Visual Representation Quotes

PowerPoint is like being trapped in the style of early Egyptian flatland cartoons rather than using the more effective tools of Renaissance visual representation.

One of the most pervasive mistakes is to believe that our visual system gives a faithful representation of what is “out there” in the same way that a movie camera would.

Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.

Art is emotion -the visual representation of our deepest thoughts and desires. It should come from within- a place of truth and authenticity, yes?

First class is a simple visual representation of who has all the money in the world: guys who look like this.

The suggestion, however, regarding my age – that I am perhaps not quite fifty years old – would flatter me immensely. For it is many years now since I have been able to say in all honesty that I have only seen half a century. This is simply the age, or at least the visual representation of an age, at which I have been stuck for a large proportion of my 256 years of life. I am an old man.

What I want you to understand is that the words that our schools, our government, our media, our colleagues, and our family use have a profound effect on how you think and feel about life. The words that you learn, and then use to speak and think with, are molding your reality. Your vernacular creates your visual representation of the world, and the language you think with essentially creates your experienced reality.

five suggestions that can work to open mathematics tasks and increase their potential for learning: Open up the task so that there are multiple methods, pathways, and representations. Include inquiry opportunities. Ask the problem before teaching the method. Add a visual component and ask students how they see the mathematics. Extend the task to make it lower floor and higher ceiling. Ask students to convince and reason; be skeptical.

The possibility that all recognition of images is connected with projections and visual anticipations is strengthened by the results of recent experiments. It appears that if you show an observer the image of a pointing hand or arrow, he will tend to shift its location somehow in the direction of the movement. Without this tendency of ours to see potential movement in the form of anticipation, artists would never have been able to create the suggestion of speed in stationary images.

These two developments throw light on what is perhaps the most fundamental difference between the Renaissance and all previous periods of art. We have repeatedly seen that there were these circumstances which could compel the artist to make a distinction between the "technical" proportions and the "objective;" the influence of organic movement, the influence of perspective foreshortening, and the regard for the visual impression of the beholder. These three factors of variation have one thing in common: they all presuppose the artistic recognition of subjectivity. Organic movement introduces into the calculus of artistic composition the subjective will and the subjective emotions of the thing represented; foreshortening the subjective visual experience of the artist; and those "eurhythmic" adjustments which alter that which is right in favor of what seems right, the subjective visual experience of a potential beholder. And it is the Renaissance which, for the first time, not only affirms but formally legitimizes and rationalizes these three forms of subjectivity.

Already at the turn of the twentieth century one analyst fretted in the Atlantic Monthly that images would eventually replace words and that visual symbols would become the primary form of discourse. Boorstin’s own concern was that the Graphic Revolution encouraged what he called image-thinking—thinking in terms of an “artificial imitation or representation of the external form of any object, especially of a person.” This came at the expense of what he called ideal-thinking—thinking in terms of some idea or value toward which one could strive.

However, questions arise. Are there people who aren't naive realists, or special situations in which naive realism disappears? My theory—the self-model theory of subjectivity—predicts that as soon as a conscious representation becomes opaque (that is, as soon as we experience it as a representation), we lose naive realism. Consciousness without naive realism does exist. This happens whenever, with the help of other, second-order representations, we become aware of the construction process—of all the ambiguities and dynamical stages preceding the stable state that emerges at the end. When the window is dirty or cracked, we immediately realize that conscious perception is only an interface, and we become aware of the medium itself. We doubt that our sensory organs are working properly. We doubt the existence of whatever it is we are seeing or feeling, and we realize that the medium itself is fallible. In short, if the book in your hands lost its transparency, you would experience it as a state of your mind rather than as an element of the outside world. You would immediately doubt its independent existence. It would be more like a book-thought than a book-perception. Precisely this happens in various situations—for example, In visual hallucinations during which the patient is aware of hallucinating, or in ordinary optical illusions when we suddenly become aware that we are not in immediate contact with reality. Normally, such experiences make us think something is wrong with our eyes. If you could consciously experience earlier processing stages of the representation of the book In your hands, the image would probably become unstable and ambiguous; it would start to breathe and move slightly. Its surface would become iridescent, shining in different colors at the same time. Immediately you would ask yourself whether this could be a dream, whether there was something wrong with your eyes, whether someone had mixed a potent hallucinogen into your drink. A segment of the wall of the Ego Tunnel would have lost its transparency, and the self-constructed nature of the overall flow of experience would dawn on you. In a nonconceptual and entirely nontheoretical way, you would suddenly gain a deeper understanding of the fact that this world, at this very moment, only appears to you.

In the 1990s, a set of renegade researchers set aside many of the earlier era’s assumptions, shifting their focus to machine learning. While machine learning dated to the 1950s, new advances enabled practical applications. The methods that have worked best in practice extract patterns from large datasets using neural networks. In philosophical terms, AI’s pioneers had turned from the early Enlightenment’s focus on reducing the world to mechanistic rules to constructing approximations of reality. To identify an image of a cat, they realized, a machine had to “learn” a range of visual representations of cats by observing the animal in various contexts. To enable machine learning, what mattered was the overlap between various representations of a thing, not its ideal—in philosophical terms, Wittgenstein, not Plato. The modern field of machine learning—of programs that learn through experience—was born.

It takes some getting used to,' Mr. Forkle said. 'But what you're seeing is a visual representation of each other's moods.' 'So that means if I do this...' Keefe tickled Sophie's neck. 'GAH--everything just went supersonic!' Fitz said. Sophie snatched Keefe's wrist as he reached to tickle her again. 'Don't. You. Dare.' 'Whoa, now everything's red and ripply,' Fitz said. 'Is that because she's angry?' 'Precisely, Mr. Vacker. Every time her emotions shift, the patterns and colors will change. And with practice, you'll learn to interpret what you see.' 'Okay, but...can't they just say, "Hey, I'm feeling this?"' Keefe asked. 'People aren't always honest about their feelings--even with themselves,' Mr. Forkle told him. 'Plus, many telepathic missions involve stealth and secrecy. So for this exercise I'm going to need both of you to forget everything around you. Let the world drop away, leaving only you two.' Keefe sighed. 'Just tell them to stare into each other's eyes and they'll be good.' 'None of that, Mr. Sencen. From this moment on, you have one job and one job only: to judge their translations of the various emotions I'll be triggering.' 'Triggering how?' Sophie asked. 'You'll see soon enough. And you'll go first, Miss Foster. For this to work, Mr. Vacker, it's crucial that you not react externally. No yelling or thrashing or screaming or--' 'Uhhh, what are you going to do to me?' Fitz asked. 'Nothing you won't survive. Consider it an exercise in self-control. And try not to listen to his thoughts, Miss Foster. Study only the changes in his emotional center and make your deduction. We begin now.' Sophie closed her eyes and focus on the colors weaving around Fitz's mind. She was about to ask if she was missing something when the pattern exploded into a swirl of pale blue tendrils. The color felt to bright to be sad, but also too wild to be peaceful. 'Tension?' she guessed. 'Kinda close,' Keefe told her. The laughter in his voice made her wonder what had happened to poor Fitz. She tried to think of other emotions as his mind turned electric blue. 'Shock?' she guessed. 'That counts,' Keefe said. 'Though the best answer would've been "surprise."' 'Is that an emotion?' she asked. 'Indeed it is,' Mr. Forkle said. 'One of the most common emotions you'll experience as you navigate someone's mind--hence why I chose it as our starting point.' 'Can I talk now?' Fitz asked. 'Because that was seriously disgusting!' Sophie opened her eyes and tried not to laugh when she saw red fruit smashed all over Fitz's face. He wiped his cheeks on his sleeves, but that only smeared the pulp. 'I think I'm going to like this assignment,' Keefe said. 'What else can we fling at Fitz?' 'Nothing for the moment,' Mr. Forkle told him. 'It's his turn to interpret. Everyone close your eyes. And remember, no cues of any kind, Miss Foster.' Sophie counted the seconds, bracing for the worst--and when nothing chaned, she opened her eyes and found Mr. Forkle with his finger over his lips in a 'shhh' sign. 'Um...confusion,' Fitz guessed. 'That works,' Keefe said. 'It started as anticipation, but then it shifted.' 'Very good,' Mr. Forkle said. 'And well done, Mr. Sencen. I wasn't sure you'd recognize confusion. It's one of the more challenging emotions for Empaths.' 'Maybe on other people,' Keefe said. 'But on Foster it's easy. Why are her emotions so much stronger?' 'Honestly, I'm not sure,' Mr. Forkle admitted. 'I suspect it stems from the combination of her inflicting ability and her human upbringing. But it was one of the surprises of her development. Much like her teleporting. Okay, Miss Foster, it's your turn to guess again.' She closed her eyes and watched as the lines of color in Fitz's mind blossomed to a snowflake of purple. 'Pride?' she guessed. Keefe laughed. 'Wow, add more fail points to Sophitz.' 'Quiet,' Mr. Forkle told him.

