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This article explores how uncanny feelings may derive from ways in which a medium operates, from its mediality. Consistent with the main source of uncanny feelings identified by Ernst Anton Jentsch and later elaborated on by Sigmund Freud, tensions between the inanimate and the animate are at the centre of the exploration. Such tensions, the article proposes, are implicitly or explicitly intermedial. The malleability of photographic imagery boosted by the computational revolution remaking photographic technology and practices allow for ever more forms of hybrid mediality in which intermedial tensions operate. The proliferation of such tensions suggests that we are likely to see more uncanny mediality in the time ahead. Our uncanny future may further be strengthened by the increasingly autonomous operations of machine learning algorithms that in part relocate agency from humans to machines. [ABSTRACT FROM AUTHOR]

This article reviews historically significant phenomenological studies of visual mental imagery (VMI), starting with Fechner in 1860 and continuing to the present. This synthesis of diverse VMI phenomenological studies in healthy adults serves as a unique resource for investigators of individual differences, cognitive development and clinical and neurological conditions. The review focuses on two kinds of VMI, “memory imagery” and “eidetic imagery”. Ten primary studies are drawn from three periods of the scholarly literature: early (1860–1929), middle (1930–1999) and recent (2000–2023). It is concluded that memory and eidetic imagery are two forms of constructive imagery, varying along a continuum of intensity or vividness. Vividness is a combination of clarity, colourfulness and liveliness, where clarity is defined by brightness and sharpness, colourfulness by image saturation and liveliness by vivacity, animation, feeling, solidity, projection and metamorphosis. The findings are integrated in a template that specifies, as a tree-like structure, the 16 properties of VMI vividness in healthy adult humans. The template takes into account the weight of evidence drawn from the accounts and reveals an extraordinary degree of consistency in reported VMI characteristics, revealed by specialized studies of healthy adult humans across time, space and culture.

The focus of this study is on two works by Ivana Stefanović (b. 1948) that are part of the same experiential whole: The Road to Damascus, a travel prose, written between 1995 and 1999 and published in 2003, and A Landscape for Tape: The First Eastern Dream, composed in 2006. During her four-year stay in Syria, Stefanović listened to and became acquainted with the world of the East, which she wished to perpetuate, remember, enhance in her memory, and record forever. These two creative works constitute testimonies of the composer's life in Syria—complementary 'documents' of un-distilled, preserved reality and its 'proven substrate'. These works of art attest to the coexistence of external noise and sound vibrations, restlessness, constant movement, physical decay, inner silence, peace, spiritual life, and eternal space. Also, they are the result of two kinds of acoustic resonances that permeate each other: the noise that inhabits monumental and archaeological sites, carrying the aura of their erstwhile worlds through the centuries, and the silence of individual receptive responses, either directly to the sound/sounding of those locations or to its potential artistic transpositions. The Road to Damascus and The First Eastern Dream are a type of diptych of space and time, of eidetic imagery inscribed in the archetypal layer of consciousness bordering the unconscious, and polyphonic essays on the utopian coexistence of different worlds, which could only be realized by a dreamer. [ABSTRACT FROM AUTHOR]

This essay proposes that the intricate but sprawling evolution of diagrams might be looked at through a single graphic system. It is further proposed that this system might reconcile diverse definitions of ontological and temporal minima, in a sequence of 25 types of historical diagram that concludes with a kind of meta-diagram of diagrams. The 'demon', a historical form of hypostatic abstraction, is introduced as an eidetic body useful for exploring this diagrammatic space. The complete sequence was exhibited in a complex installation, titled 'The Demon in the Diagram', which is also discussed. [ABSTRACT FROM AUTHOR]

