Imaginary Space Research Articles

The application of the pseudo-documentary form in the film "The Evil”

"The Possessed"is a horror film directed by Ma Kai, cast by hengdian walk-on actors and ordinary actors. The film premiered at the 10th FIRST Youth Film Festival on July 23, 2016. By imitating the creation technique and presentation form of documentary, "The Possessed" imitates the real context of the film, and uses the full DV perspective to narrate, bringing psychological oppression and game experience to the audience. This paper will start with the pseudo-documentary "The Possessed" of the horror type, and analyze its technical level and the formation mechanism of the terror psychology involved. This article through to the concept of pseudo documentary definition, origin and classification analysis, "The Possessed", for example, from the structure of the film the real context technique and USES the imaginary space of the narrative Angle of view to create two aspects, to illustrate how the pseudo documentary its style characteristics under the guidance of the theory of thematic to complete the actual filming and production, In this way, we will discuss what the film is worth learning and drawing lessons from and explore the innovation of the film director. Consider how domestic horror films should localize the emerging film form, how to rely on the form of "pseudo-documentary" to deepen the level of horror, so that the audience can experience the immersive film watching experience.

Emergence studios: bringing collaboration and iteration into the social sciences

ABSTRACT This paper synthesises theory and practice literature to define a new type of learning space: emergence studios. Emergence studios incorporate iterative, collaborative, and creative elements into graduate education in the social sciences. While some disciplines have a long history of studio spaces and others have begun to implement applied spaces like makerspaces and digital humanities labs, the social sciences rarely offer spaces for application and imagination. Some programmes are exploring how to foster a learning environment where students work together to imagine structures for addressing systemic issues, what I term ‘emergence studios’. The principles of emergence studios are explored through theoretical concepts (empathetic, experiential, and ecological) and current practices (makerspaces, digital humanities laboratories, and design studios). Then, this paper uses worldbuilding techniques to outline a new type of experiential classroom space that acknowledges the complexity of our interconnected world and the need for learning that cannot be predetermined by learning objectives. By exploring related literature, this article defines an evolving practice and provides a starting point for further exploration.

디자인 사고(Design Thinking) 적용 놀이에서 나타난 유아교사의 경험 탐색

Objectives This study intends to examine the educational meaning of design thinking as a teacher support program according to the child-centered and play-based curriculum by exploring the play experiences that apply design thinking to early childhood teachers.
 Methods For this, an in-service teacher who had a high will to design play and expressed a willingness to participate in the study was selected as the research participant, and the data collected after in-depth interviews were analyzed using Creswell's triangulation technique.
 Results As a result of exploring the experience of play execution applying design thinking, first, in the initial stage of design play, ‘experience difficulties in applying design play’ and ‘experience new play in design while having fun together’. Second, in the design play execution stage, ‘experience that crosses the infant-teacher-centered teaching method’, ‘experience discovering novelty through trial and error’, ‘experience that inspires play with limited autonomy’, and ‘fix the teacher themselves’ ‘Experience that breaks down notions’ appeared. Third, the perception of the teacher's major roles according to design play was ‘coordinating work time’, ‘becoming a volunteer and observer in play’, and ‘configuring a space for imagination and collaboration’.
 Conclusions This study examines the importance of recognition of the role of the teacher as a play environment builder for design play, as well as a case that shows that design thinking play has an application value as an educational approach for the implementation of a toddler/play-centered curriculum. We want to make it meaningful.

Religion Pays: The Business of Art Industry Entrepreneurs and Splendour in the Spaces of Nineteenth-Century Irish Catholicism

Abstract During the nineteenth century legislative reforms and religious revival in Ireland brought about significant change in the practice and position of Catholicism. This fostered a consumer revolution in religious art and architecture as architects, religious figures and a Catholic bourgeoisie aspired to recreate the architectural magnificence and status associated with Catholic churches of the medieval period in Ireland and Europe. The characteristic splendour of these interiors owes much to commercial producers of religious art from Britain and Europe. Makers of stained glass and decorative mosaics, in particular, dominated the Irish market even after the establishment of an Irish Arts and Crafts movement from the early 1890s and continued to thrive well into the twentieth century, even as Irish artist-designed church art grew more popular with patrons. This essay takes a fresh approach to analysing the spaces of Irish Catholicism by exploring the ‘backstage’ of religion from the perspective of commercial church art business history. It draws out two themes central to this Roundtable: the ways in which local sacred spaces and landscapes were impacted by transnational exchanges and processes, and the relationship between physical space and imaginative space in architectural production.