After staring at photographs of very attractive faces, men show less desire to date an average-looking woman. Exposure to extremely beautiful bodies in visual erotica can wreak havoc on some men's judgement. In one study, men shown pictures of women's beautiful bodies in erotica rated a previously attractive nude as less exciting. Some men even claimed to be less in love with their wives! ... We have a chance to calibrate faces against real-life faces all the time. Everyone sees hundreds and even thousands of faces, but most people have not seen hundreds of nude bodies. Given a much smaller database, nude or minimally clothed bodies in the media may get disproportionate representations in our minds and skew our ideas of the possible or even of the average.

Hildebrand, too, challenged the ideals of scientific naturalism by an appeal to the psychology of perception: if we attempt to analyze our mental images to discover their primary constituents, we will find them composed of sense data derived from vision and from memories of touch and movement. A sphere, for instance, appears to the eye as a flat disk; it is touch which informs us of the properties of space and form. Any attempt on the part of the artist to eliminate this knowledge is futile, for without it he would not perceive the world at all. His task is, on the contrary, to compensate for the absence of movement in his work by clarifying his image and thus conveying not only visual sensations but also those memories of touch which enable us to reconstitute the three-dimensional form in our minds.

No subject was more perfectly suited to the loosened formal framework and swift juxtaposition of disparate elements that marked his ‘totally chromatic’ style; and it is generally agreed that in this Representation of (mental) Chaos that style found its most impressive outlet. But a representation is not a transcription. The music itself is not chaotic. There is a willed unity of atmosphere, created through a myriad intensely visualized details, which could only be achieved under iron control. Paradoxically, this is probably the direct result of the spontaneity and intensity with which Schoenberg must have been composing in order to have created the work in such a short space of time. The monodrama possesses no clearly defined structure, ranging so freely and juxtaposing lyricism, violence, and Angstridden terror in such uncompromising combination that it attains an effect of continuous high-pressure improvisation; yet it combines this with a powerful sense of continuity and tragic inevitability. That

come to call “ideograms.” An ideogram is often a pictorial character that refers not to the visible entity that it explicitly pictures but to some quality or other phenomenon readily associated with that entity. Thus—to invent a simple example—a stylized image of a jaguar with its feet off the ground might come to signify “speed.” For the Chinese, even today, a stylized image of the sun and moon together signifies “brightness”; similarly, the word for “east” is invoked by a stylized image of the sun rising behind a tree.5 The efficacy of these pictorially derived systems necessarily entails a shift of sensory participation away from the voices and gestures of the surrounding landscape toward our own human-made images. However, the glyphs which constitute the bulk of these ancient scripts continually remind the reading body of its inherence in a more-than-human field of meanings. As signatures not only of the human form but of other animals, trees, sun, moon, and landforms, they continually refer our senses beyond the strictly human sphere.6 Yet even a host of pictograms and related ideograms will not suffice for certain terms that exist in the local discourse. Such terms may refer to phenomena that lack any precise visual association. Consider, for example, the English word “belief.” How might we signify this term in a pictographic, or ideographic, manner? An image of a phantasmagorical monster, perhaps, or one of a person in prayer. Yet no such ideogram would communicate the term as readily and precisely as the simple image of a bumblebee, followed by the figure of a leaf. We could, that is, resort to a visual pun, to images of things that have nothing overtly to do with belief but which, when named in sequence, carry the same sound as the spoken term “belief” (“bee-leaf”). And indeed, such pictographic puns, or rebuses, came to be employed early on by scribes in ancient China and in Mesoamerica as well as in the Middle East, to record certain terms that were especially amorphous or resistant to visual representation. Thus, for instance, the Sumerian word ti, which means

Galileo's mechanical world was only a partial representation of a finite number of probable worlds, each peculiar to a particular living species; and all these worlds are but a portion of the infinite number of possible worlds that may have once existed or may yet exist. But anything like a single world, common to all species, at all times, under all circumstances, is a purely hypothetical construction, drawn by inference from pathetically insufficient data, prized for the assurance of stability and intelligibility it gives, even though that assurance turns out, under severe examination, to be just another illusion. A butterfly or a beetle, a fish or a fowl, a dog or a dolphin, would have a different report to give even about primary qualities, for each lives in a world conditioned by the needs and environmental opportunities open to his species. In the gray visual world of the dog, smells, near and distant, subtle or violently exciting, probably play the part that colors do in man's world-though in the primal occupation of eating, the dog's world and man's world would approach each other more closely.

There is however, one reason why the arts so rarely accept a mission that IS within the power of the Church to alter. In the past, the densest or richest location of baptised art has been the Liturgy. The sacred use of the arts in the liturgical setting has provided inspiration for artists engaged in producing artworks for contexts outside the Liturgy, for consumption beyond the limits of the visible Church. In the modern West, the Muses have largely fled the liturgical amphitheatre, which instead is given over to banal language, poor quality popular music, and, in new and re-designed churches, a nugatory or sometimes totally absent visual art. This deprives the wider Christian mission of the arts of essential nourishment. Where would the poetry of Paul Claudel be without the Latin Liturgy? Or John Tavener's music without the Orthodox Liturgy? Where would be the entire tradition of representational art in the West without the liturgical art of which until the seventeenth century at least remained at its heart? We need today to summon back the Muses to the sacred foyer of the Church, to be at home again at that hearth.

