Now, how ta make the beforementioned creation
...but, full size
...& outta what???
Well, it'sa still WINTER here in Toledo
...but, Ima gettin'a a bit antsy (technical term) ta make some REAL progress on this monocoque project
So, after a bit of contemplation (thinkin')
...I'ma thinkin'...maybe...WOOD
I've been thinking about "imagination"
...& "how" I/you/we &/or folks in general "come up" with ...stuff
...& found some interesting info...
So, I thought...I'd...share
"Imagination is the production of
sensations,
feelings and
thoughts informing
oneself. These experiences can be re-creations of past experiences, such as vivid memories with imagined changes, or completely invented and possibly fantastic scenes. Imagination helps apply knowledge to solve problems and is fundamental to integrating experience and the
learning process.
Imagination is the process of developing theories and ideas based on the functioning of the mind through a creative division. Drawing from actual perceptions, imagination employs intricate conditional processes that engage both
semantic and
episodic memory to generate new or refined ideas. This part of the mind helps develop better and easier ways to accomplish tasks, whether old or new.
A way to train imagination is by listening to and practicing
storytelling (
narrative), wherein imagination is expressed through stories and writings such as
fairy tales,
fantasies, and
science fiction. When children develop their imagination, they often exercise it through pretend play. They use
role-playing to act out what they have imagined, and followingly, they play on by acting as if their make-believe scenarios are actual reality.
Etymology
The English word "imagination" originates from the Latin term "imaginatio," which is the standard Latin translation of the Greek term "phantasia." The Latin term also translates to "
mental image" or "fancy." The use of the word "imagination" in English can be traced back to the mid-14th century, referring to a faculty of the mind that forms and manipulates images.
Definition
In modern philosophical understanding, imagination is commonly seen as a faculty for creating
mental images and for making non-rational, associative transitions among these images.
The psychological view of imagination relates this concept to a cognate term, "mental imagery," which denotes the process of reviving in the mind recollections of objects previously given in sense
perception.
Ancient
Ancient Greek philosophers conceived imagination, or "phantasia," as working with "pictures" in the sense of
mental images.
Aristotle, in his work
De Anima, identified imagination as a faculty that enables an
image to occur within us,
[18][19] a definition associating imagination with a broad range of activities involved in thoughts,
dreams, and
memories.
Middle Ages
In the
Middle Ages, the concept of imagination encompassed domains such as
religion,
literature,
artwork, and notably,
poetry. Men of science often recognized
poets as "imaginative," viewing imagination as the mental faculty that specifically permitted poetry writing. This association, they suggested, lies in the capacity of imagination for image-making and image-forming, which results in a sense of "visualizing" with "the inner eye."
Medieval theories of
faculty psychology posited imagination as a faculty of the internal senses (alongside
memory and
common sense): imagination receives mental images from
memory or
perception, organizes them, and transmits them to the reasoning faculties, providing the
intellect with sense data. In this way, it enables the reshaping of images from
sense perception (even in the absence of
perception, such as in
dreams), performing a filtering function of reality.
Although not attributed the capacity for creations, imagination was thought to combine images received from memory or perception in creative ways, allowing for the invention of novel concepts or expressions. For example, it could fuse images of "gold" and "mountain" to produce the idea of a "golden mountain."
In medieval artistic works, imagination served the role of combining images of perceivable things to portray legendary, mysterious, or extraordinary creatures. This can be seen in the depiction of a Mongolian in the
Grandes Chroniques de France(1241), as well as in the portrayal of
angels,
demons,
hell, and the
apocalypse in Christian religious paintings.
Renaissance/Early Modern
The
Renaissance saw the revival of classical texts and the celebration for men's dignity, yet scholars of the time did not significantly contribute to the conceptual understanding of "imagination."
Marsilio Ficino, for example, did not regard artistic creations such as
painting,
sculpture and
poetry as privileged forms of human
creativity, nor did he attribute
creativity to the faculty of imagination. Instead,
Ficino posited that imagination could be the vehicle through which
divine intervention transmits insights in the form of
images, which ultimately facilitates the creation of
art.
Nevertheless, the groundwork laid by
humanists made it easier for later thinkers to develop the connection between imagination and
creativity.
Early modern philosophers began to consider imagination as a trait or ability that an individual could possess.
This type of wit was thought to be typically found in individuals for whom imagination was the most prominent component of their "ingenium" (
Spanish:
ingenio; term meaning close to "
intellect").
Early modern philosophers also started to acknowledge imagination as an active, cognitive faculty, although it was principally seen as a mediator between
sense perception (
Latin:
sensus) and pure understanding (
Latin:
intellectio pura).
...but wait...there's more