The Female Figure in The Monk, the Ottoman and the Wife of the Big Money Man by Venus Khoury-Ghata

“The metamorphosis of the French language” (Tumia, 2014) in the writing of Venus Khoury-Ghata, is part of a process of crossing two languages, French and Arabic. This phenomenon of hybridization at the linguistic level functions to depict an Elsewhere, a kind of metaphor of an imaginary East, in which the destinies of women dominated by the force of submission imposed by a patriarchal type of societal order are played out. Our study aims to highlight the message of revolt expressed by the novelist in order to save those who still live “eyes downcast” to use the words of the researcher Rosalie Ghanem (Ghanem, 2018). In what way does this sense of indignation at the condition of women in the East fits into an imaginary space related to a geographical territory associated with the image of a “small village on the edge of the desert”? In order to answer this question, our research is based on the novel The Monk, the Ottoman and the wife of the big money man.

Review of the roles of materials, permissiveness, and structure in play-based social interventions for autistic youth

ABSTRACT For youth on the autism spectrum, play offers rich opportunities for the development of social competence. Play-based activities are well suited for social skills interventions because the structure of the game play can easily incorporate the youths’ interests and can be designed to mimic social rules. Despite the wealth of literature on the topic of play-based learning, it is not clear how play factors such as play materials (toys, objects, imaginative spaces), permissiveness (player autonomy), and structure (role-based play, interaction rules) contribute to skill development. This paper reviews the literature on play-based social interventions and will compare three play-based approaches based on materials, permissiveness, and structure: (a) LEGO-therapy, (b) virtual environment social program, and (c) therapeutically applied role-playing games. Implications of the results for practitioners and researchers are discussed.

Exploring and discretizing the latent space of algorithmic imagination through affective computation

The field of architecture has undergone many transformations in recent years, given the integration of generative algorithms and artificial intelligence systems that mark the shift from tools designed to do to tools designed to think. Thus, computation is no longer just a design tool, but aims to become the design method in itself. This article aims to address one of the implications of the “second digital turn” (Carpo, 2017) in architecture, addressing the paradox of choice that derives from the exploration of the latent space of algorithmic imagination by the human factor, in the post-generative stages of the design process. This study brings to light the potential of affective computing as a tool that can be employed to address this matter, and within this method the opportunities of the ERP component are distinctly highlighted. One of the challenges of generative design is the paradox of choice given by the excess of generated solutions, which makes architects become overwhelmed, confused and over-stimulated in their decision making in the face of the abundance of solutions produced by the algorithmic and generative phases. The authors address this issue by examining how emotions currently support decision-making and how they can be interpreted in the digital environment through “affective computing” (Picard, 1997) which is a Human-Computer Interface (HCI) based on the capture of physiological electroencephalographic EEG signals. Within this paradigm, the Event-Related Potential (ERP) component has been identified to access unconscious decisions within the visual semantic discretization process. The paper articulates on the hypothesis of relocating the decision control in favour of the human factor through affective computation in generative design processes. This method is capable to reduce the “execution gulf” and the “evaluation gulf” (Hutchins, 1985), i.e. the articulatory distance between concept and evaluation. The study will analyze the premises underlying this hypothesis and test an accessible HCI model based on an EMOTIV EPOC X headset, validating the functionality of this proposed framework.

Особенности эстетической рефлексии в мемуарно-автобиографической прозе А.Н. Бенуа