All analysis is thus a translation, a development into symbols, a representation taken from successive points of view from which are noted a corresponding number of contacts between the new object under consideration and others believed to be already known. In its eternally unsatisfied desire to embrace the object around which it is condemned to turn, analysis multiplies endlessly the points of view in order to complete the ever incomplete representation, varies interminably the symbols with the hope of perfecting the always imperfect translation. It is analysis ad infinitum. But intuition, if it is possible, is a simple act. This being granted, it would be easy to see that for positive science analysis is its habitual function. It works above all with symbols. Even the most concrete of the sciences of nature, the sciences of life, confine themselves to the visible form of living beings, their organs, their anatomical elements. They compare these forms with one another, reduce the more complex to the more simple, in fact they study the functioning of life in what is, so to speak, its visual symbol. If there exists a means of possessing a reality absolutely, instead of knowing it relatively, of placing oneself within it instead of adopting points of view toward it, of having the intuition of it instead of making the analysis of it, in short, of grasping it over and above all expression, translation or symbolical representation, metaphysics is that very means. Metaphysics is therefore the science which claims to dispense with symbols.

One early terracotta statuette from Catal Huyuk in Anatolia depicts an enthroned female in the act of giving birth, supported by two cat-like animals that form her seat (Plate 1). This figure has been identified as a 'birth goddess' and it is this type of early image that has led a number of feminist scholars to posit a 'reign of the goddess' in ancient Near Eastern prehistory. Maria Gimbutas, for whom such images are proof of a perfect matriarchal society in 'Old Europe' , presents an ideal vision in which a socially egalitarian matriarchal culture was overthrown by a destructive patriarchy (Gimbutas 1991). Gerda Lerner has argued for a similar situation in the ancient Near East; however, she does not discuss nude figurines at any length (Lerner 1986a: 147). More recently, critiques of the matriarchal model of prehistory have pointed out the flaws in this methodology (e.g. Conkey and Tringham 1995; Meskell 1995; Goodison and Morris 1998). In all these critiques the identification of such figures as goddesses is rejected as a modern myth. There is no archaeological evidence that these ancient communities were in fact matriarchal, nor is there any evidence that female deities were worshipped exclusively. Male gods may have worshipped simultaneously with the 'mother goddesses' if such images are indeed representations of deities. Nor do such female figures glorify or show admiration for the female body; rather they essentialise it, reducing it to nothing more nor less than a reproductive vessel. The reduction of the head and the diminution of the extremities seem to stress the female form as potentially reproductive, but to what extent this condition was seen as sexual, erotic or matriarchal is unclear. ....Despite the correct rejection of the 'Mother Goddess' and utopian matriarchy myths by recent scholarship, we should not loose track of the overwhelming evidence that the image of female nudity was indeed one of power in ancient Mesopotamia. The goddess Ishtar/Inanna was but one of several goddesses whose erotic allure was represented as a powerful attribute in the literature of the ancient Near East. In contact to the naked male body which was the focus of a variety of meanings in the visual arts, female nudity was always associated with sexuality, and in particular with powerful sexual attraction, Akkadian *kuzbu*. This sexuality was not limited to Ishtar and her cult. As a literary topos, sensuousness is a defining quality for both mortal women and goddesses. In representational art, the nude woman is portrayed in a provocative pose, as the essence of the feminine. For femininity, sexual allure, *kuzbu*, the ideal of the feminine, was thus expressed as nudity in both visual and verbal imagery. While several iconographic types of unclothed females appear in Mesopotamian representations of the historical period - nursing mothers, women in acts of sexual intercourse, entertainers such as dancers and musicians, and isolated frontally represented nudes with or without other attributes - and while these nude female images may have different iconographic functions, the ideal of femininity and female sexuality portrayed in them is similar. -Zainab Bahrani, Women of Babylon: Gender and Representation in Mesopotamia

Why was having images so important? What did having images really accomplish? The presence of images meant that each organism could create internal representations based on its ongoing sensory descriptions of both external and internal events. Those representations, generated within the organism’s nervous system but with the cooperation of the body proper, made a world of difference to the particular organism in which such processes took place. Those representations, which were accessible only to the particular organism, were able, for example, to guide movement of a limb or of the whole with precision. Image-guided movements—guided by visual, sound, or tactile images—were more beneficial for the organism, more likely to produce advantageous results. Homeostasis was improved accordingly and with it survival.

Taco Hidde Bakker: (quoting a sentence from Schles' book "Oculus") Further on you write, decidedly, “Seeing is not knowing. Recognition is not knowledge”. […] Muses are the origin of knowledge. Almost everything one knows and is able to know nowadays, comes from hearsay, isn’t based on one’s own experiences or witnessing of events. Most of us don’t even directly witness historically decisive events (or what have come to be portrayed as such by the media) during our lifetimes. By means of the mechanisms of complex (visual) representation networks, we are second-order or even third-order witnesses. If we were to consider photography sui generis, then it is a Muse. It is virtually omnipresent, it sees everything, transmits visual evidence to people all over the globe, and enlargers their body of knowledge.

Your Personal Economic Model One tool we use when discussing the best course of action to secure your financial future is the Personal Economic Model®. Just as a medical doctor would use an anatomical model to convey medical concepts, we use the following model to convey financial concepts. This model offers a visual representation of the way money flows through your hands. On the left, you will notice the Lifetime Capital Potential tank, which illustrates that the amount of money you will control during your lifetime is both large, as well as finite. Most people are shocked to see how much money can flow through their hands in their lifetime. Once earned, your money flows directly to the Tax Filter where the state and federal governments take tax dollars owed from your paycheck. The after tax dollars are then directed to either your Current Lifestyle or your Future Lifestyle. Your management of the Lifestyle Regulator determines where these dollars go. Regulating the cash flow between your current lifestyle desires and your future lifestyle requirements may be the most important financial decision you will ever make. Here’s why. Each and every dollar that is allowed to flow through to your Current Lifestyle is consumed and gone forever. The goal is to accumulate enough money in the Savings and Investment tanks so that when you retire, the dollars in those tanks can be used to pay for your future lifestyle requirements. Retirement planning seems hard for most people to do but it is not rocket science. The best position, position A, would be to have enough in the tanks so that you can live in the future like you live today adjusted for inflation and have your money last at least to your life expectancy. That’s a win, but the icing on the cake would be to accomplish that with little to no impact on your present standard of living, and that is exactly what we strive to help our clients to do. Working with us can help you with the following: Optimize the balance between your Current and Future Lifestyles Identify inefficiencies in your current personal economic model (where are you losing money) Design, implement, and execute a plan to secure your financial future Limit the impact on your Current Lifestyle dollars (maintain your current standard of living)

When we become an autonomous organization, we will be one of the largest unadulterated digital security organizations on the planet,” he told the annual Intel Security Focus meeting in Las Vegas. “Not only will we be one of the greatest, however, we will not rest until we achieve our goal of being the best,” said Young. This is the main focus since Intel reported on agreements to deactivate its security business as a free organization in association with the venture company TPG, five years after the acquisition of McAfee. Young focused on his vision of the new company, his roadmap to achieve that, the need for rapid innovation and the importance of collaboration between industries. “One of the things I love about this conference is that we all come together to find ways to win, to work together,” he said. First, Young highlighted the publication of the book The Second Economy: the race for trust, treasure and time in the war of cybersecurity. The main objective of the book is to help the information security officers (CISO) to communicate the battles that everyone faces in front of others in the c-suite. “So we can recruit them into our fight, we need to recruit others on our journey if we want to be successful,” he said. Challenging assumptions The book is also aimed at encouraging information security professionals to challenge their own assumptions. “I plan to send two copies of this book to the winner of the US presidential election, because cybersecurity is going to be one of the most important issues they could face,” said Young. “The book is about giving more people a vision of the dynamism of what we face in cybersecurity, which is why we have to continually challenge our assumptions,” he said. “That’s why we challenge our assumptions in the book, as well as our assumptions about what we do every day.” Young said Intel Security had asked thousands of customers to challenge the company’s assumptions in the last 18 months so that it could improve. “This week, we are going to bring many of those comments to life in delivering a lot of innovation throughout our portfolio,” he said. Then, Young used a video to underscore the message that the McAfee brand is based on the belief that there is power to work together, and that no person, product or organization can provide total security. By allowing protection, detection and correction to work together, the company believes it can react to cyber threats more quickly. By linking products from different suppliers to work together, the company believes that network security improves. By bringing together companies to share intelligence on threats, you can find better ways to protect each other. The company said that cyber crime is the biggest challenge of the digital era, and this can only be overcome by working together. Revealed a new slogan: “Together is power”. The video also revealed the logo of the new independent company, which Young called a symbol of its new beginning and a visual representation of what is essential to the company’s strategy. “The shield means defense, and the two intertwined components are a symbol of the union that we are in the industry,” he said. “The color red is a callback to our legacy in the industry.” Three main reasons for independence According to Young, there are three main reasons behind the decision to become an independent company. First of all, it should focus entirely on enterprise-level cybersecurity, solve customers ‘cybersecurity problems and address clients’ cybersecurity challenges. The second is innovation. “Because we are committed and dedicated to cybersecurity only at the company level, our innovation is focused on that,” said Young. Third is growth. “Our industry is moving faster than any other IT sub-segment, we have t

Knowing what we do about London cabbies, we can posit that as people became more dependent on maps, rather than their own memories, in navigating their surroundings, they almost certainly experienced both anatomical and functional changes in the hippocampus and other brain areas involved in spatial modeling and memory. The circuitry devoted to maintaining representations of space likely shrank, while areas employed in deciphering complex and abstract visual information likely expanded or strengthened. We also now know that the changes in the brain spurred by map use could be deployed for other purposes, which helps explain how abstract thinking in general could be promoted by the spread of the cartographer's craft.

The point is that our visual and decision environments are filtered to us courtesy of our eyes, our ears, our senses of smell and touch, and the master of it all, our brain. By the time we comprehend and digest information, it is not necessarily a true reflection of reality. Instead, it is our representation of reality, and this is the input we base our decisions on. In essence we are limited to the tools nature has given us, and the natural way in which we make decisions is limited by the quality and accuracy of these tools.

One of the shortfalls of representation rhetoric is that it advertises a simplistic blueprint for racial equality in which people of color are visually “included” in spaces regularly reserved for white people. The dominant thought is: If we just show more minoritized faces in the white marketplace, then progress is being made.

You took a good whack to the thigh,” he pointed out while she filled a couple of frosted mugs with water. She twisted around so she could see the bruises. “Yeah. It’s a little tender to the touch but nothing major.” “You should let me check the rest of you over.” She gave him a cold glass of water and an arched eyebrow. “For bruises, I mean, though you do look sexy as hell with a dirty face, wearing nothing but a T-shirt.” Putting a hand on her hip, which drew the hem of her T-shirt up a tantalizing half-inch, she scowled at him. “When I made you my fake fiancé, I had no idea you had this weird dirty-face fetish.” “I didn’t have it before I became your fake fiancé.” He took a long drink of water. “And it’s not a fetish. I told you, it turns me on that you work hard and you play hard. The dirt’s just a visual representation of that, I guess.” “That’s very deep of you.” “Plus, it means you’ll be showering soon and I like you all soaped up and slippery, too.” A slow flush burned up her neck. “Dirty. Clean. Doesn’t matter to you, does it?” He was going to tell her no, it didn’t matter—that he’d take her any way he could get her—but he kept his mouth shut. It was true, of course, but nothing good would come of her knowing that. She didn’t need to know that sometimes when they were curled up on the couch watching television or arguing about white versus wheat bread at the store, he would sometimes forget they were pretending to be a couple. And she really didn’t need to know it sometimes bummed him out when he remembered.

Here are several strategies for enhancing communication when addressing an audience of second-language English speakers: Slow down. Slow down. Slow down. Use clear, slow speech. Enunciate carefully. Avoid colloquial expressions. Repeat important points using different words to explain the same thing. Avoid long, compound sentences. Use visual representations (pictures, tables, graphs,

It is pretty clear, then, that attention can control the brain’s sensory processing. But it can do something else, too, something that we only hinted at in our discussion of neuroplasticity. It is a commonplace observation that our perceptions and actions do not take place in a vacuum. Rather, they occur on a stage set that has been concocted from the furniture of our minds. If your mind has been primed with the theory of pointillism (the use of tiny dots of primary colors to generate secondary colors), then you will see a Seurat painting in a very different way than if you are ignorant of his technique. Yet the photons of light reflecting off the Seurat and impinging on your retina, there to be conveyed as electrical impulses into your visual cortex, are identical to the photons striking the retina of a less knowledgeable viewer, as well as of one whose mind is distracted. The three viewers “see” very different paintings. Information reaches the brain from the outside world, yes—but in “an ever-changing context of internal representations,” as Mike Merzenich put it. Mental states matter. Every stimulus from the world outside impinges on a consciousness that is predisposed to accept it, or to ignore it. We can therefore go further: not only do mental states matter to the physical activity of the brain, but they can contribute to the final perception even more powerfully than the stimulus itself. Neuroscientists are (sometimes reluctantly) admitting mental states into their models for a simple reason: the induction of cortical plasticity discussed in the previous chapters is no more the simple and direct product of particular cortical stimuli than the perception of the Seurat painting is unequivocally determined by the objective pattern of photons emitted from its oil colors: quite the contrary.

The history of Western epistemology displays great diversity and ingenuity in generating different kinds of epistemological and visualizing systems (Plato’s is not Descartes’s is not Kant’s is not Merleau-Ponty’s is not Foucault’s), but as long as representation is the name of the game, the notion of mediation—whether through the lens of consciousness, language, culture, technology, or labor—holds nature at bay, beyond our grasp, generating and regenerating the philosophical problem of the possibility of human knowledge out of this metaphysical quarantining of the object world.

For more than 3 million years visual icons have been collected by hominins, from Australopithecus to Homo sapiens. These icons suggest that the icon-possessor(s) quite possibly grasped a connection between form and meaning – what the icon is a visual representation of. In this light, consider the two-by-three-inch stone found in the Makapansgat cave in South Africa (Figure 9). This pebble is much older than Homo, however. It was collected by none other than Australopithecus africanus. The manuport (‘carried by hand’) stands out among the tools it was found among because it clearly is not a tool, but was brought to the cave from elsewhere, almost certainly because it resembled a human face. And it is a kind of stone different from that of the cave where it was found. This manuport indicates that as early as 3 million years ago early hominins recognised iconic properties in objects around them. Just as one perceives the serpentine iconic properties of tree roots in the Amazon, so the australopithecines of Makapansgat saw iconicity in a rock with two circular indentations above a groove running transverse to them. Someone might

In my history books I have already had my say in clear language and discursive meaning about community. Now what history means to me in images is freedom from coherence, clarity, and collective representation. My images carry their own visual meaning, which may or may not explicate history usefully or unequivocally. For me now, image works as particularity, not as generalization. That is how art school changed my thinking about history and how visual art set me free.

If new āsana forms began to gain popularity in the mid-1920s, it was as a result of the representation of Indian bodies in the kind of mass-produced primers and journals that flourished alongside comparable physical culture material. One perhaps rather obvious point to be made here is that modern postural yoga required visual representation in a way that more "mental" forms of modern yoga did not. To take but one example: Vivekananda's Raja Yoga, which openly shuns āsanas, does not lose much from a complete absence of visual images—the message is fairly effectively (if not always cogently) conveyed through the written word. On the other hand, Kuvalayananda's āsanas of 1931 would be a far duller, more difficult to follow book were the motions and postures it details not supported with clear, visual, photographic references.

Love and aspirations! Let me take you behind the rainbow, And show you the colours of love, Let me make you wet with my feelings of love, As every droplet of my colourful feelings kisses you behind that rainbow. Let me borrow some colourful mist from the butterfly, And sprinkle it on your soul, Let me love you whole including your soul, As you become the envy of every butterfly. Let me take you to the garden of roses, lavenders and other beautiful flowers, And love you like careless lovers, Let us be those carefree and self indulgent lovers, As I secretly endow you with the beauty of all these flowers. Let us stand at the banks of the noisy rivulet, And flow with its hastiness in one direction, Let you be the sea and I will be the river flowing in this direction, As you and I become the part of the happily and always rushing rivulet. Let me take you to a place where it is always morning, And let the dew fall on your soul and quench you, Let you be the pasture of million grass blades as the dew drops kiss you, As you witness the wave of pleasure engulfing you , then only for you let me be this morning. Let me take you to the distant valley where the shepherdess sings a beautiful song, And you try to be her melody, Let me then be the every note of this melody, As you get drawn towards the mesmerising song. Let me make you sit before my mirror long enough, And fill myself just with your visual imaginations, Let there be no memory left in me except your imaginations, As I love you today Irma may it be till eternity, and yet not enough! Let me feel your bright body and deep eyes, under the sun, And I shall love you in presence of this universe, Let me kiss you , to feel you and to remember you just like this universe, As sometimes under the moonlight I feel you are my warmth and my only sun! Let me love you forever, Although loving is brief but forgetting is an infinite loop of time, So, let me love you Irma till the end of time, Because we were born for each other and to be together forever. Let me now take you to the pinnacle of hopes, dreams and beautiful aspirations, And you decide if you wish to push me into the abyss of nothingness, Let me tell you though, I shall find you even in that nothingness, Because as we both stood in front of the mirror, I hope you remember, my reflection was a representation of your beauty and aspirations!

Some learners may grasp information quicker or more efficiently through visual or auditory means compared to printed text. Also, learning and transfer of learning occur when multiple representations are used, because these allow learners to make connections within, as well as between, concepts.

To Poincaré’s suggestion that the fourth dimension be represented as a succession of scenes, Picasso added a visually ingenious twist: Set down different views of a scene all at once, simultaneously. These were the essential elements in Picasso’s discovery of a representation of nature that caught the enormous conceptual transformations occurring in art, science and technology at the beginning of the twentieth century.

The more we approach the future, the more we can learn from our past. We learn based on our mind's representational systems - our neurology - which includes visual, auditory, kinesthetic, olfactory, gustatory, interoception, nociception, thermoception, proprioception, and equilibrioception. Individuals often utilize specific aspects of their neurology.

I ordered a ginger ale and then promptly began stewing. I was watching the ranks of protesters file past. But I was also thinking of all I’d seen the past few days—of Hebron, Susya, and the Old City—and how distant it felt from these protests. Back in America these protests enjoyed positive coverage and were taken as evidence of the vitality and mettle of “the only democracy in the Middle East.” But by then I knew that “the only democracy in the Middle East” was essentially a tagline which, like “the Breakfast of Champions” or “Just do it,” depended less on logic or observed reality than a form of word association. The “Middle East” is the insanity of suicide bombings, the backwardness of a woman peeking out from her niqab. “Democracy” is a flag over Iwo Jima, Washington crossing the Delaware, a working man rising in a town meeting. Overlay the two phrases and a collage emerges—a visual representation of Herzl’s dream of “an outpost of civilization against barbarism.” And this collage is a technology, as functional as any other: Who can judge democratic Israel, which must exist in “that part of the world” where child brides, chemical weapons, and bin Laden reign?

others seek to create and predict classifications through independent variables. Table 18.4 Factor Analysis Note: Factor analysis with Varimax rotation. Source: E. Berman and J. West. (2003). “What Is Managerial Mediocrity? Definition, Prevalence and Negative Impact (Part 1).” Public Performance & Management Review, 27 (December): 7–27. Multidimensional scaling and cluster analysis aim to identify key dimensions along which observations (rather than variables) differ. These techniques differ from factor analysis in that they allow for a hierarchy of classification dimensions. Some also use graphics to aid in visualizing the extent of differences and to help in identifying the similarity or dissimilarity of observations. Network analysis is a descriptive technique used to portray relationships among actors. A graphic representation can be made of the frequency with which actors interact with each other, distinguishing frequent interactions from those that are infrequent. Discriminant analysis is used when the dependent variable is nominal with two or more categories. For example, we might want to know how parents choose among three types of school vouchers. Discriminant analysis calculates regression lines that distinguish (discriminate) among the nominal groups (the categories of the dependent variable), as well as other

Borges's extreme architecture attempts to visualize the universe by assigning to every object real and unreal, now and yet to come, a code or sign, a corresponding figure within the Library. It seeks to render totality visible, to effect a total visibility and visuality. The Library of Babel is a view of the universe inside and out, an X-ray of the universe and universal X-ray, seen from within and without. It is a representation of everywhere: a perfect duplication of the universe. And of you: universal. An endless and eternal cinema, an imaginary archive that extends into the universe until it is indistinguishable from it, until you are indistinguishable from the universe.

Similarly, our experiences of color have an intrinsic three-dimensional structure that is mirrored in the structure of information processes in the brain’s visual cortex. This structure is illustrated in the color wheels and charts used by artists. Colors are arranged in a systematic pattern—red to green on one axis, blue to yellow on another, and black to white on a third. Colors that are close to one another on a color wheel are experienced as similar. It is extremely likely that they also correspond to similar perceptual representations in the brain, as one part of a system of complex three-dimensional coding among neurons that is not yet fully understood. We can recast the underlying concept as a principle of structural coherence: the structure of conscious experience is mirrored by the structure of information in awareness, and vice versa.

In this manner, The PJs insists that racism involves more than the mobilization of stereotypes, that in fact it extends far beyond matters of visual representation. While this is a relatively simple point, it nonetheless invites us to push beyond the prevailing methods in media studies, where a focus on analyzing stereotypes dominates the conversation about race to the extent that racism often becomes inadvertently reduced to bad representation, and antiracist politics are often depicted merely as a struggle over the content of specific images. Yet the struggles depicted on The PJs are rarely about imagery; indeed, in a culture where it is impossible to separate racism from class politics, the struggles remain lived and felt primarily in relations of power not visible at all.

What are the visual and narrative processes by which animals engage with their own representation?

I looked at the stone, fragmented and cratered by my rage and jealousy. So this was a visual representation of a Diabolic’s affection, then: an ugly, broken, blood-spattered stone.

Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The

visual representation of the sum total of human possibilities and energies. The entire archetype of humanity is contained within the structural framework of the chart. All of the possibilities for the expression of being human appear here. The Body Graph shows us the different ways we love, hate, lead, follow, learn, know, grow and so much more!

eidetic de o relativo a la facultad de visualizar objetos previamente vistos; a1: of visual imagery of almost photographic accuracy; Similar: representational(a1);

In keeping with this approach, the ventral and dorsal visual pathways in the brain have been thought of as the “what” and “where” pathways, generating representations of object structure and spatial relationships, respectively. In the past decade, though, it has been argued that the dorsal stream is more properly thought of as a “how” pathway. The proposed function of this pathway is to serve visually guided actions such as reaching and grasping (for

Logos are the visual representation of everything a company is- their industry, their business styles, their values, and of course, their products. A logo does not only embody all of these; it also has to be aesthetically pleasing, unique, distinctive, and recognizable.

To put this even more bluntly, one might think about the difference between adding traditional and contemporary Indigenous art to the National Gallery of Canada’s historical Canadian wing and imagining the entire gallery curated from an Indigenous perspective of what a “National Gallery of Canada” might mean.37 Put slightly differently, the project of Indigenous representation in the gallery in Canada has been defined as “bringing aboriginal art in to the history of Canadian art” rather than of incorporating settler history into the history of Aboriginal art.38 Would such reimaginings mean, for example, a move away from the primacy of a liberal politic and of the artist genius as a cultural application of that politic?

What is art? Art is a form of communication, a language, you see. It is a physical, visual representation of a word, a story, a feeling. To those who babble on, “That's not art!” Are those who do not speak the language of the artist. If I spoke to you in Latin, you may not understand, and yet, a language it remains.   You see, the only qualifier of art is that at least one other must understand its intention.  

The slow zone, based on the sensor data we’re able to get, is approximately one million kilometers across.” Holden pointed at the 3D representation on the screen behind him. “There are no visible stars, so the location of the zone is impossible to determine. The boundary is made up of one thousand three hundred and seventy-three individual rings evenly spaced into a sphere. So far, the only one we’ve been able to find that’s ‘open’ is the one we came through. The fleets we traveled out with are still visible on the other side, though the Ring seems to distort visual and sensor data, making readings through it unreliable.

Line: An artist’s tool used to illustrate the outer edges of shapes and forms. Technically, no physical lines exist in nature. For example, there is not an actual line around an apple to distinguish it from the table it’s sitting on, nor is there a physical line between the sky and the land at the horizon; therefore, lines in art are an artist’s interpretation of the boundaries between forms in a scene, or the perceived edges of shapes in a composition. Repeated lines can also be used to create values and textures in two-dimensional and three-dimensional art. Shape: The outside two-dimensional contour, outline or border of a form, figure or structure. Form: The three-dimensional representation of a shape. In drawings, paintings and other two-dimensional art, the artist creates the illusion of a three-dimensional form in space using light, shadow and other rendering techniques. In sculpture, the form is the manifestation of the object itself. Texture: The distinctive surface qualities found on all things as well as the overall visual patterns and tactile feel of objects and their surroundings. Value: The relative lightness or darkness of shapes, forms and backgrounds of two-dimensional or three-dimensional compositions. Value plays a prominent role in both black-and-white and color artworks, potentially adding dramatic contrasts and depth to an otherwise bland composition. Color: The spectrum of hues, values and intensities of natural light and man-made pigments, paints and mineral compounds that can be used in all art forms.

turned out that the proper visual imagery is generated by the mathematics of quantum mechanics, and it consists entirely of schematic representations of events, not pictures of objects.

All of this information is taken from long-term memory and mapped onto, or worked on, by a dedicated representational medium capable of dealing with logical reasoning based in symbols or elements not reducible to logical symbols, such as visual imagery. Conscious and unconscious thought occur in this medium.

it has now been demonstrated that pigeons can generate internal representations of moving visual stimuli, and can use these representations to solve problems when the visual stimuli are temporarily out of sight. This was achieved by using a video image of a rotating, constant-velocity clock hand as the cue, and requiring test animals to respond to the internally imaged speed of the clock hand during periods when the video display was briefly turned off. Pigeons that were able to accurately keep the temporal progression of such an image in mind could obtain food by responding appropriately in a timely manner. Pigeons acquired such tasks remarkably well, and a host of control manipulations indicated that the pigeons were in fact responding to sustained internal representations of the visual displays within their brains.

Para empezar a aprovechar este sistema de memoria visual, solo debes crear una imagen muy memorable que represente un artículo clave que desees recordar. Una imagen te ayuda a encapsular un concepto aparentemente monótono y difícil de recordar, y conectarlo directamente con los centros espaciales del hemisferio derecho del cerebro. Este es el principio fundamental en el que se basa una de las mejores técnicas de memorización existentes, llamada el palacio de la memoria, y la aprenderás un poco más adelante, pero ahora veremos los distintos tipos de memoria que posee nuestro cerebro.

In this visual representation of your life, you are at the center of the three domains. Like every valuable thing, you require maintenance and care, which takes time. Just as you wouldn’t blow off a meeting with your boss, you should never bail on appointments you make with yourself.

From the where-to-play and how-to-win choices follows the next question: what capabilities are required to deliver on that strategy? To understand and visualize those capabilities, you will find it helpful to prepare an activity system based on the strategy. An activity system captures the most important activities of the organization in a single visual representation. The large nodes of the map are the core capabilities, while the smaller nodes are the activities that support those core capabilities.

They explored the nature of visual representation by reducing images to their essential elements of form, line, color, or light.

Seidel [21], and Garth et al. [4]. Feature tracking in scale-space representations of vector fields has been investigated by Bauer and Peikert [1] for tracking the evolution of vortices in scale or time. For the approach discussed

Impact mapping provides an easy-to-understand visual representation of the relationship between the goals, users, and impacts on the deliverables.

A Value Engine is a visual representation of how a company creates and captures marketplace value through the 1) acquisition of new customers, 2) fulfillment of existing customers, and 3) creation and/or improvement of the company’s product and service offerings.

Dr. Masaru Emoto was able to visually demonstrate the variations of different themes of consciousness in his book, The Hidden Messages in Water. Dr. Emoto captured the effects that vibrational frequencies had on frozen water crystals using a powerful microscope with high-speed photography. He conducted experiments that consisted of exposing water to different positive and negative speech, positive and negative thoughts, various types of music, and even photographs. He then froze the samples of water to examine how the formation of crystals aesthetically changed. His experiments showed that water exposed to higher calibrating frequencies, such as love in the form of positive speech and pleasant music, generated uniquely beautiful, symmetrical crystals. Whereas the water exposed to negative frequencies, such as shame or anger, yielded unformed and asymmetrical crystals. The physical representation of each crystal formation is a perfect visual of how themes of consciousness manifest into the physical realm.

