for - Deep Humanity BEing journeys - Collective Imagination Practices Toolkit - from - LinkedIn - Donna Nelham repost of - Collective Imagination Practices Toolkit

from - Linked In - Donna Nelham repost - Collective Imagination Practices Toolkit - https://hyp.is/WUQ9qHhFEe-tIDuxzbtm9w/www.linkedin.com/posts/griffith-centre-for-systems-innovation_themes-and-tools-collective-imagination-activity-7242354970841284608-W5AO/

Class 1, Why Does the Civil War and Reconstruction Have a Hold on American Historical Imagination? by David Blight for [[YaleCourses]]

The bath is a place of/vessel of imagination.

for - stories - salience of adjacency- imagination - stories - futures - Ernest Becker - self - timebinding - symbolosphere - quote - Brian Eno - book - Citizens - Jon Alexander - Arian Conrad - citizens - not consumers

quote - Brian Eno

• The stories we tell
  • shape how we see ourselves, and
  • how we see the world.
• When we see the world differently,
  • we begin behaving differently,
  • living into the new story.
• When Martin Luther King said
  • “I have a dream,”
• he was
  • inviting others to dream it with him,
  • inviting them to step into his story.
• Once a story becomes shared in that way,
  • current reality gets measured against it and
  • then modified towards it.
• As soon as we sense the possibility of a more desirable world,
  • we begin behaving differently,
    • as though that world is starting to come into existence,
    • as though, in our minds at least, we’re already there.
• The new story becomes an invisible force which pulls us forward.
• By this process it starts to come true.

• Imagining the future makes it more possible.

• Sometimes this work of imagination and storytelling is about the future,

  • as in Dr King’s story.
• Art can play this role:
  • what is possible in art becomes thinkable in life.
• We become our new selves first in simulacrum, through
  • style and
  • fashion and
  • art,
• our deliberate immersions in virtual worlds.
• Through them we sense what it would like
  • to be another kind of person
  • with other kinds of values.
• We rehearse new
  • feelings and
  • sensitivities.
• We imagine other ways of thinking about
  • our world and
  • its future.
• We use art to model new worlds so that
  • we can see how we might feel about them.

comment - This is a really powerful writing from Brian Eno. - Storytelling is an exercise in - the imagination of alternative possibilities to our own reality. - Stories can become both - inspirational and - aspirational - They can paint a picture in our mind of - a fantasy - a world that does not yet exist - but that nonexistent but desirable reality can then serve as the goal for which we strive - Mapping Futures interventions is then, essentially an act of desirable, inspirational make believe, and mustering the resources to turn the fantasy into reality - Progress relies on design, the imagination of unrealities in vivid detail, - in order to turn them into realities - In doing this, it is not an act carried out in ivory towers, - but in the everyday life of every one of us - We are all engaged in desirable fantasies daily whenever - we decide what meal we will prepare or restaurant to dine at - which clothing outfit to wear today - what we plan to write or say next to another - Every decision we make as a choice between different future alternatives - When it comes to planning major future decisions, - we need to have as much detail as possible of the imagined future - The Town Anywhere project conceived by Ruth Ben-Tovin and employed in the Transition Town movement for many years fis an example of such a simulacrum - https://hyp.is/mqeCtAE_Ee-Yxleqg7GFww/docdrop.org/video/cRvhY4S94ic/ - It provides an artistic space for citizens to imagine a desirable fantasy that can be embodied, enacted and deeply remembered through the participatory and collective citizen act of creating a proxy of their future local habitat in the present, and exploring and momentarily inhabiting their simulacrum. - In this way, this compelling experience is like a branding iron, searing the memory deep into our memory, where it can help guide our actions to realize the desirable fantasy. - Couched within a citizen's FREEligion and FREElosophy we generically call Deep Humanity, an open source, open knowledge approach to universal raison d'etre for what it deeply means to be human, Town Anywhere can scale to fire up the imagination of citizens to co-create our collective future. - Town Anywhere, along with other citizen initiatives which I belong to that advocate healthy citizen power such as SONEC, Stop Reset Go, Deep Humanity, the Indyweb, Living Cities Earth and many, many others can emerge a human murmuration to drive the transition - https://hyp.is/go?url=https%3A%2F%2Fleemor.medium.com%2Fmesmerized-by-the-murmuration-on-human-potential-f4c9ffe06ffa&group=world - As Jon Alexander and Arian Conrad write here, we have to find the narratives that matter to us, where WE is the citizens. Other thinkers like Jose Ramos write along the same line: - https://hyp.is/go?url=https%3A%2F%2Foff-planet.medium.com%2Fdiscovering-the-narratives-that-matter-to-us-327958a2daec&group=world