The aim of the study is to determine the specifics of the chronotope of St. Petersburg in the memoir-autobiographical work Moi Vospominaniya [My Memories] (1934-1960) of the Russian emigrant artist Alexandre Benois and to identify the relationships between the aesthetic settings of his paintings and their reflection in his perception of the city in the verbal text. The work uses an integrated approach based on historical and literary, comparative-typological, phenomenological and cultural methods. Moi Vospominaniya by Benois is considered as an egotext about art, in which the author represents the concept of his own creativity. This work has been studied in the aspect of implementing the idea of synthesizing the arts through the interaction of pictorial and verbal artistic imagery, relevant to the culture of the turn of the 20th century. Moi Vospominaniya is characterized by a multi-level structure of the spatio-temporal organization of the narrative: the chronotope is embodied both in real-historical, “open” time and in an imaginary space, subjective “closed” time, the space of art, the mystical chronotope. The space in the text is modeled by art, but represents the real world, restored by the author's memory. Sometimes elements of another being dangerous to humans penetrate into it: the mystical atmosphere of Oranienbaum and Pavlovsk, white nights, the oneiric chronotope - terrible prophetic dreams, life-giving pictures. The author concludes that in Benois' memoir-autobiographical narration the images of the artistic space are modeled, in which elements characteristic of his pictorial and theatrical-decorative works, the combination of realistic and fantastic beginnings are realized. The space-time of St. Petersburg in the text is polysemantic, it incorporates various cultural and spiritual phenomena. The real and the surreal mutually influence and condition each other, the conscious and unconscious spheres of life and art are intertwined. Hoaxes in the narrative are exposed to cultural monuments, artifacts, family relics, symbolizing the connection of the life of the autobiographical hero with previous eras, the merging of dreams, fantasies and reality, conveying his attitude. By turning to the art of the past, the alarming symptoms of the future are discerned: dispersal of anxiety and fear in the narrative becomes evidence of the hero's fears of the invasion of something hostile, a sign of human doom, the death of a peaceful way of life, old life, culture, a forerunner of new disasters. Mystical and everyday life exist together not only in the life of the hero himself, but also of his contemporaries, the author pays special attention to this, foreseeing a negative and dangerous trend in the overconcentration of infernal manifestations (growing religious mystical searches, the spread of sectarianism in various layers of Russian society).

The Dynamics of Gendered Spaces in Jokha Alharthi’s Celestial Bodies

The interactions of human agency in the totality of space creates different social structures. Feminist Geography offers a self-reflexive analysis of regimes of power that operates in everyday life. The gendered divisions in society are responsible for creating the different patterns of spatial activity, experience and behaviour. Giving insight into a traditional Islamic society, Omani writer, JokhaAlharthi’s Celestial Bodies (2018) is a criticism against dominant ideologies and power hegemony. The paper analyses the critical relationship between gendered and spatial segmentation and challenges their supposed naturalness and validity. The unequal power relations that exist within the society produce different patterns of spatial relations with respect to access to public and private spaces. Through the theoretical framework of Feminist Geography, the paper criticises the gendered divisions of space and problematises the attempt of the enduring subjects to free themselves from the narrow space of patriarchal imagination and re-invent their lives in a space of their own.Keywords: Past and present, Timeless Humanities, Boethius, Wolfram von Eschenbach, Path through Life, Relevance of Literature, Philosophy.

Quasi-architecture as a reality of modern times

The newest architecture as an information carrier takes on fresh forms. It reflects the flow of information, fits into the environment, and interacts with the external and internal space. As a result, a new boundary area of architectural activity emerges – «quasi-architecture», which is located between architecture and art, architecture and construction, architecture and multimedia space. The purpose of the study is to consider the features of quasi-architecture and the principles of its organization. The main methods of research are logical, complex system-structural and system approaches, which allow studying this phenomenon in the aggregate and the interaction of its individual parts and classifying the features of its development. The dialectical method that includes analysis and synthesis, made it possible to identify the quasi-architecture mainstream’s patterns. The historical-genetic method showed the origins of conceptual trends. The result of the study characterizes the conceptual directions of one mainstream of the newest architecture – «quasi-architecture». Quasi-architecture reflects the imaginary space; it seems to exist and not exist, being on the verge of reality and unreality.

The Vacuum as Imaginary Space. The Unreasonable Effectiveness of Complex Numbers

The background to the article is the classic and quantum understandings of the vacuum and the use of imaginary numbers in quantum models. The purpose of the article is to outline the possible understanding of the vacuum as imaginary space always coupled with the real space in the complex space of complex numbers. This understanding relates to the duality real-potential, collapsed–collapsible, and superimpositions of waves-phenomena as in quantum mechanics. The incomputability of the imaginary parts may represent the physical meaning of the permanent potential pending nature of the vacuum. The presence of imaginary numbers in models may be intended as warranty that it is not possible to compute definitive results, but it is possible to have pending multiple equivalences and superimpositions as in quantum physics and emergent collective processes in complexity. We consider how much the complexity (i.e., the study of emergence and chaos) may be considered related to and represented by complex numbers (i.e., properties of their dual variables and their collapsibility in real numbers). The usage of imaginary numbers may also be intended as the expression or manifestation of something we do not understand yet, as it was for the indemonstrability of the fifth Euclidian postulate and the unavailability of a distribution law for prime numbers. We conclude that a new global understanding is necessary and capable of explaining what we understand as the unreasonable effectiveness of complex numbers.

