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It is important to have a clear vision of what the end result looks like, unless you are happy to just throw materials together and see what happens. It is vital to apply creative imagination as described earlier, especially the upside-down principle. Instead, they are held back from what they want to achieve by focusing on the obstacles that get in the way. You need to have a strong, clear vision and most importantly, know why your vision is so important to you.
Creative imagination together with empathic imagination is a very powerful combination. If you look back at some of the great leaders of the past, most of them had a purpose; something bigger than what they wanted to achieve for themselves. Great leaders often have a passion that addresses the plight of people other than what they want for themselves. Even if they have experienced hardship, they are able to imagine what it would be like for people in worse conditions.
Just think of people like Mahatma Gandhi, Nelson Mandela and Mother Teresa — they were very much driven by their empathic imagination. Sometimes it might take some courage to go against a restrictive way of thinking. The Red hat represents intuition, feelings and hunches and the Green hat represents creative ideas and possibilities.
As a leader of a team, it may be a good idea to read or become trained in the Six Hat Thinking process. Film not only represents a version of the imagination to the public in mass media form, but it also suggests an associative capability of the imagination which harks back to Aristotle's conception of the imagination in cognitive reasoning. Film suggests associations that are made in the individual imagination through its various filmic techniques: montage, cuts, edits, and splicing scenes.
Manovich elaborates on this effect when he writes about interaction with various forms of media. He explains that media-interaction too often forgets the element of "psychological interaction" present in most classical and modern art forms.
He gives examples: "ellipses in literary narration, missing details of objects in visual art, theater and painting techniques used to orchestrate the viewer's attention" He indicates that all these are "shortcuts that require the user to fill in missing information" Manovich, Thus, in film, abstraction in the form requires the viewer's imagination to create a coherent vision of the work.
Montage, then, demands the viewer to make associative connections between images, thus requiring the work of the imagination. Film and other media mimic or simulate the associative properties of the imagination. The same property of film that represents associative process thought to take place in the imagination is also said to be seen in the layout of the webpage on the internet. In the hyper-link, like montage, the webpage presents a structure in which cognitive associations are designated for the viewer.
Thus, a user can click on an image and be sent to an explanation in words, or vice-versa. If this association is an imaginative property then the indication is that the imagination works in mixed-media.
Manovich explains that "the psychological processes of filling-in, hypothesis formation, recall, and identification, which are required for us to comprehend any text or image at all, are mistakenly identified with an objectively existing structure of interactive links" Manovich, Manovich explores this notion further in his reference to Althusser, when he says, "we are asked to mistake the structure of somebody else's mind for our own" Manovich, It is argued in aesthtic theory that the imagination is not in fact a productive organism but rather a responsive one; one that must respond to outside stimuli.
According to this position, the imagination is a generative faculty that requires activation "from outside itself" with "no intentionality of its own but has intentions imposed on it by the demands of its activator" Encyclopedia of Aesthetics , It seems that this activation comes from something perceived in the "real" world, or possibly in the mediated world.
Thus, in film, where someone else's imagination is being presented, the individual is asked to identify with it as it were his own. Both in film and in virtual reality historically there was a concern that the medium would take over human properties of the imagination.
Following Kittler, Manovich cites Munsterburg in The Film: A Psychological Study , "the essence of film lies in its ability to reproduce or objectify various mental functions on the screen. She now tells stories in which the imagination plays an important part.
It was beyond his imagination that she would grant him that which he wanted! My imagination got the better of me and I took it out on you. All rights reserved. Filters 0. Attention, interest, or enthusiasm.
The definition of imagination is the ability to come up with mental images of something that is not real or to come up with new and creative ideas.
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