific objection to imagination-based accounts. More specifically, I argue that they are unable to account for the fact that the kind of awareness, which is exemplified by our awareness of the depicted scene involved in our non-illusionistic pictor

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Pedri, Nancy. "Doubled Embodiment and the Temporal Experience of Illness in Comics." ENTHYMEMA, no. 36 (March 11, 2025): 190–205. https://doi.org/10.54103/2037-2426/24812.

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This contribution considers the centrality of pictorial embodiment in autobiographical comics. It begins by tracing pictorial embodiment’s connection to othering and then examines the popular practice of doubled embodiment in graphic illness narrative. Expanding upon theorizations of doubled embodiment as manifesting subjective experiences of illness, several examples will serve to trace how double embodiment in graphic illness narratives speaks to the ill subject’s personal experience of time. Ultimately, this contribution proposes that double embodiment can indicate how, in illness, time int

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Demir, Arife Dila, Kristi Kuusk, and Nithikul Nimkulrat. "Squeaky/Pain: Articulating the Felt Experience of Pain for Somaesthetic Interactions." Temes de Disseny, no. 38 (July 27, 2022): 162–78. http://dx.doi.org/10.46467/tdd38.2022.162-178.

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This pictorial illustrates the methodological tools for articulating the felt experience of chronic pain used for designing somaesthetic interactions. To do this, it presents the design process of a case study named Squeaky/Pain, a soma extension aiming to augment somaesthetic awareness of the pain involved in the appreciation of both pleasant and disturbing feelings and sensations. The soma extension is an interactive wearable that facilitates a sound-motion interaction to mimic the wearer’s pain experience, from agony to relief. The case study focuses on a less explored aspect of somaestheti

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Wijntjes, M. W. A., A. Füzy, M. E. S. Verheij, T. Deetman, and S. C. Pont. "The Synoptic Art Experience." Art and Perception 4, no. 1-2 (2016): 73–105. http://dx.doi.org/10.1163/22134913-00002046.

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At the start of the 20th century, Moritz von Rohr invented the synopter: a device that removes 3D depth cues that arise from binocular disparities and vergence. In the absence of these visual cues, the observer is less aware of the physical flatness of the picture. This results in a surprisingly increased depth impression of pictorial space, historically known as the ‘plastic effect’. In this paper we present a practical design to produce a synopter and explore which elements of a painting influence the plastic effect. In the first experiment we showed 22 different paintings to a total of 35 o

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DeLoache, Judy S., Sophia L. Pierroutsakos, and David H. Uttal. "The Origins of Pictorial Competence." Current Directions in Psychological Science 12, no. 4 (2003): 114–18. http://dx.doi.org/10.1111/1467-8721.01244.

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Pictorial competence, which refers to the many factors involved in perceiving, interpreting, understanding, and using pictures, develops gradually over the first few years of life. Although experience is not required for accurate perception of pictures, it is necessary for understanding the nature of pictures. Infants initially respond to depicted objects as if they were real objects, and toddlers are remarkably insensitive to picture orientation. Only gradually do young children figure out the nature of pictures and how they are used.

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Himawan, Himawan. "Upaya Meningkatkan Kemandirian Belajar Matematika Melalui Experience Language Pictorial Symbolic Applications (ELPSA) Pada Kelas VII C SMP Negeri 1 Ngablak." Science and Education Journal (SICEDU) 1, no. 2 (2022): 206–12. http://dx.doi.org/10.31004/sicedu.v1i2.32.

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Penelitian ini bertujuan untuk mendeskripsikan tingkat kemandirian belajar matematika pada peserta didik kelas VII C sebelum pelaksanaan pembelajaran Experience Language Pictorial Symbolic Applications (ELPSA); untuk mendeskripsikan pelaksanaan pembelajaran Experience Language Pictorial Symbolic Applications (ELPSA) untuk meingkatkan kemandirian belajar matematika pada peserta didik kelas VII C SMP Negeri 1 Ngablak; dan untuk mendeskripsikan tingkat kemandirian belajar matematika pada peserta didik kelas VII C setelah pelaksanaan pembelajaran Experience Language Pictorial Symbolic Applications

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Sharopova, Nigina R. "Geometry of the unspeakable: experience of one construction." Philosophy Journal 16, no. 4 (2023): 158–79. http://dx.doi.org/10.21146/2072-0726-2023-16-4-158-179.