Background: Mental imagery (MI) has been described as the “ability to simulate in the mind information that is not currently being perceived by the sense organs” (Moran, 2012, p. 166). The vividness of mental imagery has been defined as the clarity, brightness, or intensity of an image as reported by the individual (Marks, 1973). There are many studies conducted on vividness in typically developing (TD) individuals, however, no attempt has been made either to assess the vividness of mental imagery in people with intellectual disability (ID) or compare it with that of typically developing (TD) adults. Metods: A vividness of imagery test (comprising a modified version of the Vividness of Visual Imagery Questionnaire 2, (VVIQ-2; Marks, 1995), and two items of the Age Projection Test, (APT; Ahsen, 1988) were administered to participants with mild, moderate, and severe ID. Their performance on the vividness scale was compared with typically developing individuals. Measures for cognitive and adaptive functioning were administered to ascertain the ID level of participants. Results: The results of this study reveal a non-significant group difference between people with mild ID, moderate ID, and TD on the vividness of mental imagery and eidetic imagery. People with severe ID performed significantly lower than the other three groups. Conclusion: Despite their cognitive impairment, a non-significant difference between the performance of people with mild and moderate ID and typically developing individuals on imagery vividness scale is noteworthy.

Eidetic model of growth (EMG) is a form of psychotherapy developed for people with intellectual disabilities (ID). EMG is based on the theoretical tenets of eidetic psychotherapy of Akhter Ahsen, which uses eidetic imagery as its major therapeutic tool. The literature review did not find any empirical study on eidetic imagery-based psychotherapy for people with ID except reviews and case histories. This study investigates the clinical utility of therapeutic techniques based on eidetic imagery as developed by Ahsen and Syed.In this study thirty participants with mild and moderate ID were recruited. Participants were recruited from the services for people with ID. These services were contacted to recruit participants who had experiential (i.e., abuse, trauma etc.), emotional (i.e., bereavement, attachment problems), psychiatric (i.e., anxiety, depression) and behavioural (i.e., anger, aggression) problems and to seek consent from the potential participants. The Anxiety Depression and Mood Scale (ADAMS) was administered to the participants before the therapy started, after every 5th session and once the therapy was terminated. The statistical analysis of the pre-therapy and post-therapy scores of participants on the ADAMS was carried out to measure the therapeutic outcome.Paired-sample t-test revealed a significant difference between the pre-therapy and post-therapy scores of participants on ADAMS, with a large effect size (d = 1.54). The result indicates existence of eidetic imagery in people with ID and its promising therapeutic utility.

The sensory-cognitive characteristics underlying Miyazawa Kenji’s literary works often include eidetic images, synesthesia, and fantasy-proneness. This report aimed to examine Kenji's sensory-cognitive characteristics, based on the findings in our studies that eidetic images, synesthesia, and fantasy-proneness could share a common neural and psychosomatic basis. Miyazawa Kenji could be a typical hyperphantasia（Zeman, 2015）, that is, a person with peculiar imagination according to recent research in cognitive psychology and brain science regarding imaginative abilities. [ABSTRACT FROM AUTHOR]

Adorno's intensive criticism of phenomenology is well known, his entire early period during the 1920s and 1930s being marked by various polemical engagements with Husserl. This engagement finds its peak during his work at his second dissertation project in Oxford, a dissertation that was supposed to systematicaly expose the antinomies of phenomenological thinking while particularly focusing on Husserl's concept of "eidetic intuition" or "intuition of essences" (Wesensschau). The present paper will take this criticism as its starting point in focusing on two highly specific aspects of Adorno's interpretation: the opposition between eidetic intuition and the traditional theories of abstraction and its relationship to genetic phenomenology. In light of this criticism I subsequently show: 1. that, in his later work, Adorno's understanding of eidetic intuition undergoes a significant revaluation; 2. that he reappropriates key elements of the eidetic method in his own procedure of physiognomic analysis, and 3. that his account of physiognomics is relevant for addressing the aforementioned incongruities of phenomenological eidetics itself. [ABSTRACT FROM AUTHOR]

The article presents an analysis which aimed to examine the manner in which the phenomena of the inner voice and eidetic vision perform the dielectic of inside and outside and the extent to which voice, image and affect comprise the elements at the threshold between interiority and exteriority. Topics covered include how the inner voice bound up with self-identification, and the role of memory and interiority in identification processes.

