Organized retailing is spreading its wings. Reliance Retail, a part of the Mukesh Ambani owned Reliance Industries Limited, which began its journey from Hyderabad with the rolling out of a cluster of 11 neighborhood convenience stores branded ‘Reliance Fresh’ has unveiled 920 stores spread across 20 formats in 80 cities and 14 States covering almost 4.5 million sq. ft. of consumer-facing retail space. While doing so, they adopt fresh concepts and explore new structures for space acquisitions.
Following are some of the salient features that are common to Reliance ‘Fresh’ format of convenience stores across the country:
Average display space of over 2,000 square feet per store.
Sale of fruits, flowers, vegetables, cereals, grocery, dairy and bakery product of good quality at attractive prices.
Year round availability of over 150 varieties of fruits.
Around 200 products, mostly staples, under private label: Reliance ‘Select.’
Sale of non-vegetarian products through separate entrance and exit.
Customer Assistance: roughly one ‘Associate’ per 100 sq ft of space.
Each store caters to the needs of around 3,000 families living within a catchment area of two km radius.
‘Reliance One,’ membership programme for frequent (loyal) customers.
Home Delivery and shop-on-phone facilities.
Reliance Retail continues to explore various opportunities to increase its product portfolio and bring superior products which offer great value to customers across the cities of our operations.
The Reliance has "tested the waters" and "Based on the response and feedback of the consumers.”
Most of the time ‘Reliance fresh’ can see some where in residential area and not in commercial area and people can find it easily nearby their flats. Its timing is also 8:00a.m to 10:00p.m., when all the wanders are disappears one can find vegetables and fruits after 7:00.
From distance also one can find out the ‘Reliance fresh’ because a pole contain their logo. The shop has transparent glass façade, having posters above it about sales, discounts and schemes on available products, which also follows color code and has photo of uniformed employee on it….as they are ‘always ready for customer’s services...From outside one can see baskets stacked together which also has ‘reliance’s logo on it. Even the truck for transport the product has graphics on it which talks about the brand identity.
The shop has two doors, one for entry and another for exit. It has two walls covered by full-size posters at entrance and exit. These posters have abstract form of vegetables and fruits and have very fresh colors. Even columns also have such posters on them. Rest of the walls and floor are grayish white and ceiling is in cream color, so one can see clear space and racks of the product without any kayos. These colors are same for each and every ‘reliance fresh’ shop. Has very uniform light distribution and fully A.C space.
As this retail space offers quality fruits, flowers, vegetables, staples, dairy and bakery products at affordable prices to the customers it has different racks at different zones according to product types. One can also get rare vegetables and fruits like baby corn, mushroom etc. They kept floor free from any stuff, than also some times one can see some plastic products on the floor. It has 1500c.m. clear space between two racks, so two persons can easily move at the same time. It has two stand of plastic bag roll at both of the ends, and has weight machine for checking weight of vegetables and fruits accordingly. It has chocolates, chewing gum, Cadburys etc at the cash counter.
Because ‘Reliance fresh’ want to reach to each and every local house wives or laymen also, posters of the shop are in Gujarati language in Gujarat, and have local languages according to city in which it belongs to. So their target costumers are not from higher class family but the middle class family.
Environmental graphics
Mayuri 1602
Wednesday, July 22, 2009
Tuesday, August 26, 2008
super graphics
SUPER GRAPHICS
Super graphics is a branch of identity design that combines the appearance and essence of
the design object in every direction. It is part of environmental graphics which is the result of
combination knowledge of different fields like architecture, environmental studies, art and design.It is a two dimensional graphic medium effectively representing identity in three and four
dimensional contexts which surround us from everywhere. As technology has changed, identity
design starts having expressions like, it is diverse, organic, flexible and in multiple dimensions.
Therefore graphic design is expanding it’s boundaries, coworking and is merging together with
other areas of design and art, and continuously investigating possibilities in multi-media
environment. As a result environmental super graphics comes in to existence and widely used.
