One of the central figures in the Kyoto School, Miki Kiyoshi wrote Logic of Imagination as a series of articles between 1937 and 1943. Translating this seminal work into English for the first time, with contextual notes throughout, this book features an introduction and biographical information about the author. Miki's thinking about the imagination illuminates our contemporary understanding of technology and how we behave in the world.

“Myth” comprises the first chapter of the book, The Logic of the Imagination, by Miki Kiyoshi. In this chapter Miki analyzes the significance of myth (shinwa) as possessing a certain reality despite being “fictions.” He begins by broadening the meaning of the imagination to argue for a logic of the imagination that involves expressive action or poiesis (production) in general, of which myth is one important product. The imagination gathers in myth material from the environing world lived (...) by the social collectivity. Its formation of images (Bilder) expresses the pathos of a people vis-à-vis their environment, but myth also contains elements of logos in the form of intellectual representations and figures. And their combination becomes expressed externally by stimulating and guiding action. In this way Miki argues that myths contain both emotive and kinetic elements, which by moving people to action, are capable of making history. Thus rooted in the symbiosis between individual and social and between society and environment, myth possesses a “historical creativity.” And he also argues that myths can be present with a sense of reality at any epoch in history, even today, wherever and whenever their primeval power is felt to function, “drawing out” a new reality, a new world, out of the natural world. (shrink)

“Myth” comprises the first chapter of the book, The Logic of the Imagination, by Miki Kiyoshi.In this chapter Miki analyzes the significance of myth (shinwa) as possessing a certain reality despite being “fictions.” He begins by broadening the meaning of the imagination to argue for a logic of the imagination that involves expressive action or poiesis (production) in general, of which myth is one important product. The imagination gathers in myth material from the environing world lived by (...) the social collectivity. Its formation of images (Bilder) expresses the pathos of a people vis-a-vis their environment, but myth also contains elements of logos in the form of intellectual representations and figures. And their combination becomes expressed externally by stimulating and guiding action. In this way Miki argues that myths contain both emotive and kinetic elements, which by moving people to action, are capable of making history. Thus rooted in the symbiosis between individual and social and between society and environment, myth possesses a “historical creativity.” And he also argues that myths can be present with a sense of reality at any epoch in history, even today, wherever and whenever their primeval power is felt to function, “drawing out” a new reality, a new world, out of the natural world. (shrink)

Japanese philosopher Miki Kiyoshi 三木清 wrote an important text on translation entitled “Disregarded Translations”. Among all Kyoto School thinkers, Miki was probably the most prolific writer. His interests spanned various intellectual topics such as philosophy, literature, religion, politics, and journalism. This paper offers a brief introduction to Miki’s conception of translation as well as, for the first time, an English translation of his text. “Disregarded Translations” deals with Japanese scholars’ propensity to revere Western philosophical texts in (...) their original forms, while ignoring the outstanding wealth of insight that their translations can provide in their own language. (shrink)

Original title : 「充足的経験論」『思想』[Pensée], avril 1941, pp. 1–24 ; repris dans mkz 5 : 284–319. La pagination des Œuvres complètes se trouve indiquée entre parenthèses.

This is an introduction to Miki Kiyoshi and his philosophy of the imagination and to the translation of the first chapter of his Logic of Imagination, "Myth," published in the same issue of the journal.

This book takes us on a fascinating journey through the world of thought of Miki Kiyoshi, one of Japan s pre-eminent philosophers before the Pacific War, and thus makes us discover the man behind the philosopher.

In this paper, I argue that Miki’s concept of myth offers a continuation and consolidation of his Philosophy of History, providing an important conceptual tool to comprehend his philosophica...

This article argues for the importance of using Miki Kiyoshi’s anthropological humanism as a theoretical resource for confronting the unfolding ecological crisis. What makes Miki’s anthropological humanism valuable towards this end, in particular, is in the way he blends multiple theoretical discourses—particularly Nishida and Marx—which speak to the concerns espoused by Deep Ecology and Marxist approaches to environmental philosophy. Unlike other Kyoto School thinkers deployed in the service of building an environmental ethics in recent years, Miki’s (...) philosophical work offers social-economic alternatives to the problem of capitalism within a non-dual framework that seeks to be non-dogmatic. This article will discuss how Miki’s anthropological humanism can enrich those conversations taking place within the “green” and “red” movements by providing them with insights by which to contest and overcome anthropocentric views of reality and the system of capitalism believed to be responsible for the environmental destruction we see today. (shrink)

I focus on Miki’s concept of the imagination as developed in his Logic of Imagination together with his understanding of technology that he also develops in his contemporaneous work Philosophy of Technology. Taking off from Kant’s productive imagination (Einbildung), Miki’s philosophy exposes the ontological function of the imagination in its construction, or formation (Bildung), of the world as well as our own being, in Heideggerian terms, our being-in-the-world. This formation of the world and self that is an embodied (...) praxis is technological, radically altering the environment along with ourselves, thus mediating between human beings and their surroundings and extending our somatic nature into the environing world. Moreover this ontological formation is social or collective, rather than simply being a matter of the individual subject. Through this dynamic process, the world unfolds as historical, and the imagination and technology are thus constitutive of what Miki calls, in Nishidian terms, the historical world. I will conclude with some critical assessments of Miki’s philosophy in regard to the Anthropocene and Miki’s claim that the imagination is operative within nature itself and the need to update Miki’s dialectic of continuity and discontinuity between nature and culture in light of more recent scientific discoveries and technological advances. (shrink)

