The ability to imagine is at the heart of what makes us human. Through our imagination we experience more fully the world both around us and within us. Imagination plays a key role in creativity and innovation. Until the seventeenth century, the human imagination was celebrated. Since then, with the emergence of science as the dominant worldview, imagination has been marginalised -- depicted as a way of escaping reality, rather than knowing it more profoundly -- and its significance to our humanity has been downplayed. Yet as we move further into the strange new dimensions of the twenty-first century, the need to regain this lost knowledge seems more necessary than ever before. This insightful and inspiring book argues that, for the sake of our future in the world, we must reclaim the ability to imagine and redress the balance of influence between imagination and science. Through the work of Owen Barfield, Goethe, Henry Corbin, Kathleen Raine, and others, and ranging from the teachings of ancient mystics to the latest developments in neuroscience, The Lost Knowledge of the Imagination draws us back to a philosophy and tradition that restores imagination to its rightful place, essential to our knowing reality to the full, and to our very humanity itself.

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.

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.

"John Paul Lederach's work in the field of conciliation and mediation is internationally recognized. He has provided consultation, training and direct mediation in a range of situations from the Miskito/Sandinista conflict in Nicaragua to Somalia, Northern Ireland, Tajikistan, and the Philippines. His influential 1997 book Building Peace has become a classic in the discipline. In this book, Lederach poses the question, "How do we transcend the cycles of violence that bewitch our human community while still living in them?" Peacebuilding, in his view, is both a learned skill and an art. Finding this art, he says, requires a worldview shift. Conflict professionals must envision their work as a creative act-an exercise of what Lederach terms the "moral imagination." This imagination must, however, emerge from and speak to the hard realities of human affairs. The peacebuilder must have one foot in what is and one foot beyond what exists. The book is organized around four guiding stories that point to the moral imagination but are incomplete. Lederach seeks to understand what happened in these individual cases and how they are relevant to large-scale change. His purpose is not to propose a grand new theory. Instead he wishes to stay close to the "messiness" of real processes and change, and to recognize the serendipitous nature of the discoveries and insights that emerge along the way. overwhelmed the equally important creative process. Like most professional peacemakers, Lederach sees his work as a religious vocation. Lederach meditates on his own calling and on the spirituality that moves ordinary people to reject violence and seek reconciliation. Drawing on his twenty-five years of experience in the field he explores the evolution of his understanding of peacebuilding and points the way toward the future of the art." http://www.loc.gov/catdir/enhancements/fy0616/2004011794-d.html.

Ten years ago, the editor of a leading magazine invited me to lunch. I had been one of his contributors, but we had never met. He broke the ice by asking, “What is your hobby, Mr. Osborn?” “Imagination,” I replied. He paused, then wrote on the back of an envelope, “MY HOBBY IS IMAGINATION.” “Mr. Osborn,” he said, “you must do a book on that. It’s a job that has been waiting to be done all these years. There is no subject of greater importance. You must give it the time and energy and thoroughness it deserves.” That remark started this book. Although I earned my master’s degree in practical psychology and have devoted most of my life to the psychology of advertising, I cannot claim to be a psychologist. Nor have I tried to write as a psychologist. I have felt free to take figurative liberties with academic concepts. For instance, I realize that imagination is an integral part of man’s mind-body function; and yet, for the sake of clarity and readability, I refer to imagination as if it were an entity of itself. My frequent use of the term “brainstorm” may bother the reader at first. Although Chapter 33 will fully explain, an inkling of its meaning may be helpful here: “Brainstorm” is used mainly to label the kind of conference where a few people sit down together for an hour or so solely to use their creative imaginations—solely to suggest ideas on a specific subject, right then and there. During the past ten years, in quest of material and insight, I have interviewed hundreds of people and have read hundreds of books, speeches and articles. I am indebted to all who talked with me and to all whose writings I read. Many of their names will be found in the index.

"Published in conjunction with the exhibition Diana Thater: The Sympathetic Imagination, at the Los Angeles County Museum of Art, Los Angeles, California (November 22, 2015-February 21, 2016)"-- Colophon.

"In Up the Infinite Corridor, Fred Hapgood explores the mental landscape of engineering a style of thought, a mode of operation, a particular form of creativity that increasingly defines the trajectory of modern life." "With the Massachusetts Institute of Technology as his point of reference, Hapgood traces the emergence of the profession from its mud-on-the-boots days preoccupied with canals and roads to its present absorption with cyber-space and micromachines. He also shows the evolution in how engineers are trained, from the apprentice working alongside the older man, to "build and test," to the postwar emergence of engineering science and its focus on developing general principles about the natural behavior of artifacts." "But it is when Hapgood explores a selection of research projects currently going on at the Institute that he actually takes us inside the process, bringing to life the struggle to design an artificial human knee that in every way mimics nature, the creation of all automated navigational system for cars, the attempt to infuse a piece of silicon with the capacity for vision, the construction of a human-powered airplane, and the development of robot mice for maze racing in international competition. In so doing, Hapgood gives us a glimpse into an alternate universe he calls "solution space," the black box of possibilities which the engineer moves inside, searching along its various pathways, confronting key to true innovation." "MIT is a rich culture that has always had its bizarre projects and its even more bizarre personalities, and Hapgood guides us through its history, the folkways and legends of undergraduate life, the twisted sense of humor emerging from the pressures and insecurities of a place in which everyone has the intellectual accelerator wired to the floor. The engineering sensibility that emerges is nothing like the dry "nuts and bolts" cliche. Rather it is an ethos based on reverence for "the fitness of things," the existential pleasure of connecting with the properties of nature. For as Hapgood points out, if scientists carry on a romance, engineers form a marriage and have progeny with nature, working within its confines day in and day out. The value system implied is one that sees our universe composed of elements whose behaviors matter to us intimately." "Hapgood's rich and insightful treatment shows engineering to be an enterprise surprisingly humane, even lyrical."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved