In recent works, Kind has argued that imagination is a skill, since it possesses the two hallmarks of skill: improvability by practice, and control. I agree with Kind that and are indeed hallmarks of skill, and I also endorse her claim that imagination is a skill in virtue of possessing these two features. However, in this paper, I argue that Kind’s case for imagination’s being a skill is unsatisfactory, since it lacks robust empirical evidence. Here, (...) I will provide evidence for by considering data from mental rotation experiments and for by considering data from developmental experiments. I conclude that imagination is a skill, but there is a further pressing question of how the cognitive architecture of imagination has to be structured to make this possible. I begin by considering how can be implemented sub-personally. I argue that this can be accounted for by positing a selection mechanism which selects content from memory representations to be recombined into imaginings, using Bayesian generation. I then show that such an account can also explain. On this basis, I hold that not only is imagination a skill, but that it is also plausibly implemented sub-personally by a Bayesian selection mechanism. (shrink)

We often talk of people as being more or less imaginative than one another – as being better or worse at imagining – and we also compare various feats of imagination to one another in terms of how easy or hard they are. Facts such as these might be taken to suggest that imagination is often implicitly understood as a skill. This implicit understanding, however, has rarely (if ever) been made explicit in the philosophical literature. Such is the (...) task of this chapter. I first attempt to flesh out several conditions for an activity to count as a skill. I then attempt to show how imagination can meet such conditions. The chapter concludes with an attempt to answer various worries that might be raised to the claim that imagination should be thought of as a skill. (shrink)

I provide a novel, non-reductive, action-first skill-based account of active imagining. I call it the Skillful Action Account of Imagining (the skillful action account for short). According to this account, to actively imagine something is to form a representation of that thing, where the agent’s forming that representation and selecting its content together constitute a means to the completion of some imaginative project. Completing imaginative projects stands to the active formation of the relevant representations as an end. (...) The account thus bakes in the means-end order that some in action theory take to be definitional of intentional action. Moreover, in the spirit of this conception of intentional action, I hold that a central feature of the means-end order exhibited in active imagining is the agent’s direct non-observational knowledge both of her act of imagining and of its having this order. The agent knows that she’s actively imagining (that-)p and knows why she actively imagines this–to carry on the pretense, engage in the fiction, predict another’s behavior, reason about possibility or necessity, reason about contingent matters of fact, just imagine for its own sake, and so on. I show that the account accounts for the possibility of misimagining while holding onto the idea that we imagine what we intend to imagine. I likewise show that the account unifies imagining across types of imaginative project like those just listed in a way that tolerates conflict in the roles that imagining plays in the mental economy across those projects. Finally, I show that the account can accommodate passive imagining like involuntary and automatic imagining as well as mind wandering. -/- Acknowledgments: I'd like to thank Amy Kind, Robert Brandom, Colin Allen, Peter Langland-Hassan, Alison Springle, Daniel Munro, Nick Wiltsher, and Andrew Rubner for excellent comments on earlier drafts from which this paper greatly benefited. I'd also like to thank two anonymous reviewers for extremely helpful comments. And I'd like to thank participants of the 2022 Simulationism Conference hosted by the Centre for Philosophy of Memory and the 4th Annual Conference [Online/Virtual] for Imagination Domination (COVID) hosted by Amy Kind for excellent feedback on earlier versions of the paper. (shrink)

Clinical simulation is used in nursing education and in other health professional programs to prepare students for future clinical practice. Simulation can be used to teach students communication skills and how to deliver bad news to patients and families. However, skilled communication in clinical practice requires students to move beyond simply learning superficial communication techniques and behaviors. This article presents an unexplored concept in the simulation literature: the exercise of moral imagination by the health professional student. Drawing from the works (...) of Hume, Aristotle and Gadamer, a conceptualization of moral imagination is first provided. Next, this article argues that students must exercise moral imagination on two levels: towards the direct communication exchange before them; and to the representative nature of simulation encounters. Last, the limits of moral imagination in simulation-based education are discussed. (shrink)

Among the many commonalities between memory and imagination is the fact that they can both be understood as skills. In this chapter, I aim to draw out some connections between the skill of memory and the skill of imagination in an effort to learn something about the nature of these activities and the connection between them. I start by considering the ways that one might work to cultivate these skills in the hope that we could learn something about (...) imagination training by reflection on memory training and vice versa. Interestingly, however, an initial look at the empirical research on the respective training regimens does not show much potential for this kind of crossover. Though there are some commonalities that can be found across the training regimens, these commonalities are nothing special over and above the kinds of commonalities one might find in training regimens for skills of any sort. Fortunately, however, the matter does not end there. When we think more deeply about the details of some of the training regimens for memory, we discover some important connections between the skill of memory and the skill of imagination. In particular, I argue that the two skills turn out to be interestingly intertwined. (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)

Recent treatments of imagination have increasingly treated imagining as a skill. Insofar as imaginative accuracy is one of the factors that underwrites this skill, it is important to understand what it means to say that an imagining is accurate. This paper takes up that task. The discussion proceeds in four parts. First, I address two worries that may naturally arise about the coherence ofthe notion of imaginative accuracy. Second, with those worries addressed, I turn to an (...) exploration of what is meant by imaginative accuracy. My discussion relies on two key points: first, that accuracy is best understood in terms of aim; and second, that imaginings aim at the representation of fictional states of affairs. I call this line of thought _the fictionality approach_. Third, I look more closely at six different types of imaginings in an effort to develop and clarify the fictionality approach. Finally, I turn to what I call the calibration objection. Given the nature of imagination, there seems to be no way to calibrate one’s judgments of imaginative accuracy. After showing how much of the force of the calibration objection can be defused, I offer some brief concluding remarks. (shrink)

