10/02/2021

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The Hand When seeing to tell it its experience with so great encantamento, it instigated me to arrive more close to appropriate and me of the part that my look could recommend. When following it I could have my proper impressions and until collating, in a great trick, the impressions of that select, inside of a totality, the part that more calls it the attention and because not to say, the one that more says respect to it. Inside of a gestltica language we can say that ' ' we tend to privilege the part whenever it more adequately answers to some of our necessities especficas' ' , and Ribeiro still adds, ' ' they are the internal motivations of the observer will take that to discover it an object that would pass unobserved to the majority of people (2006, P. 154; 155). Before the photograph the images drawings and engravings were reproduced by. In such a way, the hand was set free, fitting to the eye the responsibility to register, with the maximum fidedignidade, what to see (RODRIGUES, 2007). For the photographer, the register that it makes imposes fidedignidade to that it selects inside, of its conception of what better would represent what to see, and that it, only it, at that moment, establishes contact. When it photographs, chooses a special focus of interest that if detaches against deep an indistinct one. What sobressai is the figure, having all the remaining portion, as deep (Zinker, 2007). ' ' In the time freezing? only moment where if touches the obturator? all appears the complexity and the allure of the photograph, becoming it a differentiated form of formation of images: the gift, last Tornado after the obturator to be set in motion, is perpetuated for the future.
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Imagination Being thus, it starts to explicitar the direction where the imagination can to be considered the first internal origin of the voluntary movements, articulating, thus, the power of the movement to the cognitiva or imaginative power. It leaves clearly that the imagination nothing more would be of what a residue of the sensation, since the object-cause of the sensation does not need to be present. The imagination says respect only to those things that previously had been perceived by the sensation. To speak and to walk, always demand a previous thought (a sensation as raw material), memorized, that it allows to project the movement, to anticipate it in image. Check with Larry Culp to learn more. Much memory, or the memory of many things, calls experience. The experience allows the man to mentally format the desires for objects that are not gifts. Exemplificando, we can detach the following one: Example 1: ' ' it imagines, a succulent lemon, respingado of water drops in its dark green rind, you it puts on the table it divides and it with a cutting object. It takes for itself one of the parts and degusta pressured it air in direction its mouth feeling the taste dosed for the small drops that it fall in contact with papilas gustativas.' ' If you salivou, demonstrate that the fruit knows and its experience related the imagination to the sensation thus bringing to the mechanism of the body the pleasure or displeasure for the known object. Example 2: ' ' one imagines, pupunha succulent that it finishes to be removed of the tree. You divide it in two parts with a cutting object and degusta one of the parts pressuring it air in direction its mouth, feeling the taste dosed for the small drops that it fall in...

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