Simply put, a client journey map is
a visual of the actual experience a client has in working with any organization.
Not exact matches
Whitehead's judgment is that within the body there is considerable conformity
of the percipient or dominant occasion to the feelings
of the other
actual occasions it prehends, but that when we go beyond the body, as in our
visual experience of colors, any such element
of conformity becomes much more doubtful.
In new research published, scientists at the Hebrew University
of Jerusalem and in Germany and the USA show that the way in which the brain organizes its
visual sense remains intact even in people who are blind from birth, and that at least the pattern
of functional connectivity between the
visual area and the topographical representation
of space (up / down, left / right, etc.) can develop on its own without any
actual visual experience.
In some cases
of cardiac arrest, memories
of visual awareness compatible with so called out -
of - body
experiences may correspond with
actual events.
This is going to be an authentic LEGO
experience like never before, with a brand new LEGO
visual animation style which simulates the movement and feel
of actual LEGO toy sets.
This quest to capture pure optical sensation goes back to the Impressionists, who argued that their paintings were more faithful to
actual visual experience than were the carefully drawn and shaded compositions
of the Salon painters.
With each layer
of actual painting, photography, reproduced paint and digital manipulation, she simulates the
experience of shifting vision and investigates the complexities and nuances
of visual truth.
Judd identified
actual space as «inherently more powerful and specific than paint on a flat surface,» a sentiment characteristic
of Minimalist faith in the productive reality
of embodied, as opposed to purely
visual,
experience.1 Hammons, however, combines the purified geometry
of a Judd or an early Robert Morris with the cast - off traces
of African - American urban life.
Penkala plays with optics and film conditions as
visual bait to conflate the
actual and the representation; fragmenting the
visual experience into a series
of changing moments, into a state
of flux, into an «unfixing»
of conceptual models rather than concretizing them.