Sharing An 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.

Using imagination in meditation can connect people to the Divine and to each other and can deepen the spiritual experiences of daily life. Shared Imagination delves into that notion, offering a creative and experiential channel to the Divine and describing the surprising ways this process can blossom in people’s lives. The work centers on personal stories of spiritual encounters as told, with permission, by the women and men who have entered the world of prayerful imagining. These encounters, or “shared imaginations,” arose in a variety of settings: individual and group meditation meetings, recounted dreams, shared spiritual experiences, imaginative conversations with God, letters written to holy people of the past, and some mystical traveling conversations. The stories illustrate the interlacing of an individual’s imagination with that of the Divine. Instructions on how to form and facilitate an imaginative meditation group are interspersed between the stories and detailed in three appendices. Arising from author Mary Ann Archer’s experiences as a professional musician and spiritual director, this collection of personal spiritual narratives presents an exploration of the use of imagination in meditation for a clearer connection with the Divine.

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.

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.

The human imagination manifests in countless different forms. We imagine the possible and the impossible. How do we do this so effortlessly? Why did the capacity for imagination evolve and manifest with undeniably manifold complexity uniquely in human beings? This handbook reflects on such questions by collecting perspectives on imagination from leading experts. It showcases a rich and detailed analysis on how the imagination is understood across several disciplines of study, including anthropology, archaeology, medicine, neuroscience, psychology, philosophy, and the arts. An integrated theoretical-empirical-applied picture of the field is presented, which stands to inform researchers, students, and practitioners about the issues of relevance across the board when considering the imagination. With each chapter, the nature of human imagination is examined - what it entails, how it evolved, and why it singularly defines us as a species.

Democratic theorists frequently assume that the "people" must have something in common, or else democracy will fail. This produces an ironically anti-democratic tendency to emphasize the passive possession of commonality. Sharing Democracy counters this tendency with a radical vision of democracy grounded instead in the active exercise of political freedom.

Everywhere Sophia and her dog Monty go, Sophia's blanket goes too. Nobody understands why, so Sophia shows them that it's not JUST a blanket. But who can help Sophia when something happens to her blanket?