Trata-se de um ensaio teórico que tem como objeto de estudo a utilização das técnicas de análise de conteúdo (AC) e análise do discurso (AD) em estudos iconográficos. Objetivou realizar uma análise dessas técnicas articuladas na construção de uma proposição para o desenvolvimento da análise iconográfica (AI). Entre as mais variadas técnicas de análise de dados, a AI, nela inserida a fotográfica, AC e a AD têm sido empregadas por pesquisadores qualitativos das variadas áreas do conhecimento. Os resultados indicam que este tipo de ensaio possa vir a subsidiar novos estudos nos quais os pesquisadores lancem mão da técnica de análise iconográfica articulada (AIA) para aprofundar o conhecimento sobre um determinado fenômeno imagético. Este ensaio tem a intenção de preencher uma lacuna existente nos estudos imagéticos de grande importância na investigação científica. ABSTRACT This is a theoretical essay whose object is the use of content analysis (CA) and discourse analysis in iconographic studies. It aims at evaluating those articulate techniques and at proposing the development of iconographic analysis (IA). Among a variety of data analysis techniques, IA, including photographic, CA and DA has been adopted by qualitative researchers in many realms. Results suggest that this kind of essay could provide support in the use of articulate iconographic analysis (AIA) in research to foster knowledge on a particular imagery phenomenon. This essay intends to bridge the gap in imagery studies of great importance to scientific investigation. RESUMEN Este es un ensayo que tiene como objeto de estudio la utilización de las técnicas de análisis de contenido (AC) y de análisis del discurso (AD) en los estudios iconográficos. Tuvo como objetivo realizar un análisis de esas técnicas articuladas en la construcción de una proposición para el desarrollo del análisis iconográfico (AI). Entre las diferentes técnicas de análisis de datos, la AI, en ella inserida la fotográfica, AC y AD, ha ganado un gran espacio entre los investigadores cualitativos de las variadas áreas del conocimiento. Los resultados indican que este tipo de ensayo podría subvencionar nuevos estudios en los que los investigadores lanzan mano de la técnica de análisis iconográfico articulada (AIA) para aumentar el conocimiento acerca de un fenómeno imaginético. Este ensayo tiene la intención de llenar un vacío en los estudios de imaginéticos de gran importancia en la investigación científica.

Olive has a notable importance in countries of Mediterranean basin and its profitability depends on several factors such as actual yield, production cost or product price. Actual "on year" Yield (AY) is production (kg tree-1) in "on years", and this research attempts to relate it with geometrical parameters of the tree canopy. Regression equation to forecast AY based on manual canopy volume was determined based on data acquired from different orchard categories and cultivars during different harvesting seasons in southern Spain. Orthoimages were acquired with unmanned aerial systems (UAS) imagery calculating individual crown for relating to canopy volume and AY. Yield levels did not vary between orchard categories; however, it did between irrigated orchards (7000-17,000 kg ha-1) and rainfed ones (4000-7000 kg ha-1). After that, manual canopy volume was related with the individual crown area of trees that were calculated by orthoimages acquired with UAS imagery. Finally, AY was forecasted using both manual canopy volume and individual tree crown area as main factors for olive productivity. AY forecast only by using individual crown area made it possible to get a simple and cheap forecast tool for a wide range of olive orchards. Finally, the acquired information was introduced in a thematic map describing spatial AY variability obtained from orthoimage analysis that may be a powerful tool for farmers, insurance systems, market forecasts or to detect agronomical problems. [ABSTRACT FROM AUTHOR]

Eidetic imagery is a kind of mental visual imagery that is externally localized and literally “seen” by the eidetiker. Previous studies have not clarified whether eidetikers have enhanced visuo-spatial memory abilities. This study compared visuo-spatial short-term memory capacities between eidetikers and non-eidetikers who were matched in terms of age, gender, and visual imagery ability. We measured the memory capacity of nine eidetikers and 18 non-eidetikers in two memory tasks (Visual Pattern Test and Corsi Block Test) that differed in the mode of presentation of visual stimuli (simultaneous and sequential, respectively). Eidetikers performed better than non-eidetikers on simultaneous tasks but performed similarly to non-eidetikers on sequential tasks. This study suggests that eidetikers are better at retaining stimuli presented simultaneously. [ABSTRACT FROM AUTHOR]

The article offers information on the eidetic memory and school age, which argue eidetic phenomena are changeable, linking these changes to specific components of child and adolescent development. it mentions primary basis of all mental life consists of eidetic images that occupy a middle position between sensation and concept. it also mentions focus on the methodology and technique of researching eidetic phenomena.