The public remembering the intended subject of identity impressively for a lengthy amount of time the reason behind is the patterns of super graphics present clear structures and styles that their elements can be freely morphed and liberal, organic and flexible expressions are there. And those patterns are constantly repeats so that they gives the essence of visual identity to viewers.
Supergraphics are like large sized poster in the street and is perceivable and communicatable from a far distance. It is communicatable even inside a driving car that its ability to deliver information is efficient.When we are on the highway, we easily see large size billboards and many factories and facilities byhighways use supergraphics with symbolic colors and signs. Supergraphics makes walls talk. Supergraphics is a way of creating Space Identity. Especially store identity requires space graphics tmanifest its characteristics, and supergraphics are appropriate for enforcing spatial promotions. Supergraphics manifest identity like clothing and changes the landscape of the urban environment like putting on fashionable clothes. As in
fashion, the style works as an intentional symbolic code that lets us read the identity of an
individual and this works in the same way for the supergraphics that it uses the similar grammar as the fashion code. Diverse styles tell us the identity the society traditionally define and designate. Also when we perceive supergraphics the body moves to read it as our eys move with the body. Such movements and flow of time lead to the narrative of 4 dimensional and
synesthesia, and interactivenss. The existing supergraphics tend to be used more as artistic
means of expression and continuation from decoration. But supergraphics, 4 dimensional canvas, works as a branding clothing of a building. The expression of identity is used for the branding of products, corporate symbols, logos, and promotions as colors and signs to symbolize the subject and they use large billboards and LED media boards. In super graphics it is important to consider the two major elements which are memorability and meaningfulness. In super graphics the visual identity is functioning as a visual mnemonic-inducer that lets the brand stay in the public mind along time as the intended image. Therefore, identity is the essence and core of a particular subject and it creates its own language to communicate its difference from the others. As noted, appearance of identity is demanded to change frequently, and the immediate reason is the reaction to the competitive capitalism. We can easily steal a glimpse of extensive identity design in populated urban environment. A building now functions as a landmark in geographical context as well as a symbolic logo of a brand. But with technological advances, more imaginative architectural form sand facades are possible, and symbolic function of surfacial exterior of a building becomes more important as more exceptional approaches are required in branding strategy. The image and characteristics of buildings and space collect people and transform paths of flow to function as specific means of promoting images to urban dwellers. Now architecture co-owns the purpose of creating symbolically dimensional spectacles in the urban settlement. Super graphics is fulfilling all today’s demand and functioning well in projecting brand’s identity by having technology in running time and also have possibility to move ahead.
Super graphics is a branch of identity design that combines the appearance and essence of
the design object in every direction. It is part of environmental graphics which is the result of
combination knowledge of different fields like architecture, environmental studies, art and design.It is a two dimensional graphic medium effectively representing identity in three and four
dimensional contexts which surround us from everywhere. As technology has changed, identity
design starts having expressions like, it is diverse, organic, flexible and in multiple dimensions.
Therefore graphic design is expanding it’s boundaries, coworking and is merging together with
other areas of design and art, and continuously investigating possibilities in multi-media
environment. As a result environmental super graphics comes in to existence and widely used.
The public remembering the intended subject of identity impressively for a lengthy amount of time the reason behind is the patterns of super graphics present clear structures and styles that their elements can be freely morphed and liberal, organic and flexible expressions are there. And those patterns are constantly repeats so that they gives the essence of visual identity to viewers.
