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Given in 1916, when Europe was in the throes of World War I, these seven lectures present Rudolf Steiner's trenchant analysis of the malaise of our time. With wit and compassion, he vividly confronts us with the dead end to which materialism has brought modern civilization. Starting with a new look at the festival of Pentecost, Steiner shows how the chaos of his time "and ours "can be transcended by a shift or transformation of consciousness. Ranging over a wide variety of topics, he moves from a description of balance in life to a discussion of the twelve senses and their relationship to the cosmos, psychology, and art. In the process, he reveals the central importance of the development of Imagination. Contents: 1. The Immortality of the I 2. Blood and Nerves 3. The Twelve Human Senses 4. The Human Organism through the Incarnations 5. Balance in Life 6. The Feeling for Truth 7. Toward Imagination
With his remarkable range of vision, the author takes us on a voyage of discovery that leads from Eden to Fellini, from paradise to parody - plotting the various models of the imagination as: Hebraic, Greek, medieval, Romantic, existential and post-modern.
Play dates, soccer practice, day care, political correctness, drudgery without facts, television, video games, constant supervision, endless distractions: these and other insidious trends in child rearing and education are now the hallmarks of childhood. As author Anthony Esolen demonstrates in this elegantly written, often wickedly funny book, almost everything we are doing to children now constricts their imaginations, usually to serve the ulterior motives of the constrictors. Ten Ways to Destroy the Imagination of Your Child takes square aim at these accelerating trends, in a bitingly witty style reminiscent of C. S. Lewis, while offering parents—and children—hopeful alternatives. Esolen shows how imagination is snuffed out at practically every turn: in the rearing of children almost exclusively indoors; in the flattening of love to sex education, and sex education to prurience and hygiene; in the loss of traditional childhood games; in the refusal to allow children to organize themselves into teams; in the effacing of the glorious differences between the sexes; in the dismissal of the power of memory, which creates the worst of all possible worlds in school—drudgery without even the merit of imparting facts; in the strict separation of the child’s world from the adult’s; and in the denial of the transcendent, which places a low ceiling on the child’s developing spirit and mind. But Esolen doesn’t stop at pointing out the problem; he offers clear solutions as well. With charming stories from his own boyhood and an assist from the master authors and thinkers of the Western tradition, Ten Ways to Destroy the Imagination of Your Child is a welcome respite from the overwhelming banality of contemporary culture. Interwoven throughout this indispensable guide to child rearing is a rich tapestry of the literature, music, art, and thought that once enriched the lives of American children. Ten Ways to Destroy the Imagination of Your Child confronts contemporary trends in parenting and schooling by reclaiming lost traditions. This practical, insightful book is essential reading for any parent who cares about the paltry thing that childhood has become, and who wants to give a child something beyond the dull drone of today’s culture.
Imagination is our inner vision, our human skill to see different realities. It can take us to the throne of God, it can connect us to the stream of infinity and allow us to see the universe for what it really is. Controlled use of the imagination is fundamental to magical practice, and this comprehensive study by an experienced practitioner provides the keys to understanding and using these powerful inner techniques. Based on Nick Farrell's previous book Magical Pathworking, this greatly revised and expanded edition includes new chapters which further develop the techniques of pathworking for magical and spiritual purposes. It covers group work, divination, visiting other inner world dimensions and working towards what Farrell calls objective pathworking. "Even if you think you know all about visualisation, pathworking and the magical key of imagination - even if you teach the subjects - this book will astound you. Nick Farrell explores magical imagination with depth and discernment, revealing principles and methods that will enrich and transform your magical and spiritual practice. Quite simply, this book is the best of its kind and extends the magical use of imagination to new heights and insights. It is an essential book for all magicians, Pagans and anyone who works with the inner realms." - Peregrin Wildoak, author of By Names and Images.
An argument that great expressive power of computational media arises from the construction of phantasms—blends of cultural ideas and sensory imagination. In Phantasmal Media, D. Fox Harrell considers the expressive power of computational media. He argues, forcefully and persuasively, that the great expressive potential of computational media comes from the ability to construct and reveal phantasms—blends of cultural ideas and sensory imagination. These ubiquitous and often-unseen phantasms—cognitive phenomena that include sense of self, metaphors, social categories, narrative, and poetic thinking—influence almost all our everyday experiences. Harrell offers an approach for understanding and designing computational systems that have the power to evoke these phantasms, paying special attention to the exposure of oppressive phantasms and the creation of empowering ones. He argues for the importance of cultural content, diverse worldviews, and social values in computing. The expressive power of phantasms is not purely aesthetic, he contends; phantasmal media can express and construct the types of meaning central to the human condition. Harrell discusses, among other topics, the phantasm as an orienting perspective for developers; expressive epistemologies, or data structures based on subjective human worldviews; morphic semiotics (building on the computer scientist Joseph Goguen's theory of algebraic semiotics); cultural phantasms that influence consensus and reveal other perspectives; computing systems based on cultural models; interaction and expression; and the ways that real-world information is mapped onto, and instantiated by, computational data structures. The concept of phantasmal media, Harrell argues, offers new possibilities for using the computer to understand and improve the human condition through the human capacity to imagine.
