Plural Imagination: Diversity in Mind and Making.

The experience of visual mental imagery—seeing in the mind's eye—varies widely between individuals, but perhaps because we tend to assume our own way of thinking to be everyone's, how this crucial variation impacts art practice, and indeed art history, has barely been addressed. We seek to correct t...

Descripción completa

Detalles Bibliográficos
Publicado en:Art Journal Vol. 81; no. 3; pp. 70 - 88
Autores principales: MacKisack, Matthew, Aldworth, Susan, Macpherson, Fiona, Onians, John, Winlove, Crawford, Zeman, Adam
Formato: Artículo
Publicado: Taylor & Francis Ltd Fall2022
Materias:
Acceso en línea:Ver este registro en EBSCOhost
fields @attributes:
  recordID: 1
pdfLink:
plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=159297569&site=ehost-live
header:
  @attributes:
    shortDbName: hlh
    uiTerm: 159297569
    longDbName: Humanities International Complete
    uiTag: AN
  controlInfo:
    bkinfo:
    jinfo:
      jid:
        00043249
        ARJ
      jtl: Art Journal
      issn: 00043249
      maglogo: N
    pubinfo:
      dt: Fall2022
      vid: 81
      iid: 3
      pid: 377
      pub: Taylor & Francis Ltd
    artinfo:
      ui:
        159297569
        10.1080/00043249.2022.2110444
      ppf: 70
      ppct: 18
      formats:
        fmt:
          – @attributes:
              type: T
          – @attributes:
              type: P
              size: 5MB
      tig:
        atl: Plural Imagination: Diversity in Mind and Making.
      aug:
        au:
          MacKisack, Matthew
          Aldworth, Susan
          Macpherson, Fiona
          Onians, John
          Winlove, Crawford
          Zeman, Adam
      su:
        Imagination in art
        Artists
        Subjectivity in art
        Art history
      sug:
        subj:
          Imagination in art
          Artists
          Subjectivity in art
          Art history
      ab: The experience of visual mental imagery—seeing in the mind's eye—varies widely between individuals, but perhaps because we tend to assume our own way of thinking to be everyone's, how this crucial variation impacts art practice, and indeed art history, has barely been addressed. We seek to correct this omission by pursuing the implications of how artists with aphantasia (the absence of mental imagery) and hyperphantasia (imagery of extreme vividness) describe their working processes. The findings remind us of the need to challenge normative, universalizing models of art making and art maker.
      pubtype: Academic Journal
      doctype: Article
      src: R
    language: English
    refInfo:
    copyright:
      @attributes:
        flag: Y
      custom: Copyright of Art Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use.
      item: Art Journal
      holder: Taylor & Francis Ltd
      dt:
        @attributes:
          year: 2022
    holdings:
      @attributes:
        islocal: N