The oral tradition speaks loud and clear, but for visual representations we must wait for the Buddhist era, after the Vedic period.

Can you not see artistic development— how he renounced the realism of his earlier years, and advanced into abstract, nonrepresentational art?’ He had indeed moved from realism to nonrepresentation to the abstract, yet this was not the artist, but the pathology, advancing—advancing towards a profound visual agnosia, in which all powers of representation and imagery, all sense of the concrete, all sense of reality, were being destroyed. This wall of paintings was a tragic pathological exhibit, which belonged to neurology, not art. And yet, I wondered, was she not partly right? For there is often a struggle, and sometimes, even more interestingly, a collusion between the powers of pathology and creation.

Holmes and Collins (2001) found that visualizing success involves creating internal cognitive representations that mirror actual action. This helps release dopamine, improve motivation, and build confidence while encouraging improved execution when performing outside of one’s imagination. As such, visualizing success can be an incredibly useful tool for any athlete or performer wishing to maximize their potential within a competitive environment.

A garment is not just a piece of fabric sewn together. It's an expression of art and creativity. It's a visual representation of the designer's soul

The cross,” Langdon said, “was not a Christian symbol until the fourth century. Long before that, it was used by the Egyptians to represent the intersection of two dimensions—the human and the celestial. As above, so below. It was a visual representation of the juncture where man and God become one.

No problem,” muttered Mr. Raymo, waiting for the door to the secret passageway to glide shut. When Kyle was absolutely certain that the Krinkle brothers wouldn’t follow Mr. Raymo into the Rotunda Reading Room, he popped up and waved. “Mr. Keeley!” whispered Mr. Raymo. “Did you create the error code in Abraham Lincoln’s software?” “It was a group effort,” Kyle answered modestly. “But, yeah, that was us. We need to ask you a question.” “Please hurry,” said Mr. Raymo, looking over his shoulder. “If the brothers catch you kids…” “Mr. Raymo,” said Kyle, “can you use your Nonfictionator to replicate anybody saying anything?” “Yes. But I prefer to have the characters generated by the device speak with historical accuracy. That is why those of us on the Nonfictionator team have put such a high premium on proper research.” “But,” said Kyle, “if we did the research and gave you the audio and visual data you needed to create a truthful, honest representation of someone, or two someones…” “Then I can easily re-create that person or persons in holographic form,” said Mr. Raymo. “It’s also extremely helpful if an audio recording exists of the subject. For instance, I am quite confident that we have correctly captured Michael Jordan’s authentic voice, since we had primary source material to work with. Abraham Lincoln, on the other hand, sounds like Daniel Day-Lewis from the movie.

Multiple stimuli present in the visual field at the same time compete for neural representation by mutually suppressing their evoked activity throughout visual cortex, providing a neural correlate for the limited processing capacity of the visual system. In other word, when your environment is cluttered, the visual chaos restricts your ability to focus.

Cultural critic Gina Dent has pointed out that our sense of familiarity with the prison comes in part from representations of prisons in film and other visual media.

Starting a scrapbook of ‘you’ is a visual way of piecing your identity together. One idea is to find pictures/photos/visual representations of your answers to questions such as: ‘What’s important to me?’, ‘Who do I enjoy spending time with, and why?’, ‘What are my favourite things?’, ‘What comforts me?’, ‘Where would I like to travel/explore?’, ‘What does my ideal day look like?’, ‘What did I want to be when I was younger?’, ‘What are my favourite songs?’, ‘What hobbies do I enjoy?’, ‘What is holding me back?’, ‘What new things would I like to try?’ and ‘What colours/ flowers/foods am I drawn to?

Next to Alma on our All Saints’ table was an icon of another accidental saint, Harvey Milk (the first openly gay person elected to public office in California, who was shot to death by a fellow city employee in 1978). The icon showed Milk standing in front of the Golden Gate Bridge with five silver bullet holes in his chest and a golden halo behind his head. The icon was created by Bill, one of our congregation’s artists, who called me later when someone challenged him for creating a visual representation of sainthood for someone who was not Christian. I explained to Bill that what we celebrate in the saints is not their piety or perfection but the fact that we believe in a God who gets redemptive and holy things done in this world through, of all things, human beings, all of whom are flawed.

mind map is a diagram used to visually organize information. A mind map is hierarchical and shows relationships among pieces of the whole. It is created around a single concept, drawn as an image in the center of a blank page (i.e., your key challenge), to which representations of ideas such as images, words, and parts of words are added as branches to the central idea.

What are we to do with an interactive world in which the demarcation line between subject and object is virtually abolished? That world can no longer either be reflected or represented; it can only be refracted or diffracted now by operations that are, without distinction, operations of brain and screen - the mental operations of a brain that has itself become a screen. The other side of this Integral Reality is that everything operates in an integrated circuit. In the information media - and in our heads too - the image-feedback dominates, the insistent presence of the monitors - this convolution of things that operate in a loop, that connect back round to themselves like a Klein bottle, that fold back into themselves. Perfect reality, in the sense that everything is verified by adherence to, by confusion with, its own image. This process assumes its full magnitude in the visual and media world, but also in everyday, individual life, in our acts and thoughts. Such an automatic refraction affects even our perception of the world, sealing everything, as it were, by a focusing on itself. It is a phenomenon that is particularly marked in the photographic world, where everything is immediately decked out with a context, a culture, a meaning, an idea, disarming any vision and creating a form of blindness condemned by Rafael Sanchez Ferlosio: 'There exists a terrible form of blindness which very few people notice: the blindness that allows you to look and see, but not to see at a stroke without looking. That is how things were before: you didn't look at them, you were happy simply to see them. Everything today is poisoned with duplicity; there is no pure, direct impulse. So, for example, the countryside has become "landscape" or, in other words, a representation of itself ...

2D Game Comic Book Concept Art Service by 3D animation Studio – Austin, Texas CLIENT: THIBAUD PROJECT: CONCEPT ART CATEGORY: CONCEPT ART Concept art is a visual representation that tells a story or conveys a certain look. It is commonly used in film and video games to convey a vision and set the tone for an entire game or movie. 2D/3D Concept Art provides a strong reference point that helps align the creatives working on the project. Generally the Concept Artist must be adept at any style, any genre and any element, be it character design, creature design or setting. GameYan Studio – game art outsourcing studio for feature films and could work as a production house to do entire 3D development for any animated movie. Our professional team of Concept Artist can develop a variety of 3D art content for movie and video games along with low optimized characters for mobile and virtual reality interactive games by 3D Production Animation Studio.

