L’homme sait, ment, tique devant l’incommensurable. Il exprime sa subjectivité comme une localisation actantielle d’un état exité de l’univers, le choix d’un retour à la normale. Elle serait liée à la situation dichotomique de conflit entre le réel et l’imaginaire, entre le repos et la tension, l’imaginaire, ce serait la stabilisation des seuils mais aussi le seuil d’une porte qui ouvre sur l’infini et l’incommensurable. (En italique Cf René Thom : Mathématique et théorisation scientifique-Topologie et la question de l’anse et de la fronce.)
My use of the concept of imagination refers to a process of expanding our self by transcending our time and space and creating new images of the world and ourselves. Imagination in this sense is looking at an apple seed and seeing a tree. It is playing scales on a piano, and envisioning a concert hall. It is entering a temple and knowing that the ritual you are performing is performed and has been performed by millions throughout the world. It is seeing your grandfather take out his dentures and knowing that you had better brush you teeth. It is visiting your mother’s home farm and watching her as a littlegirl learning to love nature, the way she taught you to. It is reading a biography and recognizing yourselft in the struggles of a character.
The term imagination is sometimes used to connote personal fantasies, withdrawal from reality, or mistaken as opposed to factual conclusions. My use of the term however, emphasizes the creative process of producing new « images » and of generating new relations through time and space that become constitutive of the self. Calling this process imagination is, therefore, not to suggest that it produces aspects of our identity that are less « real » or « significant » than those based on mutual engagement. It is rather to suggest that imagination involves a different king of work of the self- one that concerns the production of images of the self and images of the world that transcend engagement. Imagination does include fantasies. But this is precisely because it is a creative process that reaches beyond direct engagement, not because it is inherently misleading.
Far from an individual withdrawal from reality, it is a mode of belonging that always involves the social world to expand the scope of reality and identity.
Cf Communities of Practice, Learning, Meaning and Identity Etienne Wenger.
II. L’IMAGINATION SPIRITUELLE.
Cf Mundus Imaginalis ou l’imaginaire et l’imaginal par Henri Corbin.
Applications pratiques :
"Designing for the Methanians on Arcturus IV: The Creative Engineering Approach of John E. Arnold", un sujet qui n’aurait pas déplu à Charles Hall.
M.I.T: Massachussetts Intergalactic Traders.
I.D.E.O: Influential Center for Design Research.
Design thinking and cultures of the imagination.