This may link back to the use of the term in Western saloons where patrons would drink alcoholic beverages in hopes of seeing the elephant. Also meaningful is the link between the pink elephants as a hallucination and the 19th century elephant as a mythical elephant that never appeared in tangible form but as an imaginary vision.
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Ian Bruce-Douglas composed all the songs, played several instruments, and sang lead for most of the tracks. Apart from its obvious references about the use of psychedelic drugs, Ultimate Spinach is a concept album based on abstract anti-war sentiment, in the context of the Vietnam War that happened at that time. Lyrically, Bruce-Douglas' songs are subtle, pretty intricate and with an imaginary vision of life. One of the most notable characteristics is its experimental style, with "artifacts" and unusual recording techniques, among which stand out a variety of guitar sounds and distortions including fuzz, echo, tremolo, feedback, volume control, and use of the wah-wah pedal.
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Inmates fight and grin idiotically or huddle in despair, all bathed in an oppressive grey and green light, guarded by a single man. The work stands as a horrifying and imaginary vision of loneliness, fear and social alienation, a departure from the rather more superficial treatment of mental illness in the works of earlier artists such as Hogarth. In a 1794 letter to his friend Bernardo de Yriarte, he wrote that the painting shows "a yard with lunatics, and two of them fighting completely naked while their warder beats them, and others in sacks; (it is a scene I witnessed at Zaragoza)".Kromm, Jane.
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Sitt al-'Ajam's commentary is of impressive size and runs to about three hundred pages. She managed to write two more books on mysterious themes: Kashf al-kunūz (Unveiling the Treasures) and Kitāb al-Khatm (The Book of the Seal). Michel Chodkiewicz in An Ocean Without Shore: Ibn Arabi, the Book, and the Law called her commentary 'very beautiful' and that it was inspired by a purely imaginary vision of ibn-'Arabi and conversing with him in front of the gathering of the prophets. He underlines that she intentionally did not aim to explain such parts of hermeneutic analysis of the text as, for instance, the structure of the text.
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According to Janna Tull Steed, the composition was the result of Ellington's "imaginary vision of a beautiful flower blooming "only for God" in the heart". "African Flower" is composed in the key of E-flat minor, and consists of cascading sequences, with an E-flat minor 7, A-flat minor 7, G-flat minor 7, E-flat-minor 7, B-flat minor 7 flat 5 progression. It is the first entry in Volume One of the Real Book, the original fakebook which appeared in the 1970s but has been brought up to date and made legal. Scott Saul says of the recording with Mingus and Roach: "Mingus spirals down the bass clef to create a stirring contrapuntal line that evenly balances the stateliness of Ellington's theme".
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A distinct, imaginary vision of the harem emerged in the West starting from the 17th century, when Europeans became aware of Muslim harems housing numerous women. In contrast to the medieval European views, which conceived Muslim women as victimized but powerful through their charms and deceit, during the era of European colonialism the "imaginary harem" came to represent what Orientalist scholars saw as an abased and subjugated status of women in the Islamic civilization. These notions served to cast the West as culturally superior and justify the colonial enterprise. Under the influence of The Thousand and One Nights, the harem was often conceived as a personal brothel, where numerous women lounged in suggestive poses, directing their strong but oppressed sexuality toward a single man in a form of "competitive lust".
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Cortázar first used the word cronopio in a 1952 article published in Buenos Aires Literaria reviewing a Louis Armstrong concert given in November of that year in the Théâtre des Champs-Élysées in Paris. The article was entitled Louis, Enormísimo Cronopio ("Louis, Enormous Cronopio"). Cortázar would later describe in various interviews how the word cronopio first came to him in that same theater some time before this concert in the form of an imaginary vision of small green globes floating around the semi-deserted theater. References to cronopios in Cortázar's work occur in 20 short sketches that make up the last section of Historias de Cronopios y de Famas as well as in his "collage books," La vuelta al día en ochenta mundos and Ultimo Round, which were collected in a French edition he considered definitive.
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Evelyn Underhill distinguishes and categorizes three types of visions: # Intellectual Visions - The Catholic dictionary defines these as supernatural knowledge in which the mind receives an extraordinary grasp of some revealed truth without the aid of sensible impressions and mystics describe them as intuitions that leave a deep impression. # Imaginary - In Teresa of Avila's The Interior Castle, an imaginary vision is defined as one where nothing is seen or heard by the senses of seeing or hearing, but where the same impression is received that would be produced upon the imagination by the senses if some real object were perceived by them. Niels Christian Hvidt refers to them as visions recognized through mechanisms of the human psyche that are made up of things a soul has acquired through contact with reality. # Corporeal - A supernatural manifestation of an object to the eyes of the body.
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