Reasons kids should use apps and what apps and parents must consider

for - adjacency - self construction - judgment as simplification - imagination is hard work

adjacency - between - self construction - judgment as simplification - imagination as hard work - adjacency statement - We construct the self of others because we are lazy. - It takes hard work to construct a complex picture of another human being. - It's easier to just pass simple judgment and create a label for the other.

The first part of "sociological imagination" for Mills is what I term combinatorial creativity. In his instance, at varying intervals he dumps out disconnected ideas, files and resorts them to find interesting potential solutions.

Can the zettelkasten method be a means of fixing/helping with this problem of facts versus creativity in a programmatic way?

Mills, C. Wright. “On Intellectual Craftsmanship (1952).” Society 17, no. 2 (January 1, 1980): 63–70. https://doi.org/10.1007/BF02700062.

Cross reference published version from 1959, 1980: https://hypothes.is/a/7NmPckD4Ee2-r1NbihZN2A

Read on 2022-10-01 14:10

annotation target: urn:x-pdf:0138200b4bfcde2757a137d61cd65cb8

Profile of Ted Nelson

This is how I've read SF for years, both near future and space opera. As mood board and thinking input.

adrienne maree brown https://en.wikipedia.org/wiki/Adrienne_Maree_Brown in turn inspired by SF author Octavia Butler (have I read her xenogenesis trilogy?)

A paper recommended in the presentation "William Rowlandson - Image, Imagination And The Imaginal" filmed at Breaking Convention 2017.

Seems to be a different take on the "imaginal" than John Vervaeke's suggestion that the "imaginal" is using imagination for the sake of training and enhancing sensory awareness.

One's notes are an index of their intellectual progress. In sorting through and re-arranging them one "loosens their imagination".

C. Wright Mills delineates a rough definition of "sociological imagination" which could be thought of as a framework within tools for thought: 1. Combinatorial creativity<br /> 2. Diffuse thinking, flâneur<br /> 3. Changing perspective (how would x see this?) Writing dialogues is a useful method to accomplish this. (He doesn't state it, but acting as a devil's advocate is a useful technique here as well.)<br /> 4. Collecting and lay out all the multiple viewpoints and arguments on a topic. (This might presume the method of devil's advocate I mentioned above 😀)<br /> 5. Play and exploration with words and terms<br /> 6. Watching levels of generality and breaking things down into smaller constituent parts or building blocks. (This also might benefit of abstracting ideas from one space to another.)<br /> 7. Categorization or casting ideas into types 8. Cross-tabulating and creation of charts, tables, and diagrams or other visualizations 9. Comparative cases and examples - finding examples of an idea in other contexts and time settings for comparison and contrast 10. Extreme types and opposites (or polar types) - coming up with the most extreme examples of comparative cases or opposites of one's idea. (cross reference: Compass Points https://hypothes.is/a/Di4hzvftEeyY9EOsxaOg7w and thinking routines). This includes creating dimensions of study on an object - what axes define it? What indices can one find data or statistics on? 11. Create historical depth - examples may be limited in number, so what might exist in the historical record to provide depth.

"loosening my imagination" !!

Appendix to The Sociological Imagination (1959, 2000).

A 1952 draft was published as a stand alone journal article in 1980. https://link.springer.com/article/10.1007/BF02700062

see also: https://hypothes.is/a/_dii9ED4Ee2l-B9ghcZqvA

Mills, C. Wright. The Sociological Imagination. 40th anniversary edition. Oxford University Press, 2000.

we may not hope to find its solution within the range of opportunities open to any one individual. The very structure of opportunities has collapsed. Both the correct statement of the problem and the range of possible solutions require us to consider the economic and political institutions of the society, and not merely the personal situation and character of a scatter of individuals.16

1. C. Wright Mills, The Sociological Imagination (New York: Oxford University Press, 1959), p. 9.

I love this quote and it's interesting food for thought.

