Shared Imagination

NOTE: This storybook includes a read-aloud option which is accessible on Google and IOS devices. Ellie, Evan, Jesse, and Molly go on the best adventure of all as they learn about sharing an imagination when they play and pretend together in Storybook 10 of the We Thinkers! Vol. 2 social emotional learning curriculum for ages 4-7. From imagining their swings as their galloping ponies to speeding in their firetruck to the rescue of a turtle family in danger, the four friends use the social concepts they’ve learned to make smart guesses about what each other is imagining and use flexible thinking to adapt to change and work together as a group to include others’ ideas in their constantly changing imaginary world. When they think about each other’s thoughts, feelings, and actions, along with sharing their own with their friends, they can play and imagine in ways they never would have thought of by themselves! When we consider the thoughts and feelings of multiple minds, it fosters our own creativity and relationship development, along with other fundamental concepts taught in storybooks 1-10, which align with the corresponding teaching units within the related curriculum. Best practice: teach these concepts in order, starting with storybook 1 of 10 while using the corresponding curriculum.

Imagination allows individuals and groups to think beyond the here-and-now, to envisage alternatives, to create parallel worlds, and to mentally travel through time. Imagination is both extremely personal (for example, people imagine unique futures for themselves) and deeply social, as our imagination is fed with media and other shared representations. As a result, imagination occupies a central position within the life of mind and society. Expanding the boundaries of disciplinary approaches, the Handbook of Imagination and Culture expertly illustrates this core role of imagination in the development of children, adolescents, adults, and older persons today. Bringing together leading scholars in sociocultural psychology and neighboring disciplines from around the world, this edited volume guides readers towards a much deeper understanding of the conditions of imagining, its resources, its constraints, and the consequences it has on different groups of people in different domains of society. Summarily, this Handbook places imagination at the center, and offers readers new ways to examine old questions regarding the possibility of change, development, and innovation in modern society.

This book explores the structure and function of memory and imagination, as well as the relation and interaction between the two states. It is the first book to offer an integrative approach to these two emerging areas of philosophical research. The essays in this volume deal with a variety of forms of imagining and remembering. The contributors come from a range of methodological backgrounds: empirically minded philosophers, analytic philosophers engaging mainly in conceptual analysis, and philosophers informed by the phenomenological tradition. Part 1 consists of novel contributions to ontological issues regarding the nature of memory and imagination and their respective structural features. Part 2 focuses on questions of justification and perspective regarding both states. The chapters in Part 3 discuss issues regarding memory and imagination as skills or abilities. Finally, Part 4 focuses on the relation between memory, imagination, and emotion. Philosophical Perspectives on Memory and Imagination will be of interest to scholars and advanced students working in philosophy of memory, philosophy of imagination, philosophy of mind, and epistemology.

“An ambitious and exciting book about creativity . . . chart[s] new territory.” —Science Consider Miles Davis, horn held high, sculpting a powerful musical statement full of tonal patterns, inside jokes, and thrilling climactic phrases—all on the fly. Or a comedy troupe riffing on cues from the audience until the whole room erupts with laughter; a team of software engineers brainstorming their way to the next Google; or the Einsteins of the world code-cracking the mysteries of nature. Maybe it’s simply a child playing with her toys. What do all of these activities share? With wisdom, humor, and joy, philosopher Stephen T. Asma answers that question: imagination. And from there he takes us on an extraordinary tour of the human creative spirit. Guided by neuroscience, animal behavior, evolution, philosophy, and psychology, Asma burrows deep into the human psyche to look at the enigmatic, powerful engine that is our improvisational creativity—the source, he argues, of our remarkable imaginational capacity. How, he asks, can a story evoke a whole world inside 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.

Social pathologies are social processes that hinder how individuals exercise their autonomy and freedom. In this book, Gustavo Pereira offers an account of such phenomena by defining them as a cognitive failure that affects the practical imagination, thus negatively interfering with our practical life. This failure of the imagination is the consequence of the imposition of a type of practical rationality on a practical context alien to it, caused by a non‐conscious transformation of the individuals’ set of beliefs and values. The research undertaken provides an innovative explanation in terms of microfoundations based on the mechanism of “availability heuristic”, by which the diminished exercise of the imagination turns the intuitively available or prevailing rationality into the one that regulates behaviour in inappropriate contexts. Additionally, this incorrect regulation results in a progressive distortion of the shared sense of the affected practical contexts, which becomes institutionalized. Consumerism, bureaucratism, moralism, juridification, some forms of corruption and the particular Latin American case of “malinchism” can be interpreted as social pathologies insofar as they imply such distortion. This way of conceptualizing social pathologies integrates the traditional sociological macro‐explanation manifested through the negative consequences of the processes of social rationalization with a micro‐explanation articulated around the findings of cognitive psychology such as availability heuristic. Understanding social pathologies as a cognitive failure allows us to identify the introduction of normative friction as the main way to counteract their effects. One of the potential effects of normative friction, as a specific form of cognitive dissonance, is the intense exercise of the imagination, thus operating as a condition of possibility for the exercise of autonomy and reflection. Democratic ethical life, understood as a shared democratic culture, as well as social institutions and narratives, are the privileged social spaces and means to trigger reflective processes that can counteract social pathologies through a reflective reappropriation of the meaning of the shared practical context. An extraordinary contribution by a Critical Theorist to the return of the concept of imagination today. It takes up the challenge once taken by Kant to think about imagination as the pivotal activity not only of knowledge and experience, but above all, for action. The author claims that imagination makes criticism possible (pathologies) and it allows us to envision alternative views into the path for social transformation. Without imagination nothing is possible. María Pía Lara, Universidad Autónoma Metropolitana-Iztapalapa, Mexico

Aimed at lay, student, and academic readers alike, this book concerns the imagination and, specifically, imagination in music. It opens with a discussion of the invalidity of the idea of the creative genius and the connected view that ideas originate just in the individual mind. An alternative view of the imaginative process is then presented, that ideas spring from a subconscious dialogue activated by engagement in the world around. Ideas are therefore never just of our own making. This view is supported by evidence from many studies and corresponds with descriptions by artists of their experience of imagining. The third subject is how imaginations can be shared when musicians work with other artists, and the way the constraints imposed by trying to share subconscious imagining result in clearly distinct forms of joint working. The final chapter covers the use of the musical imagination in making meanings from music. The evidence is that music does not communicate meanings directly, and so composers or performers cannot be looked to as authorities on its meaning. Instead, music is commonly heard as analogous to human experience, and listeners who perceive such analogies may then imagine their own meanings from the music.

A radical reimagining of the role of art and culture in contemporary democracy, The Compassionate Imagination proposes a new Canadian Cultural Contract that re-humanizes our way of living together by tapping into the instincts for generosity and compassion that find their expression in art. Over the last forty years, the arts have been increasingly deemed unimportant to the creation of an educated workforce. Reflecting a broadly held political view that in a market-based economy the arts were “a frill,” they were deemed “unnecessary” courses compared to sciences, technology, engineering, and mathematics. But what kind of Canada might we make if we were to place art and culture at the heart of our mutual decision-making, and return the arts to a central position in our education, shifting to steam rather than stem? What might be possible if we integrate the creative imagination into our responses to the great social challenges we face? What impact would it have on the future shape of our democracy? It’s time to find where the Compassionate Imagination can take us.

An exploration of the biology of meaning that integrates the role of subjective processes with current knowledge of brain/mind function.