Supergraphics are like large sized poster in the street and is perceivable and communicatable from a far distance. It is communicatable even inside a driving car that its ability to deliver information is efficient.When we are on the highway, we easily see large size billboards and many factories and facilities byhighways use supergraphics with symbolic colors and signs. Supergraphics makes walls talk. Supergraphics is a way of creating Space Identity. Especially store identity requires space graphics tmanifest its characteristics, and supergraphics are appropriate for enforcing spatial promotions. Supergraphics manifest identity like clothing and changes the landscape of the urban environment like putting on fashionable clothes. As in
fashion, the style works as an intentional symbolic code that lets us read the identity of an
individual and this works in the same way for the supergraphics that it uses the similar grammar as the fashion code. Diverse styles tell us the identity the society traditionally define and designate. Also when we perceive supergraphics the body moves to read it as our eys move with the body. Such movements and flow of time lead to the narrative of 4 dimensional and
synesthesia, and interactivenss. The existing supergraphics tend to be used more as artistic
means of expression and continuation from decoration. But supergraphics, 4 dimensional canvas, works as a branding clothing of a building. The expression of identity is used for the branding of products, corporate symbols, logos, and promotions as colors and signs to symbolize the subject and they use large billboards and LED media boards. In super graphics it is important to consider the two major elements which are memorability and meaningfulness. In super graphics the visual identity is functioning as a visual mnemonic-inducer that lets the brand stay in the public mind along time as the intended image. Therefore, identity is the essence and core of a particular subject and it creates its own language to communicate its difference from the others. As noted, appearance of identity is demanded to change frequently, and the immediate reason is the reaction to the competitive capitalism. We can easily steal a glimpse of extensive identity design in populated urban environment. A building now functions as a landmark in geographical context as well as a symbolic logo of a brand. But with technological advances, more imaginative architectural form sand facades are possible, and symbolic function of surfacial exterior of a building becomes more important as more exceptional approaches are required in branding strategy. The image and characteristics of buildings and space collect people and transform paths of flow to function as specific means of promoting images to urban dwellers. Now architecture co-owns the purpose of creating symbolically dimensional spectacles in the urban settlement. Super graphics is fulfilling all today’s demand and functioning well in projecting brand’s identity by having technology in running time and also have possibility to move ahead.
Thursday, August 21, 2008
publicity image
PUBLICITY IMAGES
Now a days wherever our eyes moves one can find publicity images because everywhere it catches visitore’s eyes. Publicity image has very strong impact on customer’s mind that after seeing it one can easily convince for bying or using that product.The reason behind it is the way it reprasent the product as-‘ther is nothing better than this in the world’.And after seeing it one startes putting himself in to that situation which is there in publicity images.
Though pulicity images never speak of the present they belong to the movement. Often they refer to the past and always they speak of the future and always targets future buyers.Publicity is all about manufacturing glamour.
In day to day life we are seeing publicity images with technology as colour photographs or big posters having lights and moving parts also combine in it.But if we go back into it’s history than the way photography can reproduce the colour and texture and tangibility of objects as only oil paint had been able to do before.With oil paintings also one can almost touch what is the image reminds him how he might or does possess the real thing(same feelings with publicity images).The only differece is that the oil painting was naturally painted in the present tense.The painterpainted what was before him,either in reality or in imagination and the publicity image which is ephemeral uses only the future tense.Other thing is the oil painting was adderessed to those who made money out of the market and publicity is adderessed to those who constitute the market, to the spectator-buyer who is also the consumer-producerfrom whom profits are made twice over as worker and than as buyer.
The perpose of publicity is to make the spectator marginally dissatisfied with his present way of life.It suggest that if he is buy what it is offering,his life will become better.That way entire commercial world getting their high level in market by using best publicity images,soit is a competitive medium which ultimately benifites the public and the most efficient manufactures and thus the nation ecconomy.Incommercial world the sum of every thing is money ,to get money is to overcome anxiety,and same with publicity also. The money is the token of,and the key oto, every human capacity.According to the publicity world,those who lack the power to spend money become literally faceless and those who have the power become lovable.
If we are talking about the present situationsome how a person lives in the contradiction between what he is and what he would like to be and what publicity offers are glamorous daydreams for it. Publicity does not manufacture the dreamer.All that it does is to propose to each one of us that we are not yet enviable – yet could be.What publicity do for society is it turnsconsumption into a subsitute for democracy.It helps to mask and compansate for all that is undemocratic within society.