David Lewis has argued that “having an experience is the best way or perhaps the only way, of coming to know what that experience is like”; when an experience is of a sufficiently new sort, mere science lessons are not enough. Developing this Lewisian line, L.A. Paul has suggested that some experiences are epistemically transformative. Until an individual has such an experience it remains epistemically inaccessible to her. No amount of stories and theories and testimony from others can teach her (...) what it is like to have it, nor is she able to achieve this knowledge by way of imaginative projection. It’s this last claim that is the focus of this paper. In particular, I explore the case for the claim that some experiences are in principle imaginatively inaccessible to someone who has not undergone the experience itself or one relevantly similar. As I will suggest, this case is not as strong as is often thought. Close attention to the mechanisms of imagination, and in particular, to cases of skilled imaginers, suggests how techniques of imaginative scaffolding can sometimes be used to give us epistemic access to experiences we have not had, even ones that are radically different from any that we have had before. As a result, considerably fewer experiences remain imaginatively out of reach than proponents of transformative experience would have us believe. Experience may well be the best teacher, but this paper aims to show that imagination comes in a close second. (shrink)

_Imagination_ is an outstanding contribution to a notoriously elusive and confusing subject. It skillfully interrelates problems in philosophy, the history of ideas and literary theory and criticism, tracing the evolution of the concept of imagination from Hume and Kant in the eighteenth century to Ryle, Sartre and Wittgenstein in the twentieth. She strongly belies that the cultivation of imagination should be the chief aim of education and one of her objectives in writing the book has been to put forward reasons (...) why this is so. Purely philosophical treatment of the concept is shown to be related to its use in the work of Coleridge and Wordsworth, who she considers to be the creators of a new kind of awareness with more than literary implications. The purpose of her historical account is to suggest that the role of imagination in our perception and thought is more pervasive than may at first sight appear, and that the thread she traces is an important link joining apparently different areas of our experience. She argues that imagination is an essential element in both our awareness of the world and our attaching of value to it. (shrink)

Underlying much current work in philosophy of imagination is the assumption that imagination is a skill. This assumption seems to entail not only that facility with imagining will vary from one person to another, but also that people can improve their own imaginative capacities and learn to be better imaginers. This paper takes up this issue. After showing why this is properly understood as a philosophical question, I discuss what it means to say that one imagining is better (...) than another and then discuss the kinds of imagination training and techniques that might be employed in an effort to get better at imagining. The discussion of these techniques draws insight from consideration of other skills-based activities, as well as from consideration of the creation of art and our engagement with literature and poetry. Over the course of this discussion, we also gain further insight into the nature of imagination. (shrink)

This paper discusses different frameworks for understanding imagination and metaphor in the context of research on the imaginative skills of children with autism spectrum disorder (ASD). In contrast to a standard linguistic framework, it advances an embodied and enactive account of imagination and metaphor. The paper describes a case study from a systemic therapeutic session with a child with ASD that makes use of metaphors. It concludes by outlining some theoretical insights into the imaginative skills of children with (...) ASD that follow from taking the embodied-enactive perspective and proposes suggestions for interactive interventions to further enhance imaginative skills and metaphor understanding in children with ASD. (shrink)

Aesthetic theory distinguishes different approaches to understanding the sensory and logical. The author agrees with I. Kant’s theory that sensory perception is subjective and the imagination is given the opportunity to invent fictional characters that do not exist in real life. Digital technologies make it possible to revive and introduce such characters into an artistic performance. This process becomes possible with the help of computer algorithms that are used to create art practices. There are many contradictory publications where there is (...) no understanding of the technological process of the task at hand, for example, that it is possible to write a program that will “teach machine aesthetics” using pictures. Therefore, the author turns to three technological solutions (virtual reality, augmented reality and artificial intelligence or neural networks) and examines, using the example of existing programs and applications, how the process of interacting computer algorithms of artistic creativity with the imagination and skill of stage work directors (play, opera, choreography). The author solves this issue within the framework of algorithmic aesthetics, which considers the process of communication, but unlike media theory, considers the process of information exchange in binary code. The algorithms by which the written programs operate do not create a “code spirit”, but allow the creation of tools for artistic creativity and the development of the skills of talented people. (shrink)

_Imagination_ is an outstanding contribution to a notoriously elusive and confusing subject. It skillfully interrelates problems in philosophy, the history of ideas and literary theory and criticism, tracing the evolution of the concept of imagination from Hume and Kant in the eighteenth century to Ryle, Sartre and Wittgenstein in the twentieth. She strongly belies that the cultivation of imagination should be the chief aim of education and one of her objectives in writing the book has been to put forward reasons (...) why this is so. Purely philosophical treatment of the concept is shown to be related to its use in the work of Coleridge and Wordsworth, who she considers to be the creators of a new kind of awareness with more than literary implications. The purpose of her historical account is to suggest that the role of imagination in our perception and thought is more pervasive than may at first sight appear, and that the thread she traces is an important link joining apparently different areas of our experience. She argues that imagination is an essential element in both our awareness of the world and our attaching of value to it. (shrink)

Introduction -- Epistemology, metaphysics, and rhetoric : contexts of imagination -- Aristotle, Phantasia, and the problem of epistemology -- Plato, the neoplatonists, and the vagaries of the sublunar world -- Phantasia and ecstatic knowledge -- A more skillful artist than imitation -- Dreams, doubts, and evil demons : Descartes and imagination -- Mediatio prima : certainty, the cogito, and imagination -- Imagination in the rules -- Meditatio secunda : the world of the cogito -- Descartes, Montaigne, and Pascal -- Analogies (...) and enthusiasm -- Excogitations : fabulating the cogito -- The reasonable imagination : Immanuel Kant's critical philosophy -- Imagination in the limits of pure reason -- Dreamers and madmen : imagination in the anthropology -- Natural art and sublime madness : imagination in the critique of judgment -- The highest point of philosophy : Fichte's reimagining of the kantian system -- The logics of positing intellectual intuition and the absolute subject -- Ecstasy, inspired communication, and philosophical genius -- Light, dusk, and darkness : the reconciliation of opposites -- The metaphysics of oscillation and the truth of imagination -- Reason fixations : arresting imagination -- A system without foundations : poetic subjectivity in Friedrich von Hardenberg's Ordo inversus -- A system without foundations -- Fantasy and the body -- Divine law and abject subjectivity : Coleridge and the double knowledge of imagination -- Divine imagination -- The abyss of the empirical self -- Coda: Imagining ideology. (shrink)