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Picture geometry is often regarded as an area of technical knowledge that accompanies or provides useful information for basic research on visual culture and almost never as a methodological one. Despite the historical and conceptual connections between mathematics and the visual, even a basic geometric competence is by no means a common of image and visual culture researchers. At the same time, the overwhelming majority of this kind of work belong to the field of technical knowledge, the history of mathematics, or positivism based theories; in other words, they do not address the most impor

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Nodine, Calvin, Claudia Mello-Thoms, Elizabeth Krupinski, and Paul Locher. "Visual interest in pictorial art during an aesthetic experience." Spatial Vision 21, no. 1-2 (2008): 55–77. http://dx.doi.org/10.1163/156856807782753868.

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Locher, Paul, Elizabeth A. Krupinski, Claudia Mello-Thoms, and Calvin F. Nodine. "Visual interest in pictorial art during an aesthetic experience." Spatial Vision 21, no. 1 (2008): 55–77. http://dx.doi.org/10.1163/156856808782713762.

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BRANIŞTE, Ludmila. "Text et langaje visuel: un proces de mise en abîme." Arta 31, no. 1 (2022): 115–19. http://dx.doi.org/10.52603/arta.2022.31-1.16.

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The problem of the pictorial past in literature and of literary influences in painting has created a whole tradition. The literary experience of the image and the pictorial exercise in literature demonstrated the affinities between them, based on a specific view of the world. From contemporary philosophy, culture and literature, painting chooses its elements, symbols and ideational background, which is the substrate of the pictorial work. Translating them into the language of images, the painter reaches a more personal interpretation of literary works. The article presents a reflection on the

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Shardlow, Jack. "No Time to Move: Motion, Painting and Temporal Experience." Philosophy 95, no. 3 (2020): 239–60. http://dx.doi.org/10.1017/s003181912000011x.

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AbstractThis paper is concerned with the senses in which paintings do and do not depict various temporal phenomena, such as motion, stasis and duration. I begin by explaining the popular – though not uncontroversial – assumption that depiction, as a pictorial form of representation, is a matter of an experiential resemblance between the pictorial representation and that which it is a depiction of. Given this assumption, I illustrate a tension between two plausible claims: that paintings do not depict motion in the sense that video recordings do, and that paintings do not merely depict objects

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Baiquni, Fahmi, Fatwa Sari Tetra Dewi, and Rendra Widyatama. "Eksplorasi peringatan kesehatan bergambar pada kemasan rokok." Berita Kedokteran Masyarakat 32, no. 7 (2018): 223. http://dx.doi.org/10.22146/bkm.11617.

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Exploration of pictorial health warnings in cigarette packagesPurposeThis study conducted to examine effectiveness of pictorial health warnings in cigarette packages to reduce smoking intention.MethodA population-based, qualitative study, were used in this study. 20 partisipants were observed and indept-interviewed. ResultsThreats after seeing a picture warnings on cigarette packs is the perception of the dangers of images and feelings of fear, disgust, pity, worry, mediocre. Efficacy after seeing a picture warnings on cigarette packs is the belief of the image and the impact on individuals af

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Koenderink, Jan, Andrea van Doorn, Baingio Pinna, and Robert Pepperell. "On Right and Wrong Drawings." Art and Perception 4, no. 1-2 (2016): 1–38. http://dx.doi.org/10.1163/22134913-00002043.

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Are pictorial renderings that deviate from linear perspective necessarily ‘wrong’? Are those in perfect linear perspective necessarily ‘right’? Are wrong depictions in some sense ‘impossible’? Linear perspective is the art of the peep show, making sense only from one fixed position, whereas typical art works are constructed and used more like panel presentations, that leave the vantage point free. In the latter case the viewpoint is free; moreover, a change of viewpoint has only a minor effect on pictorial experience. This phenomenologically important difference can be made explicit and formal

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Dresler, Emma. "Tattoo as a personalised souvenir: pictorial presentation of tourism experience." Asia Pacific Journal of Tourism Research 26, no. 9 (2021): 1007–23. http://dx.doi.org/10.1080/10941665.2021.1940226.

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Salroo, Imran, Aamir Yousuf, Kousar Sideeq, Waseem Shah, and Rafiq Ahmad. "Pictorial Essay of Cranial Nerves Lesions on MRI Our Experience." International Neuropsychiatric Disease Journal 4, no. 2 (2015): 92–101. http://dx.doi.org/10.9734/indj/2015/17894.

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Dokic, J. "Pictures in the Flesh: Presence and Appearance in Pictorial Experience." British Journal of Aesthetics 52, no. 4 (2012): 391–405. http://dx.doi.org/10.1093/aesthj/ays037.

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Dias, Maria do Rosário, and Ana Cristina Neves. "Tooth Fairy Mith: children's self-perception of the loss of Deciduous teeth." South Florida Journal of Development 5, no. 7 (2024): e4074. http://dx.doi.org/10.46932/sfjdv5n7-001.