Now a days wherever our eyes moves one can find publicity images because everywhere it catches visitore’s eyes. Publicity image has very strong impact on customer’s mind that after seeing it one can easily convince for bying or using that product.The reason behind it is the way it reprasent the product as-‘ther is nothing better than this in the world’.And after seeing it one startes putting himself in to that situation which is there in publicity images.
Though pulicity images never speak of the present they belong to the movement. Often they refer to the past and always they speak of the future and always targets future buyers.Publicity is all about manufacturing glamour.
In day to day life we are seeing publicity images with technology as colour photographs or big posters having lights and moving parts also combine in it.But if we go back into it’s history than the way photography can reproduce the colour and texture and tangibility of objects as only oil paint had been able to do before.With oil paintings also one can almost touch what is the image reminds him how he might or does possess the real thing(same feelings with publicity images).The only differece is that the oil painting was naturally painted in the present tense.The painterpainted what was before him,either in reality or in imagination and the publicity image which is ephemeral uses only the future tense.Other thing is the oil painting was adderessed to those who made money out of the market and publicity is adderessed to those who constitute the market, to the spectator-buyer who is also the consumer-producerfrom whom profits are made twice over as worker and than as buyer.
The perpose of publicity is to make the spectator marginally dissatisfied with his present way of life.It suggest that if he is buy what it is offering,his life will become better.That way entire commercial world getting their high level in market by using best publicity images,soit is a competitive medium which ultimately benifites the public and the most efficient manufactures and thus the nation ecconomy.Incommercial world the sum of every thing is money ,to get money is to overcome anxiety,and same with publicity also. The money is the token of,and the key oto, every human capacity.According to the publicity world,those who lack the power to spend money become literally faceless and those who have the power become lovable.
If we are talking about the present situationsome how a person lives in the contradiction between what he is and what he would like to be and what publicity offers are glamorous daydreams for it. Publicity does not manufacture the dreamer.All that it does is to propose to each one of us that we are not yet enviable – yet could be.What publicity do for society is it turnsconsumption into a subsitute for democracy.It helps to mask and compansate for all that is undemocratic within society.
Tuesday, August 5, 2008
c.g.road
C.G.ROAD
As one can see C.G.Road is the heart of the city in commercial world. This is the street were people like to come for shopping, for roaming around and for time pass so, that’s way having countless people during a day and at night as well. In these streets major commercial activities happens in very formal way. When someone comes to C.G.Road for shopping they come with certain kind of mentality and attitudes, which always reflect in their shopping. One can see that most complexes are having ‘brand showroom’ with brand identity.
In terms of graphics one can see two extremes on this street. At one hand it had big brand holders and at the same time one can see shops without any holders or boards, which has identity through their products.
One can define four layers of graphics at first sight (in terms of extension board). The first layer occurs at 4m.height or above 4m.which includes holders on high rise buildings. And second layer is above eye level, which has self standing structure or poles with different sizes. And reason for such sizes and height is to catch people’s attention from distance and people can see it for long duration from road while driving vehicles. Such boards are seen more at junctions which are pose points for traffic. And that’s way it has strong impact on people’s mind. Even by having big size letters, with dark colors, having sky as backdrop. And the last layer of graphics one can see is shopping windows having different dummies, products, and notices. This is face of the shop representing different creativities to catch more customers. Most shops have plane glass as shop window for customers to provide visual continuity, and have shop itself as shop window rather than putting something as briar.
Most shops have neon lights and holders with lights. So graphics changes with day and night. Even people are also part of the whole picture. As number of people increases and decreases whole frame of graphics getting changed. For example, customers engages shop window and from distance one can see no more shop window graphics but can see only people around.
As one can see C.G.Road is the heart of the city in commercial world. This is the street were people like to come for shopping, for roaming around and for time pass so, that’s way having countless people during a day and at night as well. In these streets major commercial activities happens in very formal way. When someone comes to C.G.Road for shopping they come with certain kind of mentality and attitudes, which always reflect in their shopping. One can see that most complexes are having ‘brand showroom’ with brand identity.