Brain drain critiques and human rights advocates have conflicting views on emigration. From a brain drain perspective, the emigration harms a country when emigrants are skilled and the source country is poor. From the human rights perspective, the right "to leave any country, including one's own" is a fundamental right, protected for all, whatever their skills. Is the concern with poverty and social justice at odds with the right to emigrate? At the beginning of the l970s, the economist Jagdish Bhagwati (...) replied in the negative. He imagined a tax on the income earned by the skilled migrants in the destination country, to the benefit of the source country. He thus sought to reconcile the right to emigration and the brain drain effects. -/- This article argues that there is no need to tax skilled migrants in order to reconcile the right to emigration and social justice. Social justice is not incompatible with the right to emigration but rather with restrictions on mobility. If it is both the case that equal opportunities are a minimal requisite for social justice, and that access to opportunities implies freedom of movement, as I shall argue, then the brain drain criticism doesn't satisfy the minimal requirements of social justice. -/- The article is divided into three parts. Each part rejects one of the possible justifications of the Bhagwati tax, that is, as a way, for skilled migrants, (i.) to compensate the welfare loss occasioned to their country of origin; (ii.) to discharge for their obligation to the national community when it publicly financed their education; and (iii.) to compensate for the resulting inequality of opportunities between themselves and their non-migrant compatriots. (shrink)

It is widely agreed that education should involve the development of understanding, critical thinking, imagination, and emotions. However, this book, first published in 1990, argues that our views to these key concepts are confused and inaccurate, and therefore what we do in schools is generally inappropriate to our ideal. This book will be of interest to students of education and philosophy.

This paper aims to show that Paul Ricoeur’s hermeneutical phenomenology has significance for philosophy of mind, in particular for recent theories of enactivism, one of the most significant latest developments in cognitive theory. While philosophy of mind often finds its inspiration in hermeneutics and phenomenology, especially in Husserl’s and Merleau-Ponty’s, the later development of hermeneutical phenomenology under the influence of Gadamer and Ricoeur, as it evolved into the theory of the interpretation of narratives and lived existence, is often lost sight (...) of in recent debates about embodied cognition. I defend the thesis, however, that combining Ricoeur’s phenomenology with enactivism shows that embodied cognition has an intrinsic ethico-political aspect. The central argument is that, if we take that imagination and narrative lie at the heart of basic embodied cognition as interaction with the world (planning, motor skills, coordination), as both recent theories of enactivism and Ricoeur hold, then embodied cognition or the way in which we experience and gain knowledge in embodied cognitive relations with the world is ethically and politically significant in that it gets shaped by the ethical and political contexts in which these relations take place (e.g., cultural body images and morals in subcultures). These contexts contain ethical and political narratives and our imaginations are influenced by and work with these narratives in order to gain knowledge. This essay thus attempts to explore some of the possibilities of phenomenological hermeneutics for the philosophy of mind today. Keywords: phenomenology, hermeneutics, philosophy of mind, embodied cognition, ethico- political world. (shrink)

Chess is sometimes referred to as a ‘mind-sport’. Yet, in obvious ways, chess is very unlike physical sports such as tennis and soccer; it doesn't require the levels of fitness and athleticism necessary for such sports. Nor does it involve the sensory-governed, skilled behaviour required in activities such as juggling or snooker. Nevertheless, I suggest, chess is closer than it may at first seem to some of these sporting activities. In particular, there are interesting connections between the way that we (...) use our perceptual imagination in sports, and also in chess. The same distinction between calculation and natural instinct applies in chess as it does in many physical sports. (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)

