Scientists with creative imaginations are ever confronted by two opposing forces. One tempts them to soar into the realm of fancy, and the other cautions them to keep their feet on the ground. These conflicting influences play a significant part in the search for fundamental truth.The complementary value of philosophical reasoning and matter-of-fact experimentation in the complete fulfillment of science is illustrated by many an epochal discovery. Von Laue had the brilliant thought that the symmetrical distribution of atoms in (...) a crystal presents a lattice sufficiently fine to scatter the exceedingly small waves of X-rays. The idea appeared to be scientifically sound, at least to von Laue, but to certain of his colleagues, classicists all, it was untenable. The kinetic energy or heat-movement of the atoms would, they said, disturb the diffraction phenomena and obscure the picture. Von Laue had confidence in his hypothesis and the courage to see it through, but he also knew that the validity of a scientific theory lies in experimental verification. There were in his laboratory two assistants, both able experimenters, and they proved the truth of von Laue's dream. (shrink)

How do we perdure when we and everything around us are caught up in incessant change? But the course of this change does not seem to be haphazard and we may seek the modalities of its Logos in the transformations in which it occurs. The classic term "Metamorphosis" focuses upon the proportions between the transformed and the retained, the principles of sameness and otherness. Applied to life and its becoming, metamorphosis pinpoints the proportions between the vital and the aesthetic significance (...) of life. Where could this metaphysical in-between territory come better to light than in the Fine Arts? In this collection are investigated the various proportions between the vital significance of the constructivism of life and a specifically human contribution made by the creative imagination to the transformatory search for beauty and aesthetic values. Papers by: Lawrence Kimmel, Mark L. Brack, Sheryl Tucker de Vazquez, William Roberts, Jadwiga Smith, Victor Gerald Rivas, Max Statkiewicz, Matti Itkonen, George R. Tibbetts, Linda Stratford, Jorella Andrews, Ingeborg M. Rocker, Stephen J. Goldberg, Leah Durner, Donnalee Dox, Catherine Schear, Samantha Henriette Krukowski, Gary Maciag, Kelly Dennis, Wanda Strukus, Magda Romanska, Patricia Trutty-Coohill, Ellen Burns, Tessa Morrison, Sabine Coelsch-Foisner, Gary Backhaus, Daniel M. Unger, Howard Pearce. (shrink)

By offering an original elucidation of the notion of the imagination in the writings of Immanuel Kant, Johann Fichte, and Cornelius Castoriadis, this book addresses and brings to the fore the significance of the imagination as the ontological source of human creation.

"Henry Corbin's works are the best guide to the visionary tradition.... Corbin, like Scholem and Jonas, is remembered as a scholar of genius. He was uniquely equipped not only to recover Iranian Sufism for the West, but also to defend the principal Western traditions of esoteric spirituality."--From the introduction by Harold Bloom Ibn 'Arabi (1165-1240) was one of the great mystics of all time. Through the richness of his personal experience and the constructive power of his intellect, he made a (...) unique contribution to Shi'ite Sufism. In this book, which features a powerful new preface by Harold Bloom, Henry Corbin brings us to the very core of this movement with a penetrating analysis of Ibn 'Arabi's life and doctrines. Corbin begins with a kind of spiritual topography of the twelfth century, emphasizing the differences between exoteric and esoteric forms of Islam. He also relates Islamic mysticism to mystical thought in the West. The remainder of the book is devoted to two complementary essays: on "Sympathy and Theosophy" and "Creative Imagination and Creative Prayer." A section of notes and appendices includes original translations of numerous Su fi treatises. Harold Bloom's preface links Sufi mysticism with Shakespeare's visionary dramas and high tragedies, such as The Tempest and Hamlet . These works, he writes, intermix the empirical world with a transcendent element. Bloom shows us that this Shakespearean cosmos is analogous to Corbin's "Imaginal Realm" of the Sufis, the place of soul or souls. (shrink)

In a work of astonishing intellectual range, James Engell traces the evolution of the creative imagination, from its emergence in British empirical thought through its flowering in Romantic art and literature. The notion of a creative imagination, Engell shows, was the most powerful and important development of the eighteenth century. It grew simultaneously in literature, criticism, philosophy, psychology, religion, and science, attracting such diverse minds as Hobbes, Addison, Gerard, Goethe, Kant, and Coleridge. Indeed, rather than discussing (...) merely the abstract notion of the imagination, Engell examines the community of thinkers, especially in England and Germany, who joined to pursue and develop what became the most fascinating and suggestive concept of modern Western thought. For as the imagination became the dominant subject of literature, its meanings multiplied. Finally it came to be seen as the crown of artistic creation and as the mediator in the ongoing dialectic between matter and spirit, materialism and transcendentalism. (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)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