In terms of graphics one can see two extremes on this street. At one hand it had big brand holders and at the same time one can see shops without any holders or boards, which has identity through their products.
One can define four layers of graphics at first sight (in terms of extension board). The first layer occurs at 4m.height or above 4m.which includes holders on high rise buildings. And second layer is above eye level, which has self standing structure or poles with different sizes. And reason for such sizes and height is to catch people’s attention from distance and people can see it for long duration from road while driving vehicles. Such boards are seen more at junctions which are pose points for traffic. And that’s way it has strong impact on people’s mind. Even by having big size letters, with dark colors, having sky as backdrop. And the last layer of graphics one can see is shopping windows having different dummies, products, and notices. This is face of the shop representing different creativities to catch more customers. Most shops have plane glass as shop window for customers to provide visual continuity, and have shop itself as shop window rather than putting something as briar.
Most shops have neon lights and holders with lights. So graphics changes with day and night. Even people are also part of the whole picture. As number of people increases and decreases whole frame of graphics getting changed. For example, customers engages shop window and from distance one can see no more shop window graphics but can see only people around.
Saturday, July 26, 2008
egd sub.-1
IMAGERY
IMAGERY
Objectives:
The student will identify imagery in a story or poem.
The student can use imagery to improve his/her writing.
Imagery involves one or more of your five senses (hearing, taste, touch, smell, sight). An author uses a word or phrase to stimulate your memory of those senses. These memories can be positive or negative which will contribute to the mood of your poem (We'll get to that later!). Be careful what you write about!
Definition: Imagery is the use of vivid description, usually rich in sensory words, to create pictures, or images, in the reader's mind.
Figurative language is the language that uses imagery and such figures of speech as similes, metaphors, and personification
Uses
Imagery is used in literature to refer to descriptive language that evokes sensory experience. Such images can be created by using figures of speech such as similes, metaphors, personification, and assonance. Imagery can also involve the use of relatable action words or onomatopoeias that trigger images in the reader’s mind.[1]
Other uses
The term imagery is also used in psychology and everyday discourse to refer to mental images, i.e., the making (or re-creation) of any experience in the mind — auditory, visual, tactile, olfactory, taste, kinesthetic, equilibrioception. This is a cognitive process employed by most, if not all, humans.
Forms of imagery
Imagery can be in many forms such as metaphors, similes and puns.
A Simile is a literary device where the writer employs the words "like" or "as" to compare to different ideas.
He flew like a dove
I am as bold as a lion
A Metaphor is similar to a smile however this literary device makes a comparison without the use of "like" or "as".
He has a hyena's laugh
Guided imagery is a psychotherapeutic technique in which a facilitator uses descriptive language intended not to psychologically beneficial mental imagery, often involving several or all sense modes, in the mind of the listener.
Noun
imagery(plural imageries)
The work of one who makes images or visible representation of objects; imitation work; images in general, or en masse.
(figuratively) Unreal show; imitation; appearance.
The work of the imagination or fancy; false ideas; imaginary phantasms.
Rhetorical decoration in writing or speaking; vivid descriptions presenting or suggesting images of sensible objects; figures in discourse.
Mental Imagery
First published Tue Nov 18, 1997; substantive revision Tue Sep 4, 2007
Mental imagery (varieties of which are sometimes colloquially refered to as “visualizing,” “seeing in the mind's eye,” “hearing in the head,” “imagining the feel of,” etc.) is quasi-perceptual experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli. It is also generally understood to bear intentionality (i.e., mental images are always images of something or other), and thereby to function as a form of mental representation. Traditionally, visual mental imagery, the most discussed variety, was thought to be caused by the presence of picture-like representations (mental images) in the mind, soul, or brain, but this is no longer universally accepted.