The article offers information on the E. Jaensch, a psychologist known for analysis of visual concepts. It mentions psychological and somatic characteristics of an individual, along with discovery of eidetic phenomena. it discusses the role eidetic memory on child development. It also discusses distinction between concepts and perceptions.

Objective: to demonstrate the use of the image as image inductor to the research of social memory in health and nursing from an emblematic image of the history of acquired immune deficiency syndrome. Methods: utilization of a matrix of image analysis with four items about the picture published in the Jornal o Globo newspaper of 09.28.1987, page 13. Results: the results were contextualized to the symbol image of a pandemic, through corresponding public media elements in the 1980s in Brazil. The attitudes of the nursing professional were highlighted, who is said infected by the human immunodeficiency virus in the work space, and this media subject published in a national newspaper. This is photojournalism that can serve as a tool for studies of social memory in health and nursing. Conclusion: the analysis of the matrix is ratified as a research tool of social memory and documentary image, applicable to nursing research.

In Logical Investigations, published by Husserl in 1900/1901, the phenomenology is understood as a peculiar form of descriptive psychology, elaborated to serve as a foundation for the theory of knowledge. The peculiarity of this descriptive psychology is that it would be able to achieve a priori knowledge on the psyche. In this article, we try to show, in contrast to the classical empiricism of the 16th and 17th century and the Kant's transcendental idealism, the peculiarity of the psychological method in Logical Investigations, as well as the reasons by which this method was founded as the basis for the theory of knowledge. [ABSTRACT FROM AUTHOR]

This commentary provides multiple suggestions for future research on text painting that have been inspired by Strykowski's (2016) quantitative analysis of height-related musical imagery. For example, musical features such as meter, harmony, and position may be incorporated to expand the scope of the research. The commentary concludes by referencing two additional corpora that may further benefit the quantitative study of text painting, namely, repertories that contain a dearth of word-painting, and an upcoming digital repository of Tasso-based madrigals. [ABSTRACT FROM AUTHOR]

Text painting is a defining characteristic of the sixteenth-century madrigal style, especially in association with references to height. Whereas composers cannot have given musical illustration to every such reference contained within the text of a madrigal, the question of whether or not the music that accompanies a particular reference to height constitutes an actual example of text painting is sometimes unclear. To explore this problem empirically, the frequency with which musical excerpts from a corpus of 201 madrigals composed by the Italian composer Luca Marenzio satisfied three proposed definitions of height-related text painting was measured. The three definitions required a vocal part to contain either a large leap, stepwise motion, or an extreme of pitch. Positive correlations were observed between the appearance of music conforming to each of the respective definitions and the presence of height-related imagery in the text, yet only in passages that satisfied more than one definition. The research suggests that no single definition is a reliable indicator of height-related text painting, and that most legitimate examples rely on multiple compositional devices. [ABSTRACT FROM AUTHOR]

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In a recent paper, Xiong et al. [J. Appl. Phys. 117, 154906 (2015)] presented the simulated results of a Jerusalem-cross structure in an attempt to elaborate their proposed reflection theory for metamaterial absorbers. Noting that even at non-resonant frequencies the real part of the permeability shows an over-high average value and its imaginary part drops abruptly from positivity to negativity, we argue that their simulated results are unphysical, resulting from an incomplete understanding of the retrieval procedure. [ABSTRACT FROM AUTHOR]

The concept of 'Estonia' is constituted in different sign systems. Each such sign system models and communicates various aspects of 'Estonia', adding simultaneously its medium specific signs to the concept. The dominating visual representations circulating internationally about Estonia are photo albums, postcards, films, web pages and other iconic items. Photo albums in particular are constituted by the orthoscopic parameters of painting and the innocent notion of 'picturesque'. In Estonia these albums present hardly anything else than architecture and weirdly empty environment. The reason for this might be a long-term impact of ideology of the past that still tends to constitute an idealist kaleidoscopic overview of the country with no social dimension and its problems as a part of it. The modest level of visual literacy is obviously another reason of the endencies of representation that we observe in this research. The scenes offered in the visual facade menu mostly come from the past that refersto the vitality of the 'national' model of culture in Estonia. Hence we have Correction Form file:///C:/Workdir/PROG/recfolder/ 111113/STY39736/Correction for So ... 1 of 2 11/11/2013 3:39 PM the concept of a city/state as first of all an open-air museum. The status of 'visual Estonia' would be more interesting with inclusion of first: heterotopic environment in the visual representations; second: shifing the 'orthoscopic parametres' of representations; and third: diversifying scopic positions. Keywords Estonia visual representation kinds of representation * multimodality of communication * emblematic images * utopian space * arcadia * heterotopic space * visual regimes * orthoscopia * kaleidoscopic representation * fafade menu of image constellations museum concept in visual representation * visual literacy, In this article I will deal with a semiotic analysis of representations of Estonia that are expressed in picture books, postcards, tourist brochures and other such publications. My focus will [...]