The development of creative imagination across different school grades involves examining that students’ ability to think creatively and imaginatively evolves as they progress through their education journey. This study examines the development of imaginative creativity across a range of students' grades, emphasizing the roles that various factors play in students' creative growth, such as parental engagement, creative competition participation, innovative problem-solving skills, guidance from teachers, and visualization abilities. Information has been gathered from 150 teachers and 150 (...) students who took part in speech, storytelling, and art competitions. With the use of SPSS version 28, discriminant and factor analyses were carried out to examine how these variables differentiate students across grade levels and identify fundamental aspects of creativity. Also, the self-reported questionnaires were executed to explore the student's creative thinking level. The outcomes show that creative problem-solving skills and mentorship from trainers are important factors in enhancing students' creativity, parental involvement and visualization also have a significant impact. These results highlight the importance of parental and instructional guidance in supporting inventive growth throughout various school grades and provide insightful information about the elements influencing students' increased creativity. (shrink)

First Published in 1973. Routledge is an imprint of Taylor & Francis, an informa company.

This chapter explores what it can mean to say that culinary products (i.e., recipes and their outputs) are creative. It answers this question by distinguishing between three different kinds of creativity (idle, productive, and super-productive creativity) and two different kinds of creative domains, locked-in and expandable ones. It argues that culinary products can be creative in the three different ways just mentioned and that, accordingly, the creative domain constituted by the culinary arts turns out to be (...) an expandable one. (shrink)

'A mere metaphor', 'only symbolic', 'just a myth' - these tell tale phrases reveal how figurative language has been cheapened and devalued in our modern and postmodern culture. In God and the Creative Imagination, Paul Avis argues the contrary: we see that actually, metaphor, symbol and myth, are the key to a real knowledge of God and the sacred. Avis examines what he calls an alternative tradition, stemming from the Romantic poets Blake, Wordsworth and Keats and drawing on (...) the thought of Cleridge and Newman, and experience in both modern philosophy and science. God and the Creative Imagination intriguingly draws on a number of non-theological disciplines, from literature to philosophy of science, to show us that God is appropriately likened to an artist or poet and that the greatest truths are expressed in an imaginative form. Anyone wishing to further their understanding of God, belief and the imagination will find this an inspiring work. (shrink)

I argue that practical knowledge can be understood as constituted by a kind of imagining. In particular, it is the knowledge of what I am doing when that knowledge is represented via extramental imagination. Two results follow. First, on this account, we can do justice both to the cognitive character and the practical character of practical knowledge. And second, we can identify a condition under which imagination becomes factive, and thus a source of ob-jective evidence. I develop this (...) view by extracting an account of self-knowledge via extramental imagination from the writings of Ibn ‘Arabi (1165-1240). (shrink)

The exemplary value of individual moral and political acts provides a unique vantage point for inquiring into the role of the creative imagination in social life. Drawing on Kant’s concept of productive imagination, I argue that an act’s exemplification of a fitting response to a moral or political problem or crisis is comparable to the way that a work of art expresses the ‘thought’ or ‘idea’ to which it gives voice. The exercise of practical reason, or phronesis, (...) is akin to the way that a work augments the practical field of our experiences in this respect. For, like a work of art, the act produces the rule to be followed by means of the example that it sets. Accordingly, I explain how the injunction issuing from the act can be credited to the way that the singular case summons its rule. The singular character of the injunction issuing from the act thus brings to the fore the relation between reflective judgment and this injunction’s normative value. The conjunction of reason, action, and the creative power of imagination offers a critical point of access for interrogating the normative force of claims rooted in individual acts. By setting reason, action, and imagination in the same conceptual framework, I therefore highlight the creative imagination’s subversive role in countering hegemonic systems and habits of thought through promoting the causes of social and political struggles. (shrink)

In this volume Henry Corbin emphasizes the differences between the exoteric and esoteric forms of Islam. He also reveals that whereas in the West philosophy and religion were at odds, they were inseparably linked, at least during this period, in the Islamic world. A valuable section of notes and appendices includes original translation of numerous Sufi treatises.