Why isn’t everyone creative? Why doesn’t education foster more ingenuity? Why is expertise often the enemy of innovation? Bestselling creativity expert Michael Michalko shows that in every ?eld of endeavor — from business and science to government, the arts, and even day-to-day life — natural creativity is limited by the prejudices of logic and the structures of accepted categories and concepts. Through step-by-step exercises, illustrated strategies, and inspiring real-world examples, he shows readers how to liberate their thinking and literally expand their imaginations by learning to synthesize dissimilar subjects, think paradoxically, and enlist the help of the subconscious mind. He also reveals the attitudes and approaches that diverse geniuses share — and anyone can emulate. Fascinating and fun, Michalko’s strategies facilitate the kind of lightbulb-moment thinking that changes lives — for the better.
Wendell Berry teaches us to love our places--to pay careful attention to where we are, to look beyond and within, and to live in ways that are not captive to the mastery of cultural, social, or economic assumptions about our life in these places. Creation has its own integrity and demands that we confront it. In The Place of Imagination, Joseph R. Wiebe argues that this confrontation is precisely what shapes our moral capacity to respond to people and to places. Wiebe contends that Berry manifests this moral imagination most acutely in his fiction. Berry's fiction, however, does not portray an average community or even an ideal one. Instead, he depicts broken communities in broken places--sites and relations scarred by the routines of racial wounds and ecological harm. Yet, in the tracing of Berry's characters with place-based identities, Wiebe demonstrates the way in which Berry's fiction comes to embody Berry's own moral imagination. By joining these ambassadors of Berry's moral imagination in their fictive journeys, readers, too, can allow imagination to transform their affection, thereby restoring place as a facilitator of identity as well as hope for healed and whole communities. Loving place translates into loving people, which in turn transforms broken human narratives into restored lives rooted and ordered by their places.
This book explores the concept of the creative imagination in Mid- and Late Victorian England. In these times of transition, as the age of the Industrial Revolution was regarded, aesthetic considerations became involved in the broader debate on the shape of the modern world. Thus, the approach to the artistic imagination was closely connected with the shifting beliefs concerning the essence of beauty, and the role of religion, not to mention attitudes towards nature and society. These aspects defined the aims furthered by painters and poets alike and set the direction for their artistic endeavours. Five people have been chosen as representatives of their time in the discussion about artistic imagination: John Ruskin, William Morris, Dante Gabriel Rossetti, Walter Pater and Arthur Symons. Accordingly, the material analysed to recreate the Victorian understanding of the artistic faculties is of different kinds, and embraces not only critical essays (Ruskin, Pater, Symons), but also belles-lettres: short stories (Morris) and poems (Rossetti, Symons). In this manner, two positions complement each other: namely, the views of the theoreticians and those of practitioners. The former attempted to discern and extract the quintessence of the artistic powers on the basis of their observations and reflections, whereas the latter relied on their personal experiences in this respect.
The relatively recent "worship wars" over styles of worship — traditional, contemporary, or blended — have calmed down, and many churches have now reached decisions about which "worship style" defines them. At a more fundamental level, however, change has yet to begin. In From Memory to Imagination Randall Bradley argues that fallout from the worship wars needs to be cleaned up and that fundamental cultural changes — namely, the effects of postmodernism — call for new approaches to worship. Outlining imaginative ways for the church to move forward, this book is a must-read for church leaders and anyone interested in worship music.
This book explores a topic that has recently become the subject of increased philosophical interest: how can imagination be put to epistemic use? Though imagination has long been invoked in contexts of modal knowledge, in recent years philosophers have begun to explore its capacity to play an epistemic role in a variety of other contexts as well. In this collection, the contributors address an assortment of issues relating to epistemic uses of imagination, and in particular, they take up the ways in which our imaginings must be constrained so as to justify beliefs and give rise to knowledge. These constraints are explored across several different contexts in which imagination is appealed to for justification, namely reasoning, modality and modal knowledge, thought experiments, and knowledge of self and others. Taken as a whole, the contributions in this volume break new ground in explicating when and how imagination can be epistemically useful. Epistemic Uses of Imagination will be of interest to scholars and advanced students who are working on imagination, as well as those working more broadly in epistemology, aesthetics, and philosophy of mind. Chapters 6 and 12 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.