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We intend to understand how children intrapsychically experience, the process of losing their Deciduous Dentition and the self-perception of the face; 115 children of both genders, aged between 5-12 y, were interviewed and – Empirical Protocols – were designed, in which the child was invited to draw their self-portrait in two different moments – Before (M1) and After (M2) the experience of losing their Deciduous teeth answer a set of open questions as well as a demographic questionnaire. The interpretative analysis of the pictorial narrative of the drawings (n=330) and the open-ended questions

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Reyes, Everardo, and Göran Sonesson. "New approaches to plastic language: Prolegomena to a computer-aided approach to pictorial semiotics." Semiotica 2019, no. 230 (2019): 71–95. http://dx.doi.org/10.1515/sem-2018-0106.

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Abstract In this paper we summarize observations bridging the declared aspirations of pictorial semiotics and its real achievements. Pictorial semiotics is here understood as the general study of pictures as signs and it constituted a fundamental step beyond the art historical captivation with individual images. In the first part of our contribution we present a review of the most important methods that have been proposed as an answer to deal with several pictorial problems (multiple instances, segmentation, non-figurative meaning). In the second part, we offer some positive and on-going imple

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Bistline, Ellen Truxaw. "Realism, Initially." SEL Studies in English Literature 1500-1900 61, no. 4 (2021): 597–622. http://dx.doi.org/10.1353/sel.2021.a910831.

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Abstract: This article argues that the pictorial initials that begin chapters within many Victorian novels participate in and theorize these novels' modes of realism. Initials' dual pictorial-alphabetic form enacts an experience of leaving behind their illustrative image for sequential, alphabetic reading, thereby constituting the paradoxical meaningfulness of superfluous details in these novels' story worlds. By intimating extradiegetic character connections, the initials in Charles Dickens's Old Curiosity Shop create a sense that its character network is horizonless. In Elizabeth Gaskell's W

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Mohamad, Nadiah, Verly Veto Vermol, and Rusmadiah Anwar. "Conceptualizing Touch Aesthetic Communication as a Model Pictorial Art Appreciation." Environment-Behaviour Proceedings Journal 7, SI7 (2022): 177–83. http://dx.doi.org/10.21834/ebpj.v7isi7.3780.

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Haptic communication through pictorial art remains an argumentative subject of aesthetic experience, with many unresolved issues until today that questioning the how and why reactions of various people. Throughout this framework of research, a conceptual examination of experiencing a pictorial work of art (its duration, intensity, and individual art expression) for a congenitally blind person by applying Verbal Protocol Analysis (VPA) approach model was designed to enhance the experience from an artwork. This study provides an observation procedure within the influence of 'time of experience'

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Vaccari, Alessandra. "En plein air: Light, space and fashion in Filippo de Pisis’s aesthetics." Critical Studies in Men's Fashion 10, no. 2 (2023): 147–60. http://dx.doi.org/10.1386/csmf_00073_1.

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This article addresses the concept of en plein air regarding men’s fashion in early twentieth-century Italy. The act of painting outdoors has been addressed at length in the field of art history as one of the most radical practices of nineteenth-century avantgardes. It focused on the changing appearance of light and weather conditions, as in the case of the renowned French Impressionist painters, who often represented women and their clothing in the natural environment. However, en plein air can also provide an opportunity to reframe men’s fashion in its relationship with the environment. The

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Tesfaye, Yihenew, Kenneth Maes, Roza Abesha, et al. "How Do Rural Ethiopians Rate the Severity of Water Insecurity Scale Items? Implications for Water Insecurity Measurement and Interventions." Human Organization 79, no. 2 (2020): 95–106. http://dx.doi.org/10.17730/1938-3525.79.2.95.

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Recently developed scales aim to advance understanding of household water insecurity and inform interventions to address this critical global problem. The relative severity of items included in household water insecurity scales has been established as an inverse of the proportion of the population that reports experiencing the item. Here, we assess subjective perceptions of scale item severity among people who experience household water insecurity. In 2017, we surveyed 259 women in Amhara, Ethiopia, assessing both experiences of water insecurity and perceptions of item severity using a pictori

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Rao, K. Mrutyunjaya. "PICTORIAL ELEMENTS OF INDIAN MINIATURE PAINTING." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (2022): 15–26. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.62.