This paper considers the claim that imagination is implicated in our most apparently straightforward human transactions with the world, that our 'knowing' of the world (both in experience and our subsequent symbolic ordering of it) is in some sense imaginatively constructed from the outset. Second, drawing in particular on the work of Mark Johnson, it explores the senses in which such imaginative transactions are both experience constituted and experience constitutive (that, in Ricoeur's words, imagination 'invents in both senses (...) of the word'). Third, it attends to one apparent theological cost of ascribing to human imagination a 'creative' role in relation to the human world. Fourth, it focuses in particular on Charles Taylor's account of the imaginative construction of the self as a moral entity. And finally, it considers just one example of how the arts may be active in shaping moral identity, and thereby the human world in which we live and move and have our being. (shrink)

The Platonic chora, as the third, intermediating term, has been left in a state of virtual dereliction in the West. Its ternary logic transmutes oppositional logics of binarity, including the oppositions of interior and exterior, psyche and cosmos, human and divine. In this article I analyse the mytho-philosophical trajectory of the chora from Plato’s Timaeus, and Diotimaic love found in Plato’s Symposium. I argue that both the disruptive force of Diotimaic love, and the subversive chora with its ‘bastard reasoning’1 are (...) indicative of Plato’s efforts to resolve an internalized conflict which mirrored a larger conflict found in his cultural epoch, a time in which abstracted self-consciousness was on the horizon and chthonic-participatory consciousness was receding. In membering the chora I find a fecund space-time, an enabling field, for human participatory becoming-with the cosmos. (shrink)

The concept of genius—artistic genius in particular—is generally thought of as a quintessentially nineteenth-century phenomenon: the cornerstone, in fact, of German romanticism. Kant’s treatment of the concept has always been recognized as the source from which the early Romantics drew. But the fact of the matter is that it is to the British Enlightenment that we must look for the first modern formulation of the concept of artistic genius. For it was already well formed and clearly recognizable before Kant got (...) his hands on it. The essay begins by suggesting two ancient sources for the concept of genius, as it developed in eighteenth-century Britain. It then goes on to discuss the contributions to the concept of Joseph Addison, Edward Young, Alexander Gerard, William Duff, and Gerard again, who dipped his oar in twice. (shrink)

The aim of this paper is to give an account of the use of imagination at the core of artistic creative processes involving experiential imagination, and to show that this use of the imagination does not always lead to a creative output. Creative imagining is a value-guided process, where the values are essentially subjective in that they are given in the phenomenal aspects of experience or imagined experience. But creative imagining is neither sufficient (...) nor necessary for artistic creative processes. It is not sufficient because creativity in other domains may involve value-guided experiential imagining, and it is not necessary because some art may be produced without the use of imagination, or in a manner that employs mostly other forms of imagination. (shrink)

1. This paper aims at investigating how the cross-cultural chasm can be meaningfully connected with the discussion on creativity and imagination. To examine cross-cultural creativity and imaginatio...

This chapter considers the potential of artificial intelligence (AI) to exhibit creativity and imagination, in light of recent advances in generative AI and the use of deep neural networks (DNNs). Reasons for doubting that AI exhibits genuine creativity or imagination are considered, including the claim that the creativity of an algorithm lies in its developer, that generative AI merely reproduces patterns in its training data, and that AI is lacking in a necessary feature for creativity or imagination, (...) such as consciousness, agency, metacognitive awareness, or the use of mental imagery. In each case, a counterargument is provided that AI already has or soon will overcome the apparent barrier. In some instances, this is because the critical features deemed lacking in AI may not be necessary for human creativity and imagination either. In others, it is because important developmental and structural similarities between humans and generative AI have been insufficiently appreciated. (shrink)

Challenging the image of physics as dry and dusty, The Beautiful Invisible shows that this highly abstract science is in fact teeming with beautiful concepts, ...

This paper employs textual analysis and comparative literary methods to examine the mystical and spiritual dimensions of D. H. Lawrence's Women in Love through the lens of sufi mysticism. It posits that Lawrence's engagement with sufi philosophy and literature significantly informed his portrayal of love as a transformative spiritual journey. By scrutinizing Lawrence's use of symbolism, imagery, and character development, particularly in the character of Birkin, the study aims to demonstrate how the novel reflects a profound resonance with sufi concepts, (...) such as the unity of the universe and the mystical path for knowledge. This comparative approach seeks to illuminate how Women in Love can be interpreted as a modernist exploration of spiritual fulfillment within a context of societal disintegration, thereby establishing its place within Lawrence's broader “New Man” fiction. Through Birkin, Lawrence explores the complexities of the human psyche and the potential for transcendence through a passionate, yet spiritually grounded love. The paper’s comparative approach seeks to illuminate how the novel contributes to Lawrence's broader “New Man” fiction, a visionary archetype striving for a harmonious integration of body, mind, and spirit. Lawrence’s “New Man” embodies a radical departure from traditional masculinity that collapsed after the war. The new archetype Lawrence envisions in the light of a sufi reading is not the product of societal expectations but an individual attempt at authenticity. (shrink)