The article focuses on G. Feiman's work "Eidetic Memory and School Age" that argue eidetic phenomena are changeable, linking these changes to specific components of child and adolescent development. it mentions primary basis of all mental life consists of eidetic images that occupy a middle position between sensation and concept. it also mentions focus on the methodology and technique of researching eidetic phenomena.

The article offers information on the role of visual and dynamic imagery in measuring curvature and torsion of space curves by using twists and turns of a bicycle wheel. Topics discussed include visualize a curvature and torsion inflection by constructing a normal ribbon, need for understand the rotation of bicycle wheel to justify a assertions related to torsion and rotation of Bishop frames with torsion wheel.

Photomontage is a pervasive method of representation in landscape architecture used frequently in botheducational and professional settings. Despite the proliferation of and widespread technical proficiency for creating photomontage, there has been relatively little discussion about the important nuances that distinguish photo-realistic simulations from conceptual collage compositions. By examining the breadth of contemporary work and its theoretical and historical basis, the authors delve deeply into an analysis of the most abstract and conceptual type of photomontage, which they term eidetic photomontage. As a means of addressing criticisms of eidetic photomontage they draw examples from landscape architecture professionals and students to identify common compositional strategies and communicative strengths. The article concludes with a discussion of how eidetic photomontage is valuable to landscape architects for enriching creative process, inviting dialogue, and exploring highly speculative proposals. [ABSTRACT FROM AUTHOR]

The criteria for the validation of qualitative research are still open to discussion. This article has two aims: first, to present a summary of concepts, emerging from the field of qualitative research that present answers regarding issues of validation, reliability, and generalization; and second, to propose six concepts that allow the monitoring of the validation of phenomenological research within the context of qualitative research in psychology—intentionality, psychological phenomenological reduction, eidetic psychological analysis, syntheses of identification, phenomenon versus individual, and invariant structures. It is argued that there are general criteria that qualitative methods must meet, and specific methodological criteria to monitor the quality control. A final definition is proposed, to delimit the validation, reliability, and generalization of the phenomenological research results. [ABSTRACT FROM PUBLISHER]

The specificity of practice hypothesis predicts the development of a sensorimotor representation specific to the afferent feedback available during skill acquisition (Proteau, 1992; Proteau, Marteniuk, Girouard, & Dugas, 1987). In the present investigation, we used the specificity of practice hypothesis to test whether skill acquisition through visual imagery would lead to the development of a sensory-specific movement representation similar to one resulting from actual practice. To accomplish this objective, participants practiced walking a 12-m linear path in one of three practice conditions, full-vision (FV), no-vision (NV), or visual imagery (VI), for either 10 or 100 trials. Knowledge of spatial and/or temporal results (KR) was provided to participants following each trial during this phase. Following acquisition, participants completed 10 NV trials without KR. An analysis of root-mean-squared-error (RMSE) indicated NV participants were more accurate than both FV and VI participants in the transfer condition. We believe the equivalence in transfer RMSE between FV and VI suggests that there are similarities between the movement representations attained by FV and VI practice.

How do we think about the space of bodies? Several accounts of mental representations of bodies were addressed in body part verification tasks. An imagery account predicts shorter times to larger parts (e.g., back < hand). A part distinctiveness account predicts shorter times to more discontinuous parts (e.g., arm < chest). Apart significance account predicts shorter times to parts that are perceptually distinct and functionally important (e.g., head < back). Because distinctiveness and significance are correlated, the latter two accounts are difficult to distinguish. Both name-body and body-body comparisons were investigated in four experiments. In all, larger parts were verified more slowly than smaller ones, eliminating the imagery/size account. Despite the correlation between distinctiveness and significance, the data suggest that when comparisons are perceptual (body-body), part distinctiveness is the best predictor, and when explicit or implicit naming is involved, part significance is the best predictor. Naming seems to activate the functional aspects of bodies.

To build robots that engage in fluid face-to-face spoken conversations with people, robots must have ways to connect what they say to what they see. A critical aspect of how language connects to vision is that language encodes points of view. The meaning of my left and your left differs due to an implied shift of visual perspective. The connection of language to vision also relies on object permanence. We can talk about things that are not in view. For a robot to participate in situated spoken dialog, it must have the capacity to imagine shifts of perspective, and it must maintain object permanence. We present a set of representations and procedures that enable a robotic manipulator to maintain a "mental model" of its physical environment by coupling active vision to physical simulation. Within this model, "imagined" views can be generated from arbitrary perspectives, providing the basis for situated language comprehension and production. An initial application of mental imagery for spatial language understanding for an interactive robot is described. Index Terms--Active vision, grounding, language, mental imagery, mental models, mental simulation, robots.

Through two experiments, the study sought to emphasize the usefulness of the visual and kinesthetic imagery in mental practice. In Experiment 1, it was hypothesized that when the task to be learned through mental practice necessitates the reproduction of a form by drawing, the visual image, which provides a wide span of apprehension, is more suitable than the kinesthetic image. On the other hand, the kinesthetic image that supplies inputs from the muscles' positions and movements should be more appropriate for the acquisition of the duration of the drawing. In Experiment 2, it was hypothesized that the task, transformed into a motor task necessitating minute coordination of the two hands, would benefit more from kinesthetic imagery. To have optimal control over what was actually experienced during mental practice, the participants' imagery skills were measured. The participants also benefited from prior imagery training. The results demonstrate that when using mental practice to initially acquire a task, visual imagery is better for tasks that emphasize form while kinesthetic imagery is better for those tasks that emphasize timing or minute coordination of the two hands.

In the 1940s and 1950s many people in the United States appear to have thought they dreamed in black and white. For example, Middleton (1942) found that 70.7% of 277 college sophomores reported 'rarely' or 'never' seeing colors in their dreams. The present study replicated Middleton's questionnaire and found that a sample of 124 students in 2001 reported a significantly greater rate of colored dreaming than the earlier sample, with only 17.7% saying that they 'rarely' or 'never' see colors in their dreams. Assuming that dreams themselves have not changed over this time period, it appears that one or the other (or both) groups of respondents must be profoundly mistaken about a basic feature of their dream experiences.

The problem of representing the spatial structure of images, which arises in visual object processing, is commonly described using terminology borrowed from propositional theories of cognition, notably, the concept of compositionality. The classical propositional stance mandates representations composed of symbols, which stand for atomic or composite entities and enter into arbitrarily nested relationships. We argue that the main desiderata of a representational system--productivity and systematicity--can (indeed, for a number of reasons, should) be achieved without recourse to the classical, proposition-like compositionality. We show how this can be done, by describing a systematic and productive model of the representation of visual structure, which relies on static rather than dynamic binding and uses coarsely coded rather than atomic shape primitives. Keywords: Systematicity; Compositionality; Cognition

In three experiments, participants pressed a reaction time key and rated vividness after reading descriptions of common objects and imagining them as accurately as possible within a visual display subtending 1.2[degrees] or 10.8[degrees]. Display size had small effects on vividness and on image latency. Latency was much faster (~2.5 sec) for vivid images than for nonvivid ones (~7.5 sec), regardless of display size and initial size at which the images were generated (natural image size). Our findings characterize images as (1) detailed, as indicated by ratings of detail and by lack of category membership effects; (2) as occurring at many natural image sizes, so that time-consuming size adjustments are typically not needed; and (3) generated not concurrently with but after lexical access, as shown by latencies for the same image evoked by synonyms like pail and bucket. We conclude that image vividness and latency reflect the activation level of the visual imagery system, implying that image generation in everyday life mostly involves retrieving already-computed representations episodically stored in memory, which seldom require extensive re-elaboration such as size adjustment.