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14 Μαρ 2011 · To imagine is to represent without aiming at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own.
- Puzzles and Paradoxes of Imagination and The Arts
For example, Brian Weatherson (2004) has argued that...
- Desire
To desire is to be in a particular state of mind. It is a...
- Philosophy of Music
Yet such concepts of pitch organization … are not usually...
- Philosophy of Film
The philosophy of film is now a firmly established subfield...
- Ryle, Gilbert
Acknowledgments. This article uses material from my...
- Mental Imagery
It does not seem like mental imagery is an ordinary language...
- Immanuel Kant
Bibliography Primary Literature. The Cambridge Edition of...
- Aesthetics of The Everyday
Furthermore, some agree that the practice of mundane...
- Puzzles and Paradoxes of Imagination and The Arts
This chapter introduces the history of the concept of imagination within philosophy, the human sciences, and literary theory. It shows how imagination allows escape from ordinary life while also illuminating possibilities with which we can engage reality.
What Is the Purpose of Imagination? Unlike perception, imagination is not dependent on external sensory information taken from what a person can see, hear, feel, taste, or touch in the moment....
Imagination is the process of developing theories and ideas based on the functioning of the mind through a creative division. Drawing from actual perceptions, imagination employs intricate conditional processes that engage both semantic and episodic memory to generate new or refined ideas. [6]
The topic of imagination is broad and multifarious: we are dealing with an extended family of interrelated concepts and capacities. Imagining covers everything from the simple mental image, to the philosophical counter-example, to the most sublime act of creation.
28 Απρ 2021 · In subsequent chapters we will draw on this schema in order to show that, and how Hume's view of the imagination plays a central role in his approach to metaphysics, morals and politics, aesthetics, history, religion and the practice of philosophy.
Imagination – the ability to mentally simulate situations and ideas not perceived by the physical senses – lays the foundation for creativity. Yet imagination alone is insufficient to produce creativity. We define two types of imagination important for creativity: social-emotional and temporal.
