Figs. 2 and 3 illustrate the impact of different cues-in-contexts affecting the implicit thinking and sensemaking of the observer (e.g., researcher) to the emic story being told in the visuals. The creation of Figs. 2 and 3 rests on a theoretical platform of Carl Jung's (2009) archetypal theory and method of decoding his own dreams. Jung's (2009) paintings of his dreams to enable conscious interpretation of his conversations within the collective unconscious inform a call for creating visual narrative art to inform meanings of personal and collective unconscious relating to stories consumers tell about buying and using brands.The collective unconscious contains the wisdom and experience of untold ages and thus represents an unparalleled guide for explaining the meaning of what is happening and what will happen. “Active imagination” and “self-experimentation” are terms Jung refers to in his use of paintings and sculpture to create dialogues between “directed thinking” (conscious thinking or what in the 21st century is referred to as “system 2 thinking”) and fantasy thinking (personal and collective unconscious, what is similar to “system 1 thinking,” see Evans, 2003). (Woodside, Megehee, & Sood, 2011).
(2011), "Introduction", Woodside, A.G. (Ed.) Tourism Sensemaking: Strategies to Give Meaning to Experience (Advances in Culture, Tourism and Hospitality Research, Vol. 5), Emerald Group Publishing Limited, Bingley, pp. xiii-xxiv. https://doi.org/10.1108/S1871-3173(2011)0000005003
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