تصویر، ایماژ (پی انگاره) و ادراک بصری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تصویرسازی دارای ویژگی بصری و ساده ترین راه انگاشتن است که فرایند دیداری نمودن تصورات را به کار میبندد. ایماژ همچون رسانه ای است که تأثیر و فرایند بازنمایی توانش های عاطفی را بر الگوهای دیداری و فرهنگی تصویرپردازی می کند؛ شاید بهترین و کوتاه ترین تعریف برای ایماژ جهان نگری تصویری و ذهنی است. در این مقاله آنجا که مقصود از ایماژ چیزی فراتر از تصویر محض است، برابرنهاده ی «پی انگاره» انتخاب شده است. براساس داده های تجربی کنش ما در تصور مشابه کنش ما در دیدن چیزها، شامل تصاویر است؛ اما، پرسش این است که، کدام وجه از پی انگاره در تفسیر ناظران در طول تاریخ تغییر می کند و توسط رسانه های خود انتقال می یابد؟ و چه نسبتی میان پی انگاره دریافت شده و حقیقت وجود دارد؟ این مقاله با طرح پژوهشی معناشناختی با استفاده از روش توصیفی و تحلیلی درباره ی محتوای دیداری مرتبط با تصویر و با شرح بسیاری از واقعیت های برجسته و کلی در کنش های هنری درباره ی بازنمودهای تصویری در پی پاسخ به پرسش های فوق است؛ تحلیل نتایج نشان می دهد که طبیعت بصری محتوای پی انگاره ها از کیفیتی پویا برخوردار است و این کیفیت، ماهیت ذهن ما را آشکار می کند، هم چنانکه چهارچوب و عینیت اثر حاکی از مضمون پویا است که هریک از شیوه های نگریستن متفاوت به جهان است.Picture, Image and Visual Perception
Visualization have visual features and is the simplest way of imaginings, which employs a process of visual imagery. Image is a medium and seems that any visual image can be used in a sensory visualizing. Nonetheless, it should be noted that there are some difficulties to understanding the meaning of image, and pictorial and subjective ideology may be the best definition for it. According to our knowledge and identification of the world, experimental data shows that our practice in imagining, the same ours in seeing includes picture. Herein the questions are: 1) which aspect of image can be differently interpreted through the history and transferred by its medium? And 2) to what extent there are some equal characteristics among perceived image and reality? This paper will answers those questions in a semantics research about the visual content of picture and by employing some reasonable account, explain the striking realities within artworks. We should consider that, imagination do not have grammar rules, grammar allow images to represent linear process and these modes render instantaneous while grammar elaborates the meaning in a temporally articulated sequence. This, the image’s essential instantaneity is lost, while its concise quality constitutes a unifying synthesis that is already present: this is above all a concise vision of a totality articulated in its unity. When we speak of a grammar of the imagination, we make an analogy with verbal language without overlaying these two fields. If we speak of a semantics of the image, we are dealing with a process of organizing a structure that cannot be individuated and facing it sequentially that can be logically reconstructed. We administrate ourselves through experience by seeing. This vision is full of pre-cognitions of the world. It is not relevant here to claim what the image reflects; but, it is important to understand what is evoked to us by image. As we have seen, the image is endowed with an entry point. It has a frame through which it objectifies itself for us. What we have recognized in our world through the image, what in the image has enticed our attention, is, so to speak, brought onto the stage. We find ourselves alternatively in the image, it has also become a part of us, an image of ourselves. The part that we call memory. Our knowledge (and more than any other that gained through the image) has a history. The space occupied by the image consequently becomes the space of the subject, a space in which we hold fast to our vision in the objectivity of the medium in order to locate ourselves in this same objectivity, and to work from within it. The resulting position thus sheds light that the certain visual nature of image content have a live quality and this can make the entity of our mind apparent. Further, the Framework and objectivity of artwork stand on the active subject-matter which any of them is the way of seeing the world.
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