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We have moved past the Information Age and are now living in the Imagination Age. Intuitive and creative thinking skills are as valuable as “hard skills” and are unique to each one of you. You have these innate skills—all you have to do is unleash them. Join up. What does imagination have to do with leadership? Ever since he was in college, Brian Paradis has been intrigued by the question, “What does imagination have to do with leadership?” For thirty years, he studied this puzzle as he honed his business and leadership skills, and one thing became crystal clear: imagination has a powerful influence on leadership. The compelling combination of leader + imagination = an opportunity to unleash all kinds of potential. The world is increasingly complex, knowledge is advancing at an unfathomable rate, and the problems in our world seem unsolvable. Organizations are in near constant and disruptive transition, and the cultures that define them are disconnected, disaffected, and divisive. Too many leaders show up to work wondering if any of it matters. We are “smarter” than any generation in history, but that isn’t the problem. The problem is imagination is not advancing at the same pace. But where there’s a closed door, there’s an open window of opportunity for those willing to walk through, to take a risk, and see what others don’t. Lead with Imagination promises three returns on your investment of time from reading it: You will be inspired by the possibilities and strengthened against the challenges. You will gain power and confidence to imagine, create, and innovate. We are all born with innate imagination and curiosity—learn how to use it. You will release your fullest potential and help release the potential of those you lead. We all learned as kindergarteners to assimilate quickly by giving the teacher (society) the desired answer, and to “fit in.” That colored our thinking from that moment forward and restricted our thinking and use of imagination. But now, it’s time to color outside the lines.
What does it mean to say that imagination plays a role in moral reasoning, and what are the theoretical and practical implications? Engaging with three traditions in moral theory and confronting them with three contexts of moral practice, this book comprehensively explores these questions and the relation between imagination and principles.
A theoretically informed investigation that relates the philosophies of aesthetics and imagination to understanding design practice. In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research. Folkmann considers three conditions in design: the possible, the aesthetic, and the imagination. Imagination is a central formative power behind the creation and the life of design objects; aesthetics describes the sensual, conceptual, and contextual codes through which design objects communicate; the concept of the possible—the enabling of new uses, conceptions, and perceptions—lies behind imagination and aesthetics. The possible, Folkmann argues, is contained as a structure of meaning within the objects of design, which act as part of our interface with the world. Taking a largely phenomenological perspective that reflects both continental and American pragmatist approaches, Folkmann also makes use of discourses that range from practice-focused accounts of design methodology to cultural studies. Throughout, he offers concrete examples to illustrate theoretical points. Folkmann's philosophically informed account shows design—in all its manifestations, from physical products to principles of organization—to be an essential medium for the articulation and transformation of culture.
Imagination and Ethical Ideals is an interdisciplinary work which investigates some of the links between moral philosophy and moral psychology, with implications for both personal ethics and social philosophy. Tierney begins with the argument that the widespread fascination with moral principles has led moral philosophers into a dead end, which is revealed both by their inability to deal with the problem of relativism, and by the felt irrelevancy of moral philosophy to the lives that people are actually striving to lead. He then offers an alternative account of the nature of ethical thought, grounded in a theory of imaginative ethical ideals. A psychological framework for ideals is then developed using the results of contemporary psychoanalysis and psychology, particularly the self psychology of Heinz Kohut.
Curriculum and Imagination describes an alternative ‘process’ model for designing developing, implementing and evaluating curriculum, suggesting that curriculum may be designed by specifying an educational process which contains key principles of procedure. This comprehensive and authoritative book: offers a practical and theoretical plan for curriculum-making without objectives shows that a curriculum can be best planned and developed at school level by teachers adopting an action research role complements the spirit and reality of much of the teaching profession today, embracing the fact that there is a degree of intuition and critical judgement in the work of educators presents empirical evidence on teachers’ human values. Curriculum and Imagination provides a rational and logical alternative for all educators who plan curriculum but do not wish to be held captive by a mechanistic ‘ends-means’ notion of educational planning. Anyone studying or teaching curriculum studies, or involved in education or educational planning, will find this important new book fascinating reading.
Using philosophical and ethnographic theory, presents new approaches to ritual and memory, relating them to visual and sound images as acts of communication.
The purpose of this book is to present the principles and procedures of creative thinking. Chapters included are, the all importance of imagination, indispensability of creativity in science. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
The present work is, as its title indicates, a study of Hume's theory of imagination. Naturally, it is a study of a particular sort. It has a certain scope and limitations, takes a certain line of approach, exhibits certain emphases, has certain ends-in-view, etc. As an initial step in specifying the nature of this study, I shall indicate its central problem, i. e. , that problem to the solution of which the solutions of the various other problems with which it is concerned are merely means. The central problem of this study is that of determining how Hume's theory of im agination is related to, or involved in, the generic features and main lines of argument of his philosophy of the human understanding. The expression "philosophy of the human understanding" is obvious to allude to a restriction on the scope of this investigation. ly intended Actually, it is a title suggested to me by two of Hume's philosophical writings; and to anyone who is even modestly acquainted with these writings, its reference should be no mystery. Hume published the first two so-called "Books" of his A Treatise of Human Nature in 1739. The first of these two Books was entitled "Of the Human Understanding. " Nine years later, he published a work under the title, An Enquiry Con cerning Human Understanding.