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1 Imagery
A subject is imaging whenever he employs some of the same cognitive processes that he would use in perceiving, but when the stimulus input that would normally give rise to such perception is absent. (Neisser, 1972, p. 245)Historical dictionary of quotations in cognitive science > Imagery
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2 Bibliography
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3 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
4 CGI Joe
HRa computer programmer who lacks social skills and charisma. The term is modeled on “GI Joe,” a word for a U.S. soldier that dates from World War II; its first part is an abbreviation of “computer generated imagery.” (slang) -
5 Frames
Here is the essence of the theory: when one encounters a new situation (or makes a substantial change in one's view of the present problem) one selects from memory a substantial structure called a frame. This is a remembered framework to be adapted to fit reality by changing details as necessary.A frame is a data-structure for representing a stereotyped situation, like being in a certain kind of living room, or going to a child's birthday party. Attached to each frame are several kinds of information. Some of this information is about how to use the frame. Some is about what one can expect to happen next. Some is about what to do if these expectations are not confirmed.We can think of a frame as a network of nodes and relations. The "top levels" of a frame are fixed, and represent things that are always true about the supposed situation. The lower levels have many terminals"slots" that must be filled by specific instances or data.... Collections of related frames are linked together into frame systems. The effects of important actions are mirrored by transformations between the frames of a system. These are used to make certain kinds of calculations economical, to represent changes of emphasis and attention, and to account for the effectiveness of "imagery."For visual scene analysis, the different frames of a system describe the scene from different viewpoints, and the transformations between one frame and another represent the effects of moving from place to place. For nonvisual kinds of frames, the differences between the frames of a system can represent actions, cause-effect relations, or changes in metaphorical viewpoint. Different frames of a system share the same terminals; this is the critical point that makes it possible to coordinate information gathered from different viewpoints. (Minsky, 1975, pp. 211, 212)Historical dictionary of quotations in cognitive science > Frames
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6 Information Processing
The term "information processing" originated in the late fifties in the computer field as a general descriptive term that seemed somewhat less contingent and parochial than "computer science," which also came into use during the same period. Thus, it was the name of choice for two of the encompassing professional organizations formed at the time: the In ternational Federation of Information Processing Societies and the American Federation of Information Processing Societies. Although the transfer of the phrase from activities of computers to parallel activities of human beings undoubtedly occurred independently in a number of heads, the term was originally identified pretty closely with computer simulation of cognitive processes... ; that is, with the kind of effort from which arose the theory in this book. (Newell & Simon, 1972, p. 888)It was because the activities of the computer itself seemed in some ways akin to cognitive processes. Computers accept information, manipulate symbols, store items in "memory" and retrieve them again, classify inputs, recognize patterns and so on.... Indeed the assumptions that underlie most contemporary work on information processing are surprisingly like those of nineteenth century introspective psychology, though without introspection itself. (Neisser, 1976, pp. 5, 7)The processor was assumed to be rational, and attention was directed to the logical nature of problem solving strategies. The "mature western mind" was presumed to be one that, in abstracting knowledge from the idosyncracies of particular everyday experience, employed Aristotelian laws of logic. When applied to categories, this meant that to know a category was to have an abstracted clear-cut, necessary, and sufficient criteria for category membership. If other thought processes, such as imagery, ostensive definition, reasoning by analogy to particular instances, or the use of metaphors were considered at all, they were usually relegated to lesser beings such as women, children, primitive people, or even to nonhumans. (Rosch & Lloyd, 1978, p. 2)Historical dictionary of quotations in cognitive science > Information Processing
См. также в других словарях:
Imagery — Im age*ry ([i^]m [asl]j*r[y^]; 277), n. [OE. imagerie, F. imagerie.] 1. The work of one who makes images or visible representation of objects; imitation work; images in general, or in mass. Painted imagery. Shak. [1913 Webster] In those oratories … The Collaborative International Dictionary of English
imagery — UK US /ˈɪmɪdʒəri/ noun [U] ► pictures or words that are used to represent something, for example a situation: »Satellite imagery and computer models are being used to track weather patterns and predict storms … Financial and business terms
imagery — (n.) mid 14c., piece of sculpture, carved figures, from O.Fr. imagerie (13c.), from imagier painter, from image (see IMAGE (Cf. image) (n.)). Meaning ornate description (in poetry, etc.) is from 1580s … Etymology dictionary
imagery — ► NOUN 1) figurative language, especially in a literary work. 2) visual symbolism. 3) visual images collectively … English terms dictionary
imagery — [im′ij rē, im′ijər ē] n. pl. imageries [ME imagerie < OFr] 1. Now Rare images generally; esp., statues 2. mental images, as produced by memory or imagination 3. descriptions and figures of speech … English World dictionary
Imagery — Vagina = Imagery is used in literature to refer to descriptive language that evokes sensory experience. Other uses The term imagery is also used in psycholdickogy and everyday discourse to refer to mental images, i.e., the making (or re creation) … Wikipedia
imagery — noun ADJECTIVE ▪ evocative, graphic, powerful, stark, violent, vivid ▪ the vivid visual imagery of dreams ▪ negative … Collocations dictionary
imagery — Also known as visual imagery. The term imagery comes from the Latin verb imaginari,which means to copy, to imitate, to picture. It tends to be used in a rather loose sense to denote a recollection or fantasy presenting itself as a picture in… … Dictionary of Hallucinations
Imagery — Both a mental process (as in imagining) and a wide variety of procedures used in therapy to encourage changes in attitudes, behavior, or physiological reactions. As a mental process, it is often defined as any thought representing a sensory… … Medical dictionary
imagery — [[t]ɪ̱mɪʤri[/t]] 1) N UNCOUNT You can refer to the descriptions in something such as a poem or song, and the pictures they create in your mind, as its imagery. [FORMAL] ...the nature imagery of the ballad. 2) N UNCOUNT You can refer to pictures… … English dictionary
imagery — n. the production of vivid mental representations by the normal processes of thought. Hypnagogic imagery occurs just before falling asleep, and the images are often very distinct. Hypnopompic imagery occurs in the state between sleep and full… … The new mediacal dictionary