Broadly speaking, image refers to the
representation of information. In psychology, these representations have been
distinguished as either analogous or symbolic and form the basis of thought.
These two forms of images can be either mental or physical. Analogous
representations are images that share some characteristics of the actual
physical objects they represent. A realistic drawing of a hammer (physical) is
an attempt to show the tool from a particular perspective (mental). Our minds
often produce images without effort. For example, think of an apple and more
than likely the thought takes on the form of an analogous representation or a
picture like image of the object, red and round. By contrast, symbolic
representations, usually text or language, are abstract. There is no
relationship to the physical objects that they represent or symbolize. The word
hammer stands for a tool. There is no correspondence between what a hammer
looks like and feels like and the word hammer. Of course, the relationship that
exists between the mental and the physical is bi-directional. Whereas ones
thoughts and ideas may manifest and express themselves through the creation of
physical images, physical images can also trigger the experience of a mental
image. The two are inextricable, and thus cannot be easily separated or
defined. In either case, an image can be seen as a useful tool of communication
with ourselves and between others. An image can be powerful or useless, strong
or weak, depending on its ability to effectively communicate and serve its
purpose. Some images enter and then fade from our memory, while others stay
with us informing our continued existence. Perhaps the greatest strength of analogous imagery
is its ability to transcend language and communicate in non-linguistic form.
The Artists Formerly Known As Eye & Idea
Columbia University Visual Arts 2014
Visual Arts, Columbia University, New York
This course examines ways of looking and ways of seeing, both personally & professionally as artists and in a larger cultural context. Through field trips to contemporary art and other cultural sites, conversations with visiting critical thinkers and practicioners, readings, discussions, and visual & written responses, we will examine how we look, think, act, create and respond--critically questioning our own artistic practices and ways of looking at the world.
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