Flat paintings are so commonplace that we seldom ask why flat representations work so well. If we really experience the world as 3D, an image seen in a flat picture would distort jarringly when we move in front of it. But it does not do so as long as it is flat. A folded picture, in contrast, distorts as we move around it. Our ability to interpret representations that are less than 3D indicates that we do not experience the visual world as truly 3D, and has allowed flat pictures (and movies) to dominate our visual environment as an economical and convenient substitute for 3D representations. This tolerance of flat representations is found in all cultures, infants, and in other species, so it cannot result from learning a convention of representation. Imagine how different our culture would be if we could not make sense of flat representations.

areas, and brilliantly, too. Leonardo is known as one of the greatest painters who ever lived, and many argue he was the greatest artist ever. However, his genius went far beyond the easel and his paintbrushes. His mind could conceive of almost anything, from a beautiful representation of Heaven to graphical illustrations of the human body in a time when there were no such things as CAT scans or x-rays. Leonardo’s lifetime was spent observing and doing so in many different venues. His notebooks were filled with examples of what it means to be human. He looked at life from numerous perspectives and recorded all he saw. From light and shade to perspective and visual perception, from botany and landscape to physical sciences and astronomy, from architecture and planning to sculpture and experiments, from inventing to philosophy, there was nothing that didn’t touch Leonardo da Vinci.

My dreams are visual and I assume yours are too. But the moment either of us tells someone about one it isn’t an actual dreamed dream any more but a public representation of it in outer speech.

What can ‘art’ mean in a culture where the primary organ of perception is not the eye or the ears, but the heart? It requires a shift from the visible to the sensible, in which attention is directed not outwardly toward the object, but inwardly, within the heart. This shift – from the eye as an organ of (potentially rational) verification to the heart as one of (necessarily perceptual) validation shifts the aesthetic from one located between a disinterested subject and object toward an aesthetic located between an interested subject and an object made malleable through the performance of perception. The Quran scarcely differentiates between material and immaterial perception: external receptors, the eyes and ears, function indivisibly with the heart, the internal sensory organ. This enables a heart-perception of the unseen that unbalances and confuses the distinction of the senses. Whereas a visually mimetic model of representation requires light to expose material reality, in the Quran light can simultaneously show and blind, sometimes at the same time.

Neurologically, OBEs are a form of bodily illusion arising from a temporary dissociation of visual and proprioceptive representations—normally these are coordinated, so that one views the world, including one’s body, from the perspective of one’s own eyes, one’s head. OBEs, as Henrik Ehrsson and his fellow researchers in Stockholm have elegantly shown, can be produced experimentally, by using simple equipment—video goggles, mannequins, rubber arms, and so on—to confuse one’s visual input and one’s proprioceptive input and create an uncanny sense of disembodiedness.

The art of the High Renaissance is absolutely secular in its outlook; even in the representations of religious subjects, it attains its ideal style not by contrasting natural with supernatural reality, but by creating a distance between the objects of natural reality itself - a distance which in the world of visual experience creates differences of value similar to those that exist between the elite and the masses in human society. Its harmony is the utopian ideal of a world from which all conflicts is excluded, and, moreover, not as a result of the rule of a democratic but of an autocratic principle. Its creations represent an enhanced, ennobled reality exempt from transitoriness and banality. Its most important stylistic principle is the restriction of the representation to the bare essentials.

His eyes widened. “You mean the symbol we use for peace began as a hate symbol against Christianity?” She nodded. “It was a visual representation of the way Nero crucified Christians upside down.

Indeed, fascist regimes tried to redraw so radically the boundaries between private and public that the private sphere almost disappeared. Robert Ley, head of the Nazi Labor Office, said that in the Nazi state the only private individual was someone asleep. For some observers, this effort to have the public sphere swallow up the private sphere entirely is indeed the very essence of fascism. It is certainly a fundamental point on which fascist regimes differed most profoundly from authoritarian conservatism, and even more profoundly from classical liberalism. There was no room in this vision of obligatory national unity for either free-thinking persons or for independent, autonomous subcommunities. Churches, Freemasonry, class-based unions or syndicates, political parties— all were suspect as subtracting something from the national will.121 Here were grounds for infinite conflict with conservatives as well as the Left. In pursuit of their mission to unify the community within an all-consuming public sphere, fascist regimes dissolved unions and socialist parties. This radical amputation of what had been normal worker representation, encased as it was in a project of national fulfillment and managed economy, alienated public opinion less than pure military or police repression, as in traditional dictatorships. And indeed the fascists had some success in reconciling some workers to a world without unions or socialist parties, those for whom proletarian solidarity against capitalist bosses was willingly replaced by national identity against other peoples. Brooding about cultural degeneracy was so important a fascist issue that some authors have put it at the center. Every fascist regime sought to control the national culture from the top, to purify it of foreign influences, and make it help carry the message of national unity and revival. Decoding the cultural messages of fascist ceremonies, films, performances, and visual arts has today become the most active field of research on fascism. The “reading” of fascist stagecraft, however ingenious, should not mislead us into thinking that fascist regimes succeeded in establishing monolithic cultural homogeneity. Cultural life in fascist regimes remained a complex patchwork of official activities, spontaneous activities that the regimes tolerated, and even some illicit ones. Ninety percent of the films produced under the Nazi regime were light entertainment without overt propaganda content (not that it was innocent, of course). A few protected Jewish artists hung on remarkably late in Nazi Germany, and the openly homosexual actor and director Gustav Gründgens remained active to the end.

Abstract: There are three distinct modes of self-representation in digital media: written, visual and quantitative.

Databases, ontologies, and visual representations tie informatic genomes to the specific practices of computers, computational biology, and bioinformatics.

Re-imagination is the birthplace for vision and change. Your imagination is one of the most valuable talents you have and deserves your full attention. Imagining how you want to live your life is one thing, but connecting your imagination to a visual representation will give you exactly the traction you need to make it a reality.

Roediger goes on to describe how although some might explicitly avoid speaking of race, there are those who make wordless racial appeals and offer coded messages by linking nonracially identified ideas with visually racial representations. This effectively denigrates people of color and links them with issues such as welfare reform, job-training programs, criminality, and sexual promiscuity.17 For example, a US News & World Report cover once used a picture of seven women to illustrate its article on welfare. Six of the seven women were women of color, most were

For what is represented in such cases is not the calculation itself, but a representation of it; it is numbers that are calculated, but what is visualized are numerals, which represent numbers.

The true source of power is the center of all existence, referred to in Siberian languages and in Mongolian with the root word gal or gol. Gol has the essential meaning of “core,” “essence,” “center.” This word is the root of such important words as gal, “fire,” golomt or gulamta, “place of the fire,” gol, “river,” and golduu, “most important.” Fire is a symbol of this core of existence, for it is a place where heaven and earth merge, creating heat, and shamans use it in rituals as the symbolic representation of this center. Gol, when used in the sense of “river,” is related to this same concept—another symbol of the center of the universe is the river Dolbor, which links all consciousness and ties together the upper, lower, and middle worlds. In this sense the root word mur is also significant. Mur means “trail,” but in the form murun it refers to a great river flowing to the sea. Dolbor murun is the river of the universe, while the sunsnii mur, the stream of consciousness linking shamans in a line of succession, is visualized as a tributary stream of the Dolbor.

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Feynman's most significant contribution to quantum mechanics is undoubtedly the Feynman diagrams. These visual tools, introduced in 1948, revolutionized the way physicists understood particle interactions. Before Feynman diagrams, the calculations involved in quantum field theory were complex, requiring dense algebraic manipulations. Feynman's diagrams offered a visual representation that made these interactions intuitive and accessible.