Very often, imagery experiences are understood by their subjects as echoes, copies, or reconstructions of actual perceptual experiences from their past; at other times they may seem to anticipate possible, often desired or feared, future experiences. Thus imagery has often been believed to play a very large, even pivotal, role in both memory (Yates, 1966; Paivio, 1986) and motivation (McMahon, 1973). It is also commonly believed to be centrally involved in visuo-spatial reasoning and inventive or creative thought. Indeed, according to a long dominant philosophical tradition, it plays a crucial role in all thought processes, and provides the semantic grounding for language. However, in the 20th century vigorous objections were raised against this tradition, and it is now widely repudiated
1. Meanings and Connotations of ‘Mental Imagery’
Mental imagery is a familiar aspect of most people's everyday experience (Galton, 1880; Betts, 1909; Doob, 1972; Marks, 1972, 1999). A few people may insist that they rarely, or even never, consciously experience imagery (Galton, 1880, 1883; but see Brewer & Schommer-Aikins, 2006), but for the vast majority of us, it is a familiar and commonplace feature of our mental lives. The English language supplies quite a range of idiomatic ways of referring to visual mental imagery: ‘visualizing,’ ‘seeing in the mind's eye,’ ‘having a picture in one's head,’ ‘picturing,’ ‘having/seeing a mental image/picture,’ and so on. There seem to be fewer ways to talk about imagery in other sensory modes, but there is little doubt that it occurs, and the experiencing of imagery in any sensory mode is often referred to as ‘imagining’ (the appearance, feel, smell, sound, or flavor of something). Alternatively, the quasi-perceptual nature of an experience may be indicated merely by putting the relevant sensory verb (‘see,’ ‘hear,’ ‘taste,’ etc.) in actual or implied “scare quotes.”
Despite the familiarity of the experience, the precise meaning of the expression ‘mental imagery’ is remarkably hard to pin down, and differing understandings of it have often added considerably to the confusion of the already complex and fractious debates, amongst philosophers, psychologists, and cognitive scientists, concerning imagery's nature, its psychological functions (if any), and even its very existence. In the philosophical and scientific literature (and a fortiori in everyday discourse), the expression ‘mental imagery’ (or ‘mental images’) may be used in any or all of at least three different senses, which are only occasionally explicitly distinguished, and all too often conflated:
Visual imagery:
Visual imagery is the strongest developed form of imagery in humans. Everyone can improve their memory by making greater use of imagery. When two ideas are connected, images can help them connect more vividly, directly and memorably. Associative imagery is the basis of the evolution of memory and thought, and made a large contribution to the survival chances of our primitive ancestors.
Only relatively recently have humans started to use imagery to recall such things as phone numbers, concepts and mathematical formulae, all of which are poor in imagery and are hard to remember. By making deliberate use of the natural visual associative capability of memory, everyone can improve their thinking effectiveness. This is an increasingly precious and valuable skill in a knowledge-based economy within an information society.
The Relation to Perception:
There are further potential problems, however, with the brief characterization of imagery given in our introduction. Not only does what is said there duck the difficult (and rarely considered) task of specifying what dimensions and degrees of similarity to perception are necessary for an experience to count as imagery; it also elides the controversial question of whether, despite the surface resemblance, imagery is a sui generis phenomenon, conceptually quite distinct from true perceptual experience, or whether imagery and perception differ only in degree rather than in kind.
Some, such as Hume (1740), hold that percepts (impressions in his terminology) and images (ideas) do not differ in kind, but only in their causal history and their degree of “vivacity”or vividness. This view has frequently been criticized, however, most recently by McGinn (2004). An alternative view, implicit in many discussions (and explicitly defended by Thomas (1997a, 1999b; see also Jastrow, 1899)), is that imagery lies at one end of a spectrum stretching from veridical, highly stimulus-driven and stimulus-constrained perception at one end, to “pure” imagery (where the content of the experience is generated entirely by the subject, and is quite independent of any current stimulus input) at the other. Several varieties of imaginative preceptual experience may be taken to fill in the continuum between these extremes: mistaken or illusive perceptions (imagining, for instance, that the bush seen indistinctly in the darkness is a bear), and various types of non-deceptive seeing as or seeing in (such as imagining a cloud to have the shape of a camel, weasel, or whale; seeing a Laughing Cavalier in paint on canvas; seeing someone's sadness in their eyes; or seeing the notorious duck-rabbit figure as a duck [or rabbit]).