In an era where creativity drives innovation and problem-solving, creating imaginative skills is more crucial than ever. Drama, a dynamic art form involving role-play and improvisation, offers a unique opportunity to support creative imagination. However, the specific impact of drama on enhancing imaginative capabilities has not been extensively explored. This research explores the transformative potential of drama participation on creative imagination. It seeks to uncover how involvement in drama activities can dynamically enhance creative thinking and (...) problem-solving skills. While drama is often used to foster creativity, there is a lack of clear evidence demonstrating how and to what extent drama participation affects creative imagination capabilities. The study involved 120 middle school students (ages 11-14), split into experimental (drama program) and control groups. Pre- and post-tests, such as the Torrance Tests of Creative Thinking (TTCT) measure, were utilised to evaluate the level of creativity. Chi-square tests, independent sample t-tests, and paired sample t-tests were among the statistical analyses used. The study revealed significant improvements in creativity for students participating in the drama program. Specifically, 7th graders showed the most significant increase in creativity scores, indicating a substantial effect. Engaging in drama activities can be a valuable strategy for enhancing creativity and should be considered in educational and developmental programs. Further research could explore long-term effects and the impact on different age groups. (shrink)

This book demonstrates the variety of ways in which the materiality of islands is intertwined in a symbiotic relationship with the capacity of the imagination to make islands the site and embodiment of a host of recurrent human desires, anxieties, and hopes.

This book, based on a critical/collective/auto/ethnographic research project, describes an assemblage of theoretically informed, arts-based methods that aim to promote multiplicity and thinking. It explores multiplicities of knowing, sensing, doing and being, generated by analyzing knowing frames, poetry, reading aloud, fableing, playwriting and other inventive, playful and scholarly ways of working with experiences and stories. By offering engaging and inspiring strategies that can disturb standardizations and interrupt cultural normativities, the book sheds light on the conditions that might be present in (...) cultural contexts that enable diversity and creativity. The research project on which this book is based originated from a contradictory set of conditions characterized on the one hand by a marked interest in creative research methods and novel knowledge practices and, on the other hand, by a widespread concern that we live in increasingly standardized times, featuring systems that specify objectives ahead of time, demand compliance and narrow the possibilities for human action. The book takes readers on an arts-based journey designed to enhance the opportunities for imaginative and ethical professional practice in education, human services and the arts. (shrink)

The essays in this book respond to Anna-Teresa Tymieniecka’s recent call to explore the relationship between the evolution of the universe and the process of self-individuation in the ontopoietic unfolding of life. The essays approach the sensory manifold in a number of ways. They show that theories of modern science become a strategy for the phenomenological study of works of art, and vice versa. Works of phenomenology and of the arts examine how individual spontaneity connects with the design of the (...) logos – of the whole and of the particulars – while the design rest not on some human concept, but on life itself. Life’s pliable matrices allow us to consider the expansiveness of contemporary science, and to help create a contemporary phenomenological sense of cosmos. (shrink)

Imagination as the key to the creative process is one of the key components of design education that affects students' problem-solving skills and innovation. The purpose of this research is to determine the impact of creative imagination on the academic performance of students enrolled in design courses. It intends to obtain a measure of the way creative imagination affects or influences students’ performance as well as their achievements. However, there is a lack of understanding (...) regarding the correlation between creativity and performance among university students. The study collected data on creative imagination and academic performance through a survey of 350 participants drawn from five universities. Self-administered questionnaires were distributed to 350 participants, of which 320 were 176 males and 144 females. The research included quantitative techniques such as linear regression, correlation analysis, and structural equation modeling-partial least squares (SEM-PLS). Further, the result of the analysis showed that imagination level has the most significant impact on academic outcomes in design programs with a strong positive effect (β=0.35, p-value = 0.04). Higher creative imagination scores had a positive correlation with grades and students' involvement. This underscores the importance of forecasting to enhance students’ performance and engagement in design programs. The strategies used in education should be utilized to supplement creativity to raise the performance and satisfaction of students. (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on (...) conceptual relations between imagination and creativity. (shrink)

In this Element, we’ll explore the nature of both imagination and creative thinking in an effort to understand the relation between them and also to understand their role in the vast array of activities in which they are typically implicated, from art, music, and literature to technology, medicine, and science. Focusing on the contemporary philosophical literature, we will take up several interrelated questions: What is imagination, and how does it fit into the cognitive architecture of the mind? (...) What is creativity? Is imagination required for creativity? Is creativity required for imagination? Is a person simply born either imaginative or not (and likewise, either creative or not), or are imagination and creativity skills that can be cultivated? And finally, are imagination and creativity uniquely human capacities, or can they be had by nonbiological entities such as AI systems? (shrink)