The paper explicates what the World War 2 era Japanese philosopher, Miki Kiyoshi, of the Kyoto School, called the logic of imagination and of forms as an ontology. I understand this ontology as ultimately an “anontology”, where novelty and creativity are predicated upon the pathos of singularity and contingency that Miki calls “the nothing” (mu). Its productive function that is technological vis-à-vis the environment involves an embodied praxis that Miki, borrowing the terms of his mentor, Nishida (...) Kitarō, calls “enactive intuition”. This productivity unfolds the historical world, on the basis of that deep pathos within us in synthesis with logos, as what can be characterized as the auto-determination of the indeterminate. But the advance of technology today takes this unfolding of the world perhaps beyond what Miki anticipated with his self-professed humanism. To make these points, the paper, for the most part, focuses on the last and longest chapter in Miki’s Logic of Imagination, where Miki discusses and appropriates Kant’s concept of imagination and its schematism from both the first and third Critiques while also showing the influences of Heidegger along with Nishida. But the originality in Miki takes his philosophy of imagination beyond these predecessors while also raising questions as to the relationship between human beings and nature and to the very meaning of “nature” (shizen) in Miki. I will also discuss post-war theories of imagination and technology coming after Miki that respond to the more recent digitization and virtualization of the real. (shrink)

This chapter examines the imagination, its relationship to “common sense,” and its recent development in the notion of the social imaginary in Western philosophy and the contributions Miki Kiyoshi and Nakamura Yūjirō can make in this regard. I trace the historical evolution of the notion of the productive imagination from its seeds in Aristotle through Kant and into the social imagination or imaginary as bearing on our collective being-in-the-world, with semantic and ontological significance, in Paul Ricoeur, Cornelius Castoriadis, (...) and Charles Taylor. The two Japanese philosophers, when brought into dialogue with the above contemporary Western thinkers, can contribute to this recent development of the imagination’s creativity into the collective sphere. Miki shows a connection between the imagination and a certain form-formlessness dynamic he inherits from Nishida. Nakamura in turn points to a connection between imagination and place via his development of the Aristotelian notion of common sense. Both have implications on how we understand the social imaginary. (shrink)

This chapter examines the imagination, its relationship to “common sense,” and its recent development in the notion of the social imaginary in Western philosophy and the contributions Miki Kiyoshi and Nakamura Yūjirō can make in this regard. I trace the historical evolution of the notion of the productive imagination from its seeds in Aristotle through Kant and into the social imagination or imaginary as bearing on our collective being-in-the-world, with semantic and ontological significance, in Paul Ricoeur, Cornelius Castoriadis, (...) and Charles Taylor. The two Japanese philosophers, when brought into dialogue with the above contemporary Western thinkers, can contribute to this recent development of the imagination’s creativity into the collective sphere. Miki shows a connection between the imagination and a certain form-formlessness dynamic he inherits from Nishida. Nakamura in turn points to a connection between imagination and place via his development of the Aristotelian notion of common sense. Both have implications on how we understand the social imaginary. (shrink)

This paper explores the concept of myth in two books written by Kōsaka Masaaki, The Historical World and Philosophy of the Nation. In both, myth appears as a central moment in the transition from primitive to modern societies. The role of myth is closely related to Kōsaka’s notion of nature, since one goal of his reflection is to show how history is supported by the “substratum” of nature. In this sense, he also distinguishes between the natural and historical aspects of (...) nations. After analyzing the subcategories of primordial nature, environmental nature, and historical nature, the paper shows how these layers are articulated by myth. Authority, in the contractual form of potlatch, signalizes the moment of transition to the true self-determination of nations. Miki Kiyoshi was one author who pointed out the problematic aspects of Kōsaka’s theory of nation. A comparison with Miki’s thought uncovers how authority is the main characteristic of Kōsaka’s view of myth. The paper finishes by investigating where this authority comes from. Since it cannot come from nature alone, it should also come from the past character of myth itself, which is an expression of what Kōsaka terms “the eternal now”. (shrink)

La philosophie d'Henri Bergson fait l'objet d'une réception passionnée au Japon au début des années 1910, mais, étant donné un contexte spiritualiste critiquant la raison, elle est généralement interprétée comme un irrationalisme opposant l'intuition à l'intelligence. Le principal problème de la réception de 1941, à l'occasion de la mort de Bergson, est alors de montrer comment l'intuition en réalité collabore avec l'intelligence. Par l'examen de la notion d' « empirisme intégral », Miki Kiyoshi, qui a développé une philosophie (...) dialectique influencée par Karl Marx et Martin Heidegger, tente d'y apporter une solution en rapprochant l'intuition bergsonienne de l'imagination kantienne. In Japan, Henri Bergson's philosophy was received with passion in the early 1910's, but, given a spiritualist context criticizing reason, it was generally interpreted as an irrationalism opposing intuition and intelligence. The main problem concerning how Bergson's philosophy was received on the occasion of his death in 1941 was therefore to show how in reality intuition collaborates with intelligence. By examining the notion of « integral empiricism », Miki Kiyoshi, who developed a dialectical philosophy influenced by Karl Marx and Martin Heidegger, attempted to solve this problem by showing a close relationship between Bergsonian intuition and Kantian imagination. (shrink)