The vocabulary of the art-critic seems to consist of two groups of words, those that refer to the formal or surface properties of the work of art, and those which refer to properties we can at first loosely term imaginative. The first group consists of words and phrases like “unity” , “coherence”, “consistency”, “compactness”, “elegance”, and so on. The way such words are cashed will consist in an analysis of the determinate formal qualities of the work of art as (...) evidence of the skill of the artist as a craftsman. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Practical Wisdom and Moral Imagination in Sense and SensibilityKaren StohrThere is no single virtue more important to Aristotle's ethical theory than the intellectual virtue of phronesis, or practical wisdom. Yet for all its importance, it is not easy to make sense of this virtue, either in Aristotle's own writings or in virtue ethics more generally. Insofar as Aristotle defines it, he does so opaquely, saying it is "a state (...) grasping the truth, involving reason, concerned with action about things that are good or bad for a human being." 1Practical wisdom is a form of knowledge aimed fundamentally at acting well. It requires both a general understanding of what is worthwhile in human life and the ability to act in ways that reflect that understanding. 2 My goal in this paper is to explore the latter aspect of practical wisdom in its application to ordinary social behavior. The circumstances that will interest me here are often thought to be the domain of manners or decorum, rather than morals proper. Although no one who takes Hume seriously can deny the moral significance of manners, the relationship between one's inner state of character and how that character is expressed in seemingly mundane behavior has received insufficient attention from moral philosophers. 3 In such a task, there can be few better places to begin than with Jane Austen, whose novels reveal the intricacies of ordinary moral behavior with extraordinary acumen.I shall use Austen's Sense and Sensibility to examine the skill associated with knowing how to behave rightly in the sense we associate with propriety or decorum. This skill is essential to pleasant social life, and hence, on the Aristotelian view, to human flourishing. Yet it is often lacking, even among those who have sound moral principles and good hearts. Well-meaning people frequently say or do what is inappropriate. [End Page 378] Consider, for instance, how common it is for kindly disposed people to say to bereaved friends things like, "it's all for the best" or "be thankful for your other healthy children" or "you're young, you'll marry again." The intricacies of offering sympathy are hard to get right, and otherwise good people can unwittingly leave behind disasters in their wakes.The skill of acting well in complex social situations has interesting links to the capacity for moral imagination. Engaging in imaginative identification with others is essential to empathy. 4 Without suggesting that empathy is at the root of all fluid social interactions, I shall argue that certain characteristic failures to act well in that sphere are imaginative failures. In other words, insofar as the exercise of practical wisdom is present in the realm of manners, it requires moral imagination.Failures of moral imagination, however, can take different forms and have different social effects. I shall use two of Austen's characters in Sense and Sensibility—Marianne Dashwood and Mrs. Jennings—to illustrate different ways in which inadequate imaginative capacity can impede the exercise of practical wisdom. The contrast I shall draw is with Elinor Dashwood, to whom I ascribe practical wisdom in full. 5 This contrast is especially interesting because it is not always very sharp: all three characters have fundamentally good moral principles and warm hearts. Yet unlike Elinor, Mrs. Jennings and Marianne routinely fail to act well, and in characteristic ways. Despite the differences in their characters, they have in common an inability to use moral imagination appropriately. The moral errors of Marianne and Mrs. Jennings occur in relatively insignificant circumstances, but the errors themselves point to something deeper about how the virtue of practical wisdom functions in ordinary moral practice.In exploring the link between moral imagination and moral practice, it will help to remember Aristotle's emphasis on the reciprocity between practical wisdom and the moral virtues. Aristotle held that that practical wisdom is necessary for the exercise of the moral virtues and that conversely, the moral virtues are necessary for the exercise of practical wisdom. 6 The justification for the first of these two claims is clearest in the context of Aristotle's doctrine of the mean. Since what counts as a virtuous action depends on features... (shrink)

A recent Carnegie Report on Nursing Education – Educating Nurses: A Call for Radical Transformation challenges the nursing profession to embrace an education model that integrates knowledge, skilled know how and ethical comportment. Placing ethics in such a prominent position in nursing education is a radical transformation. Teaching ethics must be intentional and it is integral to the development of individual nurses and the profession as a whole. The development of moral imagination has a prominent place in this new education (...) model. The moral imagination is the ability to ponder and wonder about the inherent rightness or wrongness of decisions, choices and behaviors. This paper will review some key issues relevant to teaching ethics and then explore what nurturing the moral imagination could do for nurses as they learn to apply abstract ethics concepts to their clinical practice. (shrink)

Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look right at the enigmatic but powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How is it, he asks, that a story can evoke a whole world inside of us? How are we able to rehearse a skill, a speech, or even an entire scenario simply by thinking about it? How does creativity go beyond experience (...) and help us make something completely new? And how does our moral imagination help us sculpt a better society? As he shows, we live in a world that is only partly happening in reality. Huge swaths of our cognitive experiences are made up by “what-ifs,” “almosts,” and “maybes,” an imagined terrain that churns out one of the most overlooked but necessary resources for our flourishing: possibilities. Considering everything from how imagination works in our physical bodies to the ways we make images, from the mechanics of language and our ability to tell stories to the creative composition of self-consciousness, Asma expands our personal and day-to-day forms of imagination into a grand scale: as one of the decisive evolutionary forces that has guided human development from the Paleolithic era to today. The result is an inspiring look at the rich relationships among improvisation, imagination, and culture, and a privileged glimpse into the unique nature of our evolved minds. (shrink)

Children's cognitive and imaginative development is greatly enhanced by creative projects, which establish the groundwork for critical thinking, problem-solving, and flexibility. By evaluating improvements in creativity, memory, and problem-solving abilities, this study seeks to determine how creative activities affect children’s imaginative and cognitive growth. The dataset includes performance measures from 894 children between the ages of seven and ten who participated in eight weeks of either traditional or creative learning activities. Split the data into two groups, such as (...) Group A (experimental group) and Group B (control group). A normal curriculum was followed by Group B (n=212), while Group A (n=481) participated in a variety of creative activities like music, art, and storytelling. Cognitive and imaginative assessments were administered pre- and post-intervention, covering four key indicators: fluency, originality in narrative creativity, flexibility and graphic abilities in drawing creativity. The results showed that the Group A had performed better than Group B in terms of originality. In conclusion, creative activities help children to develop specific cognitive and imaginative skills; this means that including them in curriculums is important for their overall development. (shrink)

Through an enactive perspective, the concept of productive imagination can be rethought as acquired sensorimotor skills. I propose that the genesis and tuning of productive imagination through ….

In the same way that some people are better jugglers than others, some people are better imaginers than others. But while it might be obvious what someone can do if they want to improve their juggling skills, it’s less obvious what someone can do to improve their imaginative skills. This chapter explores this issue and argues that engagement with fiction can play a key role in the development of one’s imaginative skills. The chapter proceeds in three parts. First, (...) using work by Martha Nussbaum as a launching pad, I develop arguments to show how literature helps to cultivate our capacities for one type of imagination in particular, namely, empathetic imagination. Second, I consider the empirical case for these claims. Third, I show how we can extend the argument connecting fiction and empathetic imagination to imagination more broadly. Not only can fiction provide us with practice with respect to empathetic imagination, but it can also provide us with practice with respect to other kinds of imagination as well. (shrink)