Framing problems from the perspectives of a single individual versus a majority of people can be a powerful tool.

The idea of the "welfare queen" was possibly too powerful because it singled out an imaginary individual rather than focusing on millions of people with a variety of backgrounds and diversity. Compare this with the fundraisers for impoverished children in Sally Stuther's Christian Children's Fund (aka ChildFund) which, while they show thousands of people in trouble, quite often focus on one individual child. This helps to personalize the plea and the charity actually assigned each donor a particular child they were helping out.

How might this set up be used in reverse to change the perspective and opinions of those who think the "welfare queen" is a real thing instead of a problematic trope?

That imagination makes one to ponder for a pretty good time :)

amen!

Reference to the museum exhibit: Zettelkästen. Maschinen der Phantasie.

I appreciate the poetry in this on top of the broader sentiment.

Being bound in the shackles of prior traditions and even one's own work can be stifling for future creativity and the expansion of our imaginations.

Link to the scientific revolution thesis of Thomas Kuhn.

Learning and mastering an alien language takes a tremendous amount of work, taxing one's imagination attempting to come to terms with similarly alien cultural concepts.

Rousseau was perfectly describing the intelligence and politics of Donald J. Trump when he described creatures which are like humans, but are "rushing headlong for their own chains". Trump was able to govern, but completely lacked the ability to imagine the consequences of any of his actions.

Not sure what name Rousseau gave these creatures. Which book was this in? Discourse on the Origin and Basis of Inequality Among Men?

Reimagining our social architecture might begin with rethinking our past and origins as a species.

I find myself thinking about Benjamin Doxtdator's piece which touches on different ways of "imagining", which call on different habits of mind.

A very pregnant passage that also only seems boring and uninteresting at first glance.

First point: feelings, "nerves," emotions are highlighted and a big deal is made about their communicability ("Do you understand this feeling?").

Next: this "scientific adventurer" is a "romantic poet"! ("Inspirited," "day dreams," "imagination," "beauty and delight.") No surprise then that a major theme of the novel is: the power of the imagination.

Unfortunately, he is also delusional: in mid-December, the sun would not be very visible at all! Why don't more people get this? Robert Walton is well-intentioned but also kind of a nut (IMHO)!

Zabelina, D., Clay, J., & Upshaw, J. (2021). Imagination, anxiety, and loneliness during the COVID-19 pandemic. PsyArXiv. https://doi.org/10.31234/osf.io/9aqbj

Imagination occurs a total of 82 times in this article.

I like this phrase and I want to implement it into my thinking. This is one of the greatest gifts that we can give ourselves or the greatest way that we can hamper ourselves: within the sensory rich memories that we create. Isaiah 26:3

IMAGINATION!!!

Hello?

Imagination!

What is revolutionary about this?

Victor's imagination is treated as an element of his personality motivated by its own success.

Like Robert Walton's love for poetry, Henry Clerval's love for books of chivalry and romance makes him sociable and open to domestic affections, unlike Victor. Victor will later regret that he did not have Henry's or Victor's orientation to languages and poetry at the most critical moments of his life.

Theseus was the mythical king and founder-hero of Athens. Plutarch's Life of Theseus makes use of varying accounts of the death of the Minotaur, Theseus' escape, and the love of Ariadne for Theseus.

Walton's imagined "paradise" of his own making suggests the power of imagination, yet also the possibility of creating a Hell of one's own. It is also one of the novel's many allusions to John Milton's Paradise Lost.

Walton's wish to be a poet, like Henry Clerval's taste for tales of romance, attest to their imaginativeness and capacity for sympathy that seems greater than Victor's, who has no literary interests. Victor also suggests that had his fate not turned out differently, he might have been a Henry Clerval. See Volume 1, Chapter 7.

The sublime is a notion in aesthetic and literary theory of striking grandeur of thought and emotion. The most important English work on the sublime is Edmund Burke's Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful and Immanuel Kant's Critique of Judgement, which influenced nineteenth-century English thought.

