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.

A guide for mining the imagination to find powerful new ways to succeed. We need imagination now more than ever—to find new opportunities, rethink our businesses, and discover paths to growth. Yet too many companies have lost their ability to imagine. What is this mysterious capacity? How does imagination work? And how can organizations keep it alive and harness it in a systematic way? The Imagination Machine answers these questions and more. Drawing on the experience and insights of CEOs across several industries, as well as lessons from neuroscience, computer science, psychology, and philosophy, Martin Reeves of Boston Consulting Group's Henderson Institute and Jack Fuller, an expert in neuroscience, provide a fascinating look into the mechanics of imagination and lay out a process for creating ideas and bringing them to life: The Seduction: How to open yourself up to surprises The Idea: How to generate new ideas The Collision: How to rethink your idea based on real-world feedback The Epidemic: How to spread an evolving idea to others The New Ordinary: How to turn your novel idea into an accepted reality The Encore: How to repeat the process—again and again. Imagination is one of the least understood but most crucial ingredients of success. It's what makes the difference between an incremental change and the kinds of pivots and paradigm shifts that are essential to transformation—especially during a crisis. The Imagination Machine is the guide you need to demystify and operationalize this powerful human capacity, to inject new life into your company, and to head into unknown territory with the right tools at your disposal.

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.

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?

Early learner curriculum to teach Social Thinking concepts to children ages 4-7

Early learner curriculum for teaching Social Thinking concepts to children ages 4-7

Social pathologies are social processes that hinder how individuals exercise their autonomy and freedom. In this book, Gustavo Pereira offers an account of such phenomena by defining them as a cognitive failure that affects the practical imagination, thus negatively interfering with our practical life. This failure of the imagination is the consequence of the imposition of a type of practical rationality on a practical context alien to it, caused by a non‐conscious transformation of the individuals’ set of beliefs and values. The research undertaken provides an innovative explanation in terms of microfoundations based on the mechanism of “availability heuristic”, by which the diminished exercise of the imagination turns the intuitively available or prevailing rationality into the one that regulates behaviour in inappropriate contexts. Additionally, this incorrect regulation results in a progressive distortion of the shared sense of the affected practical contexts, which becomes institutionalized. Consumerism, bureaucratism, moralism, juridification, some forms of corruption and the particular Latin American case of “malinchism” can be interpreted as social pathologies insofar as they imply such distortion. This way of conceptualizing social pathologies integrates the traditional sociological macro‐explanation manifested through the negative consequences of the processes of social rationalization with a micro‐explanation articulated around the findings of cognitive psychology such as availability heuristic. Understanding social pathologies as a cognitive failure allows us to identify the introduction of normative friction as the main way to counteract their effects. One of the potential effects of normative friction, as a specific form of cognitive dissonance, is the intense exercise of the imagination, thus operating as a condition of possibility for the exercise of autonomy and reflection. Democratic ethical life, understood as a shared democratic culture, as well as social institutions and narratives, are the privileged social spaces and means to trigger reflective processes that can counteract social pathologies through a reflective reappropriation of the meaning of the shared practical context. An extraordinary contribution by a Critical Theorist to the return of the concept of imagination today. It takes up the challenge once taken by Kant to think about imagination as the pivotal activity not only of knowledge and experience, but above all, for action. The author claims that imagination makes criticism possible (pathologies) and it allows us to envision alternative views into the path for social transformation. Without imagination nothing is possible. María Pía Lara, Universidad Autónoma Metropolitana-Iztapalapa, Mexico

Popular culture continues to search the depths of the poetic imagination concerning heaven. It seems to be a constant theme in literature, film, and music, spanning genres throughout the Western world. Yet, some contemporary scholars suggest that all of these narratives are somewhat misguided and remain, at best, only partial constructions of a proper eschatology. The creative imagination in popular culture, especially in relation to the arts has often carried a less-than-trustworthy role in theology and philosophy. Heaven and the Popular Imagination analyzes a number of approaches within the theology of culture conversation to suggest that a hermeneutic of popular imagery can open up new horizons for understanding and challenging the role heaven plays in Christian theology. From ancient literature to popular music and films, heaven is part of the framework of our ecumenical imagining about beginnings and endings. Such a hermeneutic must encompass an interdisciplinary approach to theology.

Our experience of other individuals as minded beings goes hand in hand with the awareness that they have a unique epistemic and emotional perspective on the experienced objects and situations. The same object can be seen from many different points of view, an event can awaken different emotional reactions in different individuals, and our position-takings can in part be mediated by our belonging to some social or cultural groups. All these phenomena can be described by referring to the metaphor of perspective. Assuming that there are different, and irreducible, perspectives we can take on the experienced world, and on others as experiencing the same world, the phenomenon of mutual understanding can consistently be understood in terms of perspectival flexibility. This edited volume investigates the different processes in which perspectival flexibility occurs in social life and particularly focuses on the constitutive role of imagination in such processes. It includes original works in philosophy and psychopathology showing how perspectival flexibility and social cognition are grounded on the interplay of direct perception and imagination.

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.