The relevance of transcreation skills goes beyond mere translation strategy to a more sought-after service, that help equip translators with relevant employability skills. Nevertheless, the concern for the high demands of translators who possess these skills calls for a thorough training of future translators to acquire these skills. On the other hand, this will be possible if translator educators are already equipped with these skills. As such, this study aims to explore how translation educators, specifically, university lecturers can be prepared (...) to effectively address the growing need for transcreation skills. The research further explores practical techniques and approaches aimed at teaching instructors to successfully impart transcreation abilities and adequately equip students for employment in creative translation. In order to achieve the objective of this research, a quantitative research methodology was adopted, and an online research questionnaire was also utilized. Moreover, a total of ninety-seven (97) study participants were included in the online survey to express their perspectives on how the university lecturers can be trained to address demands for creative translation. The participants' replies, which constitute the primary dataset for this study, were presented and subjected to thorough analysis. Additionally, these replies provided additional clarification on the two fundamental study hypotheses. The study results highlighted several fundamental elements connected with transcreation skills, including bilingual proficiency, creative writing, cultural sensitivity, and multimedia proficiency. Based on the analyzed data, the research revealed that adoption of practical strategies and methodologies such as professional development, inclusion of transcreation projects in translation training module, collaboration with industry experts, and technology integration helps to train translation educators to effectively teach transcreation skills. The study, however, recommends combination of these identified strategies for effective training of university lecturers. (shrink)

In this commentary on Dustin Stokes’ _Thinking and Perceiving_, I focus on his discussion of perceptual expertise. This discussion occurs in the context of his case against modularity assumptions that underlie much contemporary theorizing about perception. As I suggest, there is much to be gained from thinking about considerations about perceptual expertise in conjunction with considerations about imaginative skill. In particular, I offer three different lessons that we can learn by way of the joint consideration of these two (...) phenomena. (shrink)

John Paul Lederach's work in the field of conciliation and mediation is internationally recognized. As founding Director of the Conflict Transformation Program and Institute of Peacebuilding at Eastern Mennonite University, he has provided consultation and direct mediation in a range of situations from the Miskito/Sandinista conflict in Nicaragua to Somalia, Northern Ireland, the Basque Country, and the Philippines. His influential 1997 book Building Peace has become a classic in the discipline. This new book represents his thinking and learning over the (...) past several years. He explores the evolution of his understanding of peacebuilding by reflecting on his own experiences in the field. Peacebuilding, in his view, is both a learned skill and an art. Finding this art, he says, requires a worldview shift. Conflict professionals must envision their work as a creative act - an exercise of what Lederach terms the "moral imagination.". (shrink)

Moral distress has been covered extensively in the nursing literature and increasingly in the literature of other health professions. Cases that cause nurses’ moral distress that are mentioned most frequently are those concerned with prolonging the dying process. Given the standard of aggressive treatment that is typical in intensive care units (ICUs), much of the existing moral distress research focuses on the experiences of critical care nurses. However, moral distress does not automatically occur in all end-of-life circumstances, nor does every (...) critical care nurse suffer its damaging effects. What are the practices of these nurses? What specifically do they do to navigate around or through the distressing situations? The nursing literature is lacking an answer to these questions. This article reports a study that used narrative analysis to explore the reported practices of experienced critical care nurses who are skilled at and comfortable working with families and physicians regarding the withdrawal of aggressive treatment. A major finding was that these nurses did not report experiencing the dam-Moral Agency, Moral Imagination, and Moral Community: Antidotes to Moral Distress Terri Traudt, Joan Liaschenko, and Cynthia Peden-McAlpine Terri Traudt, MBC, MA, is a Communications Consultant specializing in bioethics at the Center for Bioethics at the University of Minnesota, in Minneapolis. [email protected] Joan Liaschenko, PhD, RN, FAAN, is a Professor at the Center for Bioethics and Nursing at the University of Minnesota. Cynthia Peden-McAlpine, PhD, ACNS, BC, is an Associate Professor in the School of Nursing at the University of Minnesota. © 2016 by The Journal of Clinical Ethics. All rights reserved. aging effects of moral distress as described in the nursing literature. The verbal communication and stated practices relevant to this finding are organized under three major themes: (1) moral agency, (2) moral imagination, and (3) moral community. Further, a total of eight subthemes are identified. The practices that constitute these themes and subthemes are further detailed and discussed in this article. Understanding these practices can help mitigate critical care nurses’ moral distress. (shrink)

This article explores the relationship between Roman school texts and the socialization of the student into an elite man. I argue that composition and declamation communicated social values; in fact, the rhetorical education of the late republic and the empire was a process of socialization that produced a definite subjectivity in its elite participants. I treat two genres of Roman school texts: the expansions on a set theme known as declamation and the bilingual, Greek and Latin, writing exercises known as (...) the colloquia amid the collections of hermeneumata. This article is more broadly concerned with the attitudes toward language use that are learned along with specific literacy skills. Habits of reading and writing and speaking are learned in scenes and contexts that contribute to concepts of the self and more widely of gender and social roles. The encounters and verbal interactions recurrently plot a deviation from violence or a return to civil and familial order through the proper verbal display of the elite speaker. The student speaker's assumption of roles, his training in fictio personae, is a strong training in memory and imagination-pretending to be someone else, pretending to talk like someone else, or pretending to talk on behalf of someone else. That someone else is most important as the schoolboy becomes the voice of or for prostitutes, the raped, slaves, freedmen, women. His was not a neutral ventriloquism in the styles of Latin but a training in the master's mode toward the ready conviction that the speaker can and must speak for others, his subordinates. Roman rhetorical education was a process of persona building, shaping the schoolboy in his future role while excluding others from the very right to become speaking subjects. (shrink)

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)

Iconography has been used to represent the experience of awakening in the Buddhist traditions for millennia. The Mahāyāna Buddhist traditions are especially renowned for their rich pantheons of buddhas and bodhisattvas who illuminate and inspire practitioners. In addition, the Vajrayāna branch of Mahāyāna Buddhism presents a host of meditational deities (yidam) who serve as catalysts of awakening. These awakened beings are regarded as objects of refuge for practitioners, both female and male, who visualize themselves in detail as embodiments of specific (...) enlightened figures, female or male, with all their enlightened qualities. These meditational deities, which are mentally constructed and insubstantial by nature, are distinguished from worldly deities (deva) who also inhabit the Buddhist pantheon and may be supplicated for attaining worldly boons. This article explores the philosophical foundations of Varjrayāna Buddhist practices, the ontological status of these archetypes of awakening, and the epistemological process of visualizing oneself an enlightened being as a skillful means to achieve awakened realization. (shrink)

The cover image of Nathaniel Coleman’s Imagining and Making the World is a photo by Coleman of Carlo Scarpa’s Castelvecchio Museum renovation in Verona. It shows the skillful layering of elements from different eras assembled by Scarpa and the bridge that connects the upper floors of two buildings from different periods. Such skillful connecting of disparate things is rare. Yet this is what Coleman and his contributors have set out to do: connect architecture and utopia.Coleman himself seems to question this (...) enterprise. In his introduction he writes, “If the likelihood of achieving a utopian moment in architecture that is sustainable through time and occupation appears... unpromising, what possible claim could.. (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)

In The Force of Nonviolence, Judith Butler argues that nonviolent movements must replace a dominant neurotic identitarianism with a commitment to preserving relational life. However, Butler also argues that because relationality is volatile, freedom and equality cannot be accomplished through a simple negation of separation. Instead, nonviolence must be directed at moments of relational volatility precisely when violence is compelled. Drawing on Klein’s theory of subjectivity—in which imagining ourselves as other is a precondition for imagining ourselves independent—and on Benjamin’s vision (...) of conflict resolution in encountering the other without instrumentality, Butler asks that we meet such moments by honoring interdependence. While affirming much in Butler’s analysis, this article locates (1) a tension between Butler’s poststructuralist and psychoanalytic commitments, (2) the reification of a non-relational liberal subject as hegemonic, and (3) a tendency towards theoretical exclusivity. Through addressing these weaknesses, we can retain more of a positive role than Butler affords to traditional elements of the nonviolent toolkit such as love, morality, and upholding human rights prefaced on the integrity and dignity of the individual, to augment their theory as one among many resources for a diverse and multicultural nonviolent pursuit of social and political progress. (shrink)

The current resurgence of interest in the scientific origins of psychoanalysis has overshadowed the artistic and literary models to which Freud had recourse time and again in the development and presentation of his theories. It is this neglected aesthetic wellspring of psychoanalysis to which Harry Trosman calls attention in _Freud and the Imaginative World_. Trosman enriches our understanding of psychoanalysis by demonstrating how Freud's cultural and humanistic commitments guided his pursuit of a science of mind. Toward this end, he (...) undertakes a number of challenging tasks: to situate Freud in the formative culture of his time, to adumbrate the human concerns that infromed his work in the natural sciences, and to delineate the multiple "modes of influence" that fostered his creativity. The second part of the book moves from the cultural sources of Freud's creativity to the psychoanalytic contribution to our understanding of art and literature. Here, Trosman focuses on the consumer of art and literature, tracing psychoanalytic perspectives on aesthetic responsiveness from Freud to the present. Trosman's critical review of the da Vinci and _Hamlet_ literature illustrates the limitations as well as the explanatory potential of the two principal genres of applied psychoanalytic work, and leads naturally to the reflective estimation of psychoanalysis and creativity that concludes the work. Throughout, Trosman is a well-informed and engaging guide, both to the imaginative Freud and to the abundant literature on psychoanalysis and the arts. He documents Freud's continuing indebtedness to the literary models that nourished his theorizing and gave shape to his narrative clinical expositions, even as he takes pains to show how psychoanalysis has, in many ways, outgrown Freud's own reductive explanations of aesthetic phenomena. A skillfully crafted overview, _Freud and the Imaginative World_ is an exemplary introduction to a crucial aspect of the Freudian legacy. (shrink)

Michael T. Stuart (2021 and 2022) has proposed imagination as an intellectual dual‐process virtue, consisting of imagination1 (underwritten by cognitive Type 1 processing) and imagination2 (supported by Type 2 processing). This paper investigates the consequences of taking such an account seriously. It proposes that the dual‐process view of imagination allows us to incorporate recent insights from virtue epistemology, providing a fresh perspective on how imagination can be epistemically reliable. The argument centers on the distinction between General Reliability (GR) and Functional (...) System Reliability (FSR), for example in relation to Kengo Miyazono and Uko Tooming's (2023) argument for epistemic generativity. Furthermore, the paper claims that the dual‐process virtue account enables us to integrate a wide range of findings from the literature on epistemology and imagination. Moreover, it suggests a novel way to distinguish the virtues of creativity and imagination and presents a case for viewing imagination as a virtue rather than a skill. (shrink)

In the past years motor imagery turned out to be also an innovative and effective tool for motor learning and improvement of sports performance. Whereas many studies investigating sports MI focusing on upper or lower limbs involvement, knowledge about involved neural structures during whole-body movements is still limited. In the present study we investigated brain activity of climbers during a kinesthetic motor imagery climbing task with different difficulties by means of functional near infrared spectroscopy. Twenty healthy participants were split into (...) two groups according to their climbing skill level. The aim of the current study is investigating neural correlates of a whole-body sports MI task with an additional focus on skill level dependency. Climbing experts and non-experts imagined bouldering an “easy” and “difficult” route from a first-person perspective while hemodynamic responses were recorded simultaneously. We found significant differences between the two climbing routes, easy and difficult within participants as well as between the two groups of different climbing skill levels. Overall beginners showed increased hemodynamic responses compared to experts in all defined regions of interest supporting the claim of the neural efficiency hypothesis. Even though climbing is a complex, coordinated movement of upper and lower limbs we found a stronger activation focus of the upper limbs, especially of the dominant hand-area, while the foot area seems to be deactivated or inhibited simultaneously. Summarizing, these findings provide novel insights into brain activation during the imagery of a whole-body movement and its relation to climbing expertise. (shrink)