This blog is very good, high signal and low noise. The dense version of this idea that has stuck with me is that the thing we're aiming for (productivity, make-world-better-stuff, doing good) is a multiplicative-product of both hustle (physical work, pressing buttons, saying words that other people hear) and the thinking part. That is, long term goal completion is hustle (doing stuff) * thought (knowing what to do)

I may technically disagree with the "most important thing" part, but it needs some sort of strong emphasis. Hustle modifies ideas in a times-ish (multiplying) way, so if you've got zero hustle, you don't really have anything

One way to do world-bettering is to just have enough hustle to outsource the hustle (get other people to act on your ideas), or alternately if you have tons of hustle, then you can take good ideas which aren't going anywhere.

Knowing the difference between bad and good ideas is one of the core problems with the super-connected society/net we're in. The solution to the problem is too large for this margin.

This is stuffed to the gills with assumptions. And while there is a good deal of boilerplate Enlightenment business going on, Hume also seems to be planting the seeds later authors will reap.

Hume is requiring of the listener/taster/receiver, which is not new. "You think rap is good because you don't understand 'art' " is a common refrain. The elites have always used exposure to canonical works and forms as a method of discrediting those outside the circle, and have dismissed emerging works and forms as "lowbrow."

What strikes me about Hume, and perhaps posthumanism (along with Foucault) would find this noteworthy, is that this "violence on" a person is not done by the community, but by the person themself.

Is this the first time that such a transformation has taken place? Can you think of other historical cases where labour-intensive, low-value, or process-driven work has been automated?

How do you think Singapore's history might have been different if women were included among the founders of independent Singapore?

How do you think Singapore's history might have been different if women were included among the founders of independent Singapore?

Hello Milton! And maybe your "fancy", your imagination, is deceiving you in regard to believing that you are divinely inspired with the Knowledge of God in your portrayal of Adam, Eve, Satan and the Serpent!

We see this many times in Orlando, where time passes by very quickly. Here a whole year passes by while Orlando is writing and the narrator says that with Orlando only writing and thinking about love there is not much to write about in this year of her life. The narrator leaves it to our imagination and just tells us that Orlando writes and thinks about love and that there is not much to say besides that. When there isn't any evidence, any way to write exactly what happened and when the person the biography is being written about is doing unimportant things, time passes by very fast. This also shows us how there is a varying level of fact versus fiction in biographies because we can not be absolutely sure what is happening at every moment of the persons life.

A playful line. The girl offers up a side of childlike imagination, describing the rolling white hills in front as if they looked like white elephants.

This show sot us readers new insight into the character of the girl: that she is imaginative, creative, and is actively thinking. Perhaps she is not simply a follower to the American.

This is what we mean with the term 'sociological imagination'. Theory allows us to 'see' below the surface of society and to understand the invisible network of norms, values, structures, institutions and systems of inequality that shape individual choice and behavior. In this way, SNA should be fundamental to sociological methods.

Sociologists use the term 'sociological imagination' which refers to our ability to 'see' below the surface of society and to understand the invisible network of norms, values, structures, institutions and systems of inequality that shape individual choice and behavior.

Isn't this the foundation of the sociological imagination? Why is SNA not more central to sociological methods?

Identification Narrative culture

This is quite a departure from the praise of reason we've encountered from many of the Enlightenment writers. For Woolf, reason stifles imagination, especially women's imagination. Is reason stifling because it has often been defined/used by men, including in their defense of the "phantom" of gender roles?

"The imagination is addressed by exhibiting to it a lively and beautiful representation of a suitable object." - Campbell

Chapter VII: General Audience Awareness

But, really, Mere Rhetoric has a nice (I'm assuming she's mostly on point here) summary of some of the concepts to follow.

See this talk: "Changing Education Paradigm"

Note his emphasis upon these instruments and the work they have done, which includes shaping the human imagination.

Quote from Oscar Wilde

This talk about "diameter" reminds me of Burke's notions of "circumference."

nourish imagination. Plant metaphor. The teachers are the basis, the soil from which students are nourished and grow