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This paper discusses the magnificent contribution of Indian miniature painting as the torch bearer of Indian visual culture for the future generations with transitions and various idioms. It’s Visual imagery raised to paramount importance from the auxiliary position to the religious text. Artist has not imitated from nature but imbibed the spirit of divinity and greater love and passion on Indian culture. Its function is religious as well as decorative. “Horrorvacuue” the desire of filling space is the common characteristics of an Indian is often appears in Indian painting. The articulations o

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Bhattacharjee, Siddharth, Richa D. Jain, Lokesh Bathala, Anuradha HK, and Vijay K. Sharma. "Pictorial Essay of Cervical Duplex Ultrasonography." POCUS Journal 7, no. 2 (2022): 245–52. http://dx.doi.org/10.24908/pocus.v7i2.15635.

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Objectives: Cervical duplex ultrasonography (CDU) is a simple, non-invasive, portable technique, that provides valuable high-quality visual information about the integrity of the carotid and vertebral vessels, plaque morphology and flow hemodynamics. CDU is useful in the assessment and follow up of patients with cerebrovascular disease as well as other conditions like inflammatory vasculitis, carotid artery dissection and carotid body tumours. CDU is inexpensive and invaluable in smaller centres. Methods: CDU was performed in all patients in both longitudinal and transverse planes in the out-p

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Lalitha, Palle, M. Ch Balaji Reddy, and K. Jagannath Reddy. "Musculoskeletal Applications of Elastography: a Pictorial Essay of Our Initial Experience." Korean Journal of Radiology 12, no. 3 (2011): 365. http://dx.doi.org/10.3348/kjr.2011.12.3.365.

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Pettersson, M. "Seeing What Is Not There: Pictorial Experience, Imagination and Non-localization." British Journal of Aesthetics 51, no. 3 (2011): 279–94. http://dx.doi.org/10.1093/aesthj/ayr014.

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Bentley, A. M., and J. B. Deregowski. "Pictorial experience as a factor in the recognition of incomplete pictures." Applied Cognitive Psychology 1, no. 3 (1987): 209–16. http://dx.doi.org/10.1002/acp.2350010306.

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Gavrilin, K. N., G. K. Koshelev, and Fei Lu. "Portrait genre in Mao Yan's works. The experience of pictorial hauntology." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 4-3 (2022): 34–41. http://dx.doi.org/10.37485/1997-4663_2022_4_3_34_41.

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Nufus, Sururin, and Ifah Silfianah. "Analisis Miskonsepsi Peserta Didik pada Materi Struktur Atom Menggunakan Five-Tier Multiple Choice Diagnostic Test Berbasis Piktorial." Orbital: Jurnal Pendidikan Kimia 7, no. 2 (2023): 126–39. http://dx.doi.org/10.19109/ojpk.v7i2.19239.

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Misconceptions are one of the causes of students learning difficulties. One of the misconceptions about chemistry is the atomic structure. In general, chemistry subjects are abstract and difficult to visualize. It causes students to find it difficult to understand chemical concepts correctly. Misconceptions that occur in students will have an impact on understanding further material. Therefore, it is necessary to do an analysis to identify students who experience misconceptions so that efforts can be made to prevent and correct them. Misconceptions experienced by students can be identified thr

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Gasic-Pavisic, Slobodanka, and Dusanka Lazarevic. "Content of the concept of house in preschool children expressed in words and drawings." Zbornik Instituta za pedagoska istrazivanja, no. 34 (2002): 103–11. http://dx.doi.org/10.2298/zipi0204103g.

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The aim of the study was to investigate verbal and pictorial representation of the concept of house. Children belonging to different cultures and different generations draw identical canonical appearance of the house, and the word 'house' is one of the most frequently used words in a children's vocabulary (Lukic, 1982). Starting from findings of many authors that by the age from 7-8 children draw what they know about objects and not what they see (intellectual realism, see Koks, 2000) and from Arnheim's (1969) view of visual thinking, we have compared the content of the concept of house in chi

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Ghosh, Abheek, Ellen Moxley, Suneet Waghmarae, James Stoner, Sheena Anand, and Nabeel M. Akhter. "Catheter-directed computed tomography angiography: A pictorial essay." Journal of Clinical Imaging Science 12 (August 18, 2022): 49. http://dx.doi.org/10.25259/jcis_76_2022.

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Catheter-directed computed tomography angiography (CDCTA) is an imaging technique where CT images are acquired after selective catheterization of a vessel. Images obtained in this fashion provide several advantages over conventional imaging techniques such as fluoroscopic angiography, digital subtraction angiography, cone-beam CT, and conventional CT angiography. At this point, there is still limited literature on the subject, with prior studies examining a small number of potential uses. The goal of this pictorial essay is to illustrate our single tertiary care center experience using CDCTA.