Of Mouchers and Men

Vagrants loomed large in nineteenth-century consciousness. In quiet country lanes and crowded city streets, mouchers, lurkers, casuals and cadgers appeared to be everywhere. Provoking a mix of fear, pity, and plain old curiosity, these off-grid antipodes to a settled life – what Mayhew called the wandering or nomadic ‘tribes’ – seemed almost to demand attention (p. 6). Given the inherently elusive nature of the subject, where officialdom could not easily venture, perhaps writers, artists, and intrepid social investigators could. Encouraged by the massive expansion in print and visual media, plus the insatiable Victorian desire to taxonomize, the ‘imagined and represented vagrancy’ found in early modern England by David Hitchcock was given a vigorous new lease of life.1 This especially applied to those legally defined as ‘rogues and vagabonds’, or even worse as ‘incorrigible rogues’ (pp. 12–13). Although at the end of the period under review the number of so-called habitual vagrants (dark figure allowing) was roughly that of the clergy and priesthood, so dense was their cultural presence at home that they also now wandered the fertile imaginary spaces of the frontier. But while the colonies had their share of idlers and ‘loafers’, out on the geopolitical ‘edge of civilisation’ it was North America and the Pacific, argues Alistair Robinson, that offered the most productive sites for re-purposing the idea of the vagrant (p. 9, 130–31).

“I am Alone in the Dark, Turning the World Around in my Head” – Space-Time Creation in Paul Auster’s Man in the Dark

The primary aim of the article is to examine Paul Auster’s metafictional novel – Man in the Dark – in reference to the represented reality and imaginary spaces which play a crucial role in the development of the action. I will be focusing on the diverse levels of the spatio-temporal dimensions of the novel – the primary story and the embedded one – and their mutual relations and interactions. While discussing Man in the Dark , I shall explore the ways in which particular chronotopes affect individuals immersed in them. I will also prove that the text’s dominant story, recounted by the protagonist, August Brill, transgresses the spatial and temporal borders of the main character’s world, and, consequently, becomes completely separated from what is quotidian, known, and experienceable for him.The created worlds shall be analysed in reference to Mikhail Bakhtin’s concept of the chronotope.

THE MEMAYU RITUAL TRADITION ROUTE AS A SACRED SPACE OF CULTURAL LANDSCAPE CASE STUDY: KANOMAN PALACE, CIREBON, INDONESIA

Memayu is part of the Muludan tradition, commemorating the birth of Prophet Muhammad SAW in the Cirebon Palace, Indonesia. The unique thing about this ritual is that many palace disciples from villages outside Cirebon City are involved in its event. Disciples, also known as wargi, get engaged from the preparation stage in their respective villages to implement traditions in the palace. Part of wargi's ritual activities are full of meaning, and routes from the villages to the palace are sacred paths. The perception and belief of wargi form this meaning space as traditional actors, based on understanding the memayu sacred value. Based on that, the article aims to describe the activities of the memayu ritual tradition held in Kanoman Palace and explore the form of space that occurs and the meaning contained in these ritual tradition spaces. The research method of this research is descriptive qualitative. The results showed that the villagers who were the palace disciples, position, and route to the palace created an imaginary sacred spatial pattern. The spatial pattern created in this memayu is physical evidence of an imaginary sacred space of the Cirebon cultural landscape whose elements are symbolically purified and believed to bring blessings to the palace wargi. Besides that, the aspects of ritual traditions of memayu, such as the palace, routes from villages to the palace, and the sacred objects used as a ceremonial compliment, contain Outstanding Universal Value (OUV). All of that is a part of the picture of the Cirebon cultural landscape.

Colette and Saint-Tropez

This article takes the novelist Colette, who bought a house outside Saint-Tropez in 1925, and examines moments and feelings from her time in that place. Inspired by Hewitt's approach, and by his example of ‘the unique hold exerted by Marseille on the nation's imagination’, it traces, through Colette, imaginative modes of inhabiting a space, seeing it as a psychic as much as material location, a repository of feelings. Colette's work invests a place with meaning through writing, so that it becomes an imaginary space, intimate, sensory, and consciously feminine. Since Colette's feminism resides most surely in her pursuit of pleasure, this place can be a house of feelings, about love, about present pleasures shaded by past experience, a space accessed through the senses. In this way, her house in Saint-Tropez appears as a space of speculation and exploratory relations, in which to think too about the lived and dreamed realities of other female lives.