The study examines the benefits of imaginative teaching practices in enhancing educational quality by focusing on innovative pedagogical approaches. It aims to evaluate the influence of these performances on key variables, including Student Engagement (SE), Academic Performance (AP), Educational Satisfaction (ES), Creativity Development (CD), and Critical Thinking Skills (CTS). Using SPSS software, various statistical methods, such as x2 tests, ANOVA (Analysis of Variance), T-tests, and descriptive statistics, were employed to analyze data collected from educators. The findings reveal significant improvements (...) across all measured variables, indicating that imaginative teaching practices effectively enhance student engagement, academic performance, critical thinking skills, creativity, and overall satisfaction with the educational experience. These results suggest that incorporating creative methods in teaching can create a more dynamic, engaging, and effective learning environment, ultimately leading to improved educational outcomes. (shrink)

Many mathematicians have a rich internal world of mental imagery. Using elementary mathematical skills, this study probes the mathematical imagination's sensorimotor foundations. Mental imagery is perturbed using body position: having the head and vestibular system in different positions with respect to gravity. No two mathematicians described the same imagery. Eight out of 11 habitually visualize, one uses sensorimotor imagery, and two do not habitually used mental imagery. Imagery was both intentional and partly autonomous. For example, coordinate planes rotated, drifted, wobbled, (...) or slid down from vertical to horizontal. Parabolae slid into place or, on one side, a parabola arm reached upward in gravity. The sensorimotor foundation of imagery was evidenced in several ways. The imagery was placed with respect to the body. Further, the imagery had a variety of relationships to the body, such as the body being the coordinate system or the coordinate system being placed in front of the eyes for easy viewing by the mind's eye. The mind's eye, mind's arm, and awareness almost always obeyed the geometry of the real eye and arm. The imagery and body behaved as a dyad, so that the imagery moved or placed itself for the convenience of the mind's eye or arm, which in turn moved to follow the imagery. With eyes closed, participants created a peripersonal imagery space, along with the peripersonal space of the unseen environment. Although mathematics is fundamentally abstract, imagery was sometimes concrete or used a concrete substrate or was placed to avoid being inside concrete objects, such as furniture. Mathematicians varied in the numbers of components of mental imagery and the ways they interacted. The autonomy of the imagery was sometimes of mathematical interest, suggesting that the interaction of imagery habits and autonomy can be a source of mathematical creativity. (shrink)

Philosophy has long either dismissed or paid only minimal attention to creativity, and even with the rise of research on imagination, the creative imagination has largely been ignored as well. The aim of this volume is to correct this neglect. By bringing together existing research in various sub-disciplines, we also aim to open up new avenues of research. The chapters in Part I provide some framing and history on the philosophical study of imagination and creativity, along with an overview of (...) the empirical literature. Part II explores imagination and creativity as they manifest in, and in turn shape, the individual. Part III surveys the role of imagination and creativity across a wide variety of artistic domains, and the chapters of Part IV turn to societal domains. Part V focuses on the interplay of imagination and creativity with regard to particular features of creative subjects and different kinds of creative subjects. *** -/- Part I: Theories and Approaches 1. Theories of Imagination (Peter Kung) 2. Theories of Creativity (Julia Langkau) 3. Historical Treatments of Imagination in the Western Tradition (Lucia Oliveri) 4. Historical Treatments of Creativity in the Western Tradition (Elliot Paul) 5. Non-Western Treatments of Imagination (Reza Hadisi and Jing Iris Hu) 6. Non-Western Treatments of Creativity (Nicolas B. Verger and Vlad Glăveanu) 7. Empirical Treatments of Imagination and Creativity (Dustin Stokes) 8. Experimental Philosophy of Imagination and Creativity (Michael T. Stuart) 9. The Relationship between Imagination and Creativity (Margherita Arcangeli) -/- Part II: Imagination and Creativity in Mind and Action 10. Imagination, Creativity, and Skill (Amy Kind) 11. Imagination, Creativity, and Attention (Bence Nanay) 12. Imagination, Creativity, and Agency (Caterina Moruzzi) 13. Imagination, Creativity, and Emotion (Julien Deonna and Fabrice Teroni) 14. Imagination, Creativity, and Embodiment (Adriana Clavel-Vázquez and María Jimena Clavel Vázquez) 15. Imagination, Creativity, and Gender (Luke Roelofs) 16. Imagination, Creativity, and Race (Nicholas Whittaker) 17. Imagination, Creativity, and Child Development (Thalia Goldstein, Anna Sofia Caruso, Darian Stapleton, and Lamin Fatty) -/- Part III: Imagination and Creativity in the Arts 18. Imagination, Creativity, and the Visual Arts (Claire Anscomb) 19. Imagination, Creativity, and Music (Matteo Ravasio) 20. Imagination, Creativity, and Fiction (Hannah H. Kim) 21. Imagination, Creativity, and Dance (David Davies and Anna Pakes) 22. Imagination, Creativity, and the Culinary Arts (Patrik Engisch) 23. Imagination, Creativity, and Film (Murray Smith) 24. Imagination, Creativity, and Acting (Tzachi Zamir) 25. Imagination, creativity, and fashion (Laura T. Di Summa) -/- Part IV: Imagination and Creativity in Society 26. Imagination and Creativity in the Scientific Realm (Alice Murphy) 27. Imagination and Creativity in the Moral Realm (Tim Mulgan) 28. Imagination and Creativity in the Political Realm (Avshalom Schwartz) 29. Imagination and Creativity in the Law (Maksymilian Del Mar) 30. Imagination and Creativity in the Religious Realm (Neil Van Leeuwen) 31. Imagination and Creativity in Business (Eric Peterson) 32. Imagination and Creativity in Times of Crisis (Jennifer Fraser and Noah Stemeroff) Part V: Emerging Issues in Imagination and Creativity Research 33. Imagination, Creativity, and Aphantasia (Andrea Blomkvist) 34. Imagination, Creativity, and Neurodivergence (Sofia Ortiz-Hinojosa) 35. Imagination, Creativity, and Non-Human Animals (Henry Shevlin) 36. Imagination, Creativity, and Artificial Intelligence (Peter Langland-Hassan) 37. Collective Imagination and Collective Creativity (Nick Wiltsher) . (shrink)