The Duck-Rabbit
References
http://plato.stanford.edu/entries/mental-imagery/
http://www.readprint.com/article-5
http://volweb.utk.edu/school/bedford/harrisms/imagery
http://www_camsp_com-cornerstone-assets-images-product-remember_sm_png.mht
IMAGERY
Objectives:
The student will identify imagery in a story or poem.
The student can use imagery to improve his/her writing.
Imagery involves one or more of your five senses (hearing, taste, touch, smell, sight). An author uses a word or phrase to stimulate your memory of those senses. These memories can be positive or negative which will contribute to the mood of your poem (We'll get to that later!). Be careful what you write about!
Definition: Imagery is the use of vivid description, usually rich in sensory words, to create pictures, or images, in the reader's mind.
Figurative language is the language that uses imagery and such figures of speech as similes, metaphors, and personification
Uses
Imagery is used in literature to refer to descriptive language that evokes sensory experience. Such images can be created by using figures of speech such as similes, metaphors, personification, and assonance. Imagery can also involve the use of relatable action words or onomatopoeias that trigger images in the reader’s mind.[1]
Other uses
The term imagery is also used in psychology and everyday discourse to refer to mental images, i.e., the making (or re-creation) of any experience in the mind — auditory, visual, tactile, olfactory, taste, kinesthetic, equilibrioception. This is a cognitive process employed by most, if not all, humans.
Forms of imagery
Imagery can be in many forms such as metaphors, similes and puns.
A Simile is a literary device where the writer employs the words "like" or "as" to compare to different ideas.
He flew like a dove
I am as bold as a lion
A Metaphor is similar to a smile however this literary device makes a comparison without the use of "like" or "as".
He has a hyena's laugh
Guided imagery is a psychotherapeutic technique in which a facilitator uses descriptive language intended not to psychologically beneficial mental imagery, often involving several or all sense modes, in the mind of the listener.
Noun
imagery(plural imageries)
The work of one who makes images or visible representation of objects; imitation work; images in general, or en masse.
(figuratively) Unreal show; imitation; appearance.
The work of the imagination or fancy; false ideas; imaginary phantasms.
Rhetorical decoration in writing or speaking; vivid descriptions presenting or suggesting images of sensible objects; figures in discourse.
Mental Imagery
First published Tue Nov 18, 1997; substantive revision Tue Sep 4, 2007
Mental imagery (varieties of which are sometimes colloquially refered to as “visualizing,” “seeing in the mind's eye,” “hearing in the head,” “imagining the feel of,” etc.) is quasi-perceptual experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli. It is also generally understood to bear intentionality (i.e., mental images are always images of something or other), and thereby to function as a form of mental representation. Traditionally, visual mental imagery, the most discussed variety, was thought to be caused by the presence of picture-like representations (mental images) in the mind, soul, or brain, but this is no longer universally accepted.