The familiar‐strange manifestation of the dead

AbstractThis article draws on Islamic perspectives that conceive of visions (ru'yā) and nightmares (kābūs) as instances whereby Jamilā, a 13‐year‐old Syrian refugee girl in Brooklyn, New York, imagines and makes sense of the dead. She uses the Arabic words ma‘rwf (familiar) and gharīb (strange) to describe her dead elderly neighbour, Safiyya, in her visions and nightmares. Jamilā’s familiar‐strange experiences imagine the dead both as good (the divine nature of death fundamental to Islamic values) and as evil (the pain and suffering of the departed). These familiar‐strange feelings constitute an irresolvable uncertainty about death, shaping an imaginative space for Jamilā to be with Safiyya, who was like a mother to her. The manifestation of the dead consists of dynamic interpretations for the living. This results in a familiar‐strange experience granted through the in‐between space of what the philosopher Ibn ‘Arabī calls barzakh (‘obstacle’ or ‘separation’), which allows for an understanding of the departed as both blissful and suffering. The vernacular Arabic used by Jamilā in describing her familiar‐strange experiences and the Islamic values upheld by her family underscore the importance of knowledge accumulated in the Islamic tradition for understanding the perception of loss and death for an adolescent Syrian refugee.

Women Poets in the Archive: Making space for impulse, imagination and implication

This article discusses the space that is created when poetry meets the archives, a unique space wherein a poet can use the historical materials found in archives together with her imagination to reconstruct women’s lives and narratives that hitherto have been marginalised or ignored by more traditional historical texts and outlets. The article considers the impulse that occurs when creativity, language, and history meet, and uses the lens of some of Susan Stanford Friedman’s ideas on feminism and history found in her book Mappings. Often, this kind of imaginative rendering takes space, and the use of the women’s long poem in providing a form for this work is also considered. The ideas and work of other poets, such as Jordie Albiston, Susan Howe and Helen Rickerby, further inform the discussion, and two manuscripts by Kimberly K. Williams are analysed and discussed.

No Man is an Island: Reflections on the Battlefield Landscapes of the Falklands-Malvinas War

Abstract There were two sets of Falkland Islands fought over in 1982. To the British, including the islanders, they were of course the Falklands, but to the Argentines they were the Malvinas. Some in the British military thought the islands were off the coast of Scotland when they first heard of them, in most cases just before deployment. By way of contrast, Argentine troops had grown up believing they were part of their birth right stolen from them by British ‘pirates’. But how did troops on the ground view the islands when they were up close and personal with them, when the islands formed the battlefields over which they fought? During the Falklands-Malvinas War the surface of the land was bombed, it was shelled, it was picked apart and dug into to create fortifications, minefields and graves, and in places it still carries those scars. Drawing on the experience of four visits since 2012, eyewitness accounts and memoirs, military records and archaeological remains, this article explores the islands as both imaginary spaces and as an environment in which men strove to fight the elements and one another, and in doing so presents a fresh perspective on the relationship between people and places in time of war.

Artists as tricksters: Exploring boundary crossing between theory and practice in a new doctor of creative arts program

This article explores how artist-researchers navigate the “uncertain” space between theory and practice in a new Doctor of Creative Arts (DCA) program in an Australian regional university. The trickster is deployed as a metaphorical device to provide insights into how the first DCA’s candidates, their supervisors, and the university’s leadership make sense of their own experiences within and about the practice-led research program under a neoliberal climate. Tricksters’ cross boundaries between critical and imaginary spaces; yet they also create boundaries, by extending collective knowledge into the unknown. This process is entirely consistent with the critical and creative work required by doctoral candidates to produce innovative research. Narrative inquiry is applied in accordance with the artist-trickster’s subjective agency within practice-led doctoral study. The article charts the DCA’s emerging identity as a doctoral qualification equal to the traditional PhD but different from it, during its implementation in 2016 to the first successful completion in 2019. The findings reveal the benefits of the program’s innovative design, grounded in the creation of its distinctive community of practice that supports practice-led research, local and international connections, and regional resilience.

On the production of hybrid urban space(s) in post-colonial cities: Manila in the music of Eraserheads

ABSTRACT This article challenges the dominant reading of Manila as a predominantly polarized city where the wealthy and less affluent are often opposed. The article rather draws upon Lefebvre’s approach to the production of space and Soja’s concept of thirdspace to provide a postcolonial exploration of a common representational and imaginary space that transcends blatant socio-economic disparities. This thirdspace is both evident in and produced by the music of arguably the most popular pop-rock band of the 1990s, that is, Eraserheads. The music of Eraserheads contributed to producing a liminal Manila where both the affluent and less wealthy youth of the 1990s found a common reference. One that is not black or white but hybrid as post-colonial cities inherently are. This article ultimately argues that popular music offers promising perspectives for such postcolonial understanding of cities beyond the polarization of wealth and power.