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Hans, Dieter Huber. "Materiality, Embodiment and Affordance in Paul Grahams a shimmer of possibility." Art Style, Art & Culture International Magazine 7, no. 7 (2021): 135–57. https://doi.org/10.5281/zenodo.6371518.

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Art Style | Art & Culture International Magazine Abstract First, the question of what a material picture is and what is meant by an image is discussed. We do not clearly distinguish whether we mean a physical object, a pictorial representation or a mental image that arises in our brain. The pictorial surface of a material carrier is the interface between the physical picture and the mental image. In contrast, our way of speaking of a pictorial representation works quite differently. Material picture and pictorial representation are structurally coupled. The representation cannot exist with

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Padgham, K., J. Scott, A. Krichell, T. Mceachen, and L. Hislop. "Misconceptions surrounding videoconferencing." Journal of Telemedicine and Telecare 11, no. 1_suppl (2005): 61–62. http://dx.doi.org/10.1258/1357633054461769.

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We carried out a study to assess the level of training required by hospital staff to operate a videoconferencing system. Fifty members of hospital staff, who had no previous videoconferencing experience, were studied. When using simple pictorial instructions, they took on average just under 6 min to connect successfully to a remote site. Male subjects connected faster (average 309 s) than female subjects (385 s; P<0.01). Subjects of 40 years or younger connected faster (average 311 s) than those over 40 years (average 398 s; P<0.02). Only three individuals (6%) required supplementary hel

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Moreva, Ol'ga. "Periodization of Children’s Imaging Activities." Primary Education 8, no. 1 (2020): 41–44. http://dx.doi.org/10.12737/1998-0728-2020-41-44.

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The article discusses the changes that occur in the drawings of children as they grow up. Based on the analysis of studies of children’s drawings and taking into account their own pedagogical experience, the author’s periodization of children’s visual activity was compiled. Its age stages and stages of artistic development of children aged from 1 year to 12 years are reflected in it. The characteristics of children’s drawings at each stage are given, the corresponding features of the children’s pictorial activity, their relation to the drawing process and their artwork are analyzed. Brief meth

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Moreva, Ol'ga. "Periodization of Children’s Imaging Activities." Primary Education 8, no. 2 (2020): 48–52. http://dx.doi.org/10.12737/1998-0728-2020-48-52.

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The article discusses the changes that occur in the drawings of children as they grow up. Based on the analysis of studies of children’s drawings and taking into account their own pedagogical experience, the author’s periodization of children’s visual activity was compiled. Its age stages and stages of artistic development of children aged from 1 year to 12 years are reflected in it. The characteristics of children’s drawings at each stage are given, the corresponding features of the children’s pictorial activity, their relation to the drawing process and their artwork are analyzed. Brief meth

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Funch, Bjarne Sode, and Sabrina Hougaard. "Unsettling Art and Its Psychological Impact." Journal of Aesthetic Education 58, no. 3 (2024): 57–71. http://dx.doi.org/10.5406/15437809.58.3.04.

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Abstract This article focuses on the experience of unsettling art and its psychological impact. Although it is widely recognized that works of art can be highly unsettling and disturbing, there seem to be no studies revealing the psychological importance of such experiences. Through a selection of interviews conducted according to phenomenological principles, a few essential features of the unsettling art experience are identified. These features include a strong negative emotional response, feelings of attraction, and pictorial vividness. Furthermore, these experiences form memory traces that

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Afreen, Sadaf, Sanay Muhammad Umar Saeed, and Sheharyar Khan. "Pictorial Task Assistance System using Electroencephalography Signals." Foundation University Journal of Engineering and Applied Sciences <br><i style="color:black;">(HEC Recognized Y Category , ISSN 2706-7351)</i> 4, no. 2 (2024): 50–59. http://dx.doi.org/10.33897/fujeas.v4i2.847.

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Neuromuscular disorders are a significant health problem globally. Patients may experience paralysis, muscle weakness, and communication problems because of these disorders. We propose a Pictorial Task Assistance System to help patients with communication issues using Electroencephalography (EEG). We developed an interface for patients containing an image of food and water. We collected EEG data from 25 healthy students using the Muse headset and Muse monitor app for our study, while they selected one of the images. The EEG data was used to train three supervised machine-learning algorithms fo

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Srinivasan, Sivasubramanian, and Niraj Dubey. "RE: Musculoskeletal Applications of Elastography: a Pictorial Essay of Our Initial Experience." Korean Journal of Radiology 12, no. 5 (2011): 646. http://dx.doi.org/10.3348/kjr.2011.12.5.646.

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