Very often, imagery experiences are understood by their subjects as echoes, copies, or reconstructions of actual perceptual experiences from their past; at other times they may seem to anticipate possible, often desired or feared, future experiences. Thus imagery has often been believed to play a very large, even pivotal, role in both memory (Yates, 1966; Paivio, 1986) and motivation (McMahon, 1973). It is also commonly believed to be centrally involved in visuo-spatial reasoning and inventive or creative thought. Indeed, according to a long dominant philosophical tradition, it plays a crucial role in all thought processes, and provides the semantic grounding for language. However, in the 20th century vigorous objections were raised against this tradition, and it is now widely repudiated
1. Meanings and Connotations of ‘Mental Imagery’
Mental imagery is a familiar aspect of most people's everyday experience (Galton, 1880; Betts, 1909; Doob, 1972; Marks, 1972, 1999). A few people may insist that they rarely, or even never, consciously experience imagery (Galton, 1880, 1883; but see Brewer & Schommer-Aikins, 2006), but for the vast majority of us, it is a familiar and commonplace feature of our mental lives. The English language supplies quite a range of idiomatic ways of referring to visual mental imagery: ‘visualizing,’ ‘seeing in the mind's eye,’ ‘having a picture in one's head,’ ‘picturing,’ ‘having/seeing a mental image/picture,’ and so on. There seem to be fewer ways to talk about imagery in other sensory modes, but there is little doubt that it occurs, and the experiencing of imagery in any sensory mode is often referred to as ‘imagining’ (the appearance, feel, smell, sound, or flavor of something). Alternatively, the quasi-perceptual nature of an experience may be indicated merely by putting the relevant sensory verb (‘see,’ ‘hear,’ ‘taste,’ etc.) in actual or implied “scare quotes.”
Despite the familiarity of the experience, the precise meaning of the expression ‘mental imagery’ is remarkably hard to pin down, and differing understandings of it have often added considerably to the confusion of the already complex and fractious debates, amongst philosophers, psychologists, and cognitive scientists, concerning imagery's nature, its psychological functions (if any), and even its very existence. In the philosophical and scientific literature (and a fortiori in everyday discourse), the expression ‘mental imagery’ (or ‘mental images’) may be used in any or all of at least three different senses, which are only occasionally explicitly distinguished, and all too often conflated:
Visual imagery:
Visual imagery is the strongest developed form of imagery in humans. Everyone can improve their memory by making greater use of imagery. When two ideas are connected, images can help them connect more vividly, directly and memorably. Associative imagery is the basis of the evolution of memory and thought, and made a large contribution to the survival chances of our primitive ancestors.
Only relatively recently have humans started to use imagery to recall such things as phone numbers, concepts and mathematical formulae, all of which are poor in imagery and are hard to remember. By making deliberate use of the natural visual associative capability of memory, everyone can improve their thinking effectiveness. This is an increasingly precious and valuable skill in a knowledge-based economy within an information society.
The Relation to Perception:
There are further potential problems, however, with the brief characterization of imagery given in our introduction. Not only does what is said there duck the difficult (and rarely considered) task of specifying what dimensions and degrees of similarity to perception are necessary for an experience to count as imagery; it also elides the controversial question of whether, despite the surface resemblance, imagery is a sui generis phenomenon, conceptually quite distinct from true perceptual experience, or whether imagery and perception differ only in degree rather than in kind.
Some, such as Hume (1740), hold that percepts (impressions in his terminology) and images (ideas) do not differ in kind, but only in their causal history and their degree of “vivacity”or vividness. This view has frequently been criticized, however, most recently by McGinn (2004). An alternative view, implicit in many discussions (and explicitly defended by Thomas (1997a, 1999b; see also Jastrow, 1899)), is that imagery lies at one end of a spectrum stretching from veridical, highly stimulus-driven and stimulus-constrained perception at one end, to “pure” imagery (where the content of the experience is generated entirely by the subject, and is quite independent of any current stimulus input) at the other. Several varieties of imaginative preceptual experience may be taken to fill in the continuum between these extremes: mistaken or illusive perceptions (imagining, for instance, that the bush seen indistinctly in the darkness is a bear), and various types of non-deceptive seeing as or seeing in (such as imagining a cloud to have the shape of a camel, weasel, or whale; seeing a Laughing Cavalier in paint on canvas; seeing someone's sadness in their eyes; or seeing the notorious duck-rabbit figure as a duck [or rabbit]).
The Duck-Rabbit
References
http://plato.stanford.edu/entries/mental-imagery/
http://www.readprint.com/article-5
http://volweb.utk.edu/school/bedford/harrisms/imagery
http://www_camsp_com-cornerstone-assets-images-product-remember_sm_png.mht
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