We humans are remarkably interested in and skilled at games of make believe, games whose rules make what we are called on to imagine depend on what’s actually perceivably true about things and people that have what it takes to assume various fictional roles and that thereby function in the games as props. For the most part we play these games on an improvised pickup basis, working out the rules we play by in the very act of playing by them. (...) Part of what makes this coordinative feat possible are signals to the effect that as the speaker sees things, the rules and available props are such that this or that role is assumed by this or that prop, or props of this or that kind. Metaphors are make believe signals put to ambitious prop-characterizing use outside the game they serve to initiate, sustain, or otherwise regulate. Metaphoric competence is one manifestation of make believe competence. (shrink)

The objective of the research project is to determine the incidence of the variables of "Basic motor skills in the learning of mini-athletics in children 4-6 years old, the research is methodologically based under a non-experimental design, by correlational and cutting scope cross-sectional, taken a sample of 300 children distributed in male and female genders of the zonal coordination 1 (Carchi, Esmeraldas, Imbabura and Sucumbíos) The instrument to evaluate the first study variable was the "retest" test validated and considered In (...) order to evaluate the basic motor skills, as well as for the second variable, an observation sheet was used to evaluate the ability of mini-athletics through the A-B-C- of the basics of the race. The systematic process in the application of the technical fundamentals of mini-athletics, allowed obtaining the results that show the highest percentage of the study sample in relation to the basic motor skill levels were at a normal level and in the same way in the execution. of the ability of the basic movements of mini-athletics as a base and training sport to use it in sports initiation, reaching the conclusion of being able to determine that there is a positive correlation between the study variables, accepting the research hypothesis that affirms that motor skills Basic skills affect the learning of the ability to execute movements in mini-athletics in zone 1 of Ecuador. (shrink)

The ability to design engineering drawings using Auto CAD (Automatic Computer Aided Design) is a major issue needed in work for contractors and planning consultants. This study aims to determine the level of students' ability in making engineering drawing designs using AutoCAD Students who take engineering drawing courses are adjusted to the competency of certificate IV in Engineering Drafting according to the AQF (Australian Qualification Framework) standard, the competency unit taken is Operating a computer-aided design system (CAD) and producing basic (...) drawing elements. Evaluation is used with tests designed based on three levels: advanced beginner, capable, and proficient. Furthermore, the test results are reviewed according to the level of ability Foundation skill, and employability skill The results of this study show the ability of students in drawing with Auto CAD, for advanced beginners and capable, their abilities are high, while the ability at the proficient level is still low. this is used as feedback for improving learning and developing further research. (shrink)

Philosophical questions surrounding skill and expertise can be traced back as far as Ancient Greece, China, and India. In the twentieth century skilled action was an important factor in the work of phenomenologists such as Heidegger and Merleau-Ponty and analytic philosophers including Gilbert Ryle. However, as a subject in its own right it has, until now, remained largely in the background. The Routledge Handbook of Philosophy of Skill and Expertise is an outstanding reference source and the first major (...) collection of its kind, reflecting the explosion of interest in the topic recent years. Comprising thirty-nine chapters written by leading international contributors, the Handbook is organised into six clear parts: Skill in the History of Philosophy Skill in Epistemology Skill, intelligence, and agency Skill in Perception, Imagination, and Emotion Skill, Language, and, Social Cognition Skill and Expertise in Normative Philosophy. Essential reading for students and researchers in philosophy of mind and psychology, epistemology and ethics, The Routledge Handbook of Philosophy of Skill and Expertise is also suitable for those in related disciplines such as social psychology and cognitive science. It is also relevant to those who are interested in conceptual issues underlying skill and expertise in fields such as sport, the performing arts, and medicine. (shrink)

The experience of skilled action occurs in dreams if we take dream reports at face value. However, what these reports indicate requires nuanced analysis. It is uncertain what it means to perform any action in a dream whatsoever. If skilled actions do occur in dreams, this has important implications for both theory of action and theory of dreaming. Here, it is argued that since some dreams generate a convincing, hallucinated world where we have virtual bodies that interact with virtual objects, (...) there is a sense in which we can perform virtual actions. Further, we can also perform skilfully, although not all apparent skilful performance is as it seems. Since the dream world is generated by the dreamer’s own mind, it can be difficult to determine whether the dream world simply allows goals to be achieved without the abilities that would be required in a similar waking scenario. Because of this, individual dream reports alone are insufficient to determine what skills are demonstrated in a particular dream. However, taken with evidence from REM sleep behaviour disorder, incompetent dreams, lucid dreams and motor-skill practise, it is likely that skilled virtual dream performance at times involves both opportunity for virtual behaviour and the display of competence. Evidence from cognitive science suggests that dreamers can also lose competence through forgetting and other cognitive incapacities but, more surprisingly, it is possible to gain abilities in a robust sense, consistent with the idea that some dreams, at least, are virtual realities rather than imagination. (shrink)

People are unable to report how they decide whether to move backwards or forwards to catch a ball. When asked to imagine how their angle of elevation of gaze would change when they caught a ball, most people are unable to describe what happens although their interception strategy is based on controlling changes in this angle. Just after catching a ball, many people are unable to recognise a description of how their angle of gaze changed during the catch. Some people (...) confidently choose incorrect descriptions that would guarantee failure of interception demonstrating unconscious knowledge co-existing with systematically different conscious beliefs. Where simple solutions to important evolutionary problems exist, unconscious perception needs to be impervious to conscious beliefs. (shrink)