Ways of Knowing: IMAGINATION
We make sense of the world through eight ways of knowing: language, reason, sense perception, memory, faith, intuition, imagination and emotion. On this page, you will find articles, clips and links on imagination as a WOK.
Possible essay questions:
- “All knowledge depends on the recognition of patterns and anomalies.” Consider the extent to which you agree with this claim with reference to two areas of knowledge. (Specimen 2015)
- “There are only two ways in which humankind can produce knowledge: through passive observation or through active experiment.” To what extent do you agree with this statement? (May 2015)
- “There is no reason why we cannot link facts and theories across disciplines and create a common groundwork of explanation.” To what extent do you agree with this statement? (May 2015)
- Assess the advantages and disadvantages of using models to produce knowledge of the world. (November 2015)
- “No knowledge can be produced by a single way of knowing.” Discuss. (November 2015)
- “Metaphor makes no contribution to knowledge but is essential for understanding.” Evaluate this statement with reference to two areas of knowledge. (November 2016)
Imagination
When I was in my second year of primary school (in the 1980's), my classroom teacher had a genuine distrust of imagination. Writing skills were developed by copying neatly (or less so, in my case). Maths consisted of simple sums; and art was confined to craft (knitting, to be more precise). Knowledge was passed on, memorised and reproduced in test conditions, where the best clones of our teacher's thoughts gained the highest marks. We were not asked to express our opinions. We were not encouraged to have an idea of our own. A few years later, some younger and more forward looking teachers introduced creative writing, imaginative group projects and mathematics which required insight. A new world opened up for me. Being creative and imaginative was suddenly something to be proud of. My children now go to school in an education system where imagination is seen as one of the highest forms of intelligence, but this has not always been the case in schools.
The improved status of imagination in contemporary society is partly due to the easy access to information through new technologies. The availability of 'factual' information through the internet, for example, somewhat diminishes the importance of learning by heart. In a time of post-truths, and 'alternative facts', we have to evaluate the information that reaches us. Reciting (factual) information from Wikipedia, does not necessarily make you look smart. Having an imaginative idea, however, or being able to think for yourself, seems to suggest the opposite. We also have a lot more free time than people had generations ago. We now have access to an entire entertainment industry which thrives largely due to the power of imagination. We seem to have unlimited access to the imaginative worlds presented by films, certain television programmes, (computer) games and literature. Consequently, imagination has become part of our daily lives, whether we feel particularly creative or not.
But, is imagination a source of knowledge? Is it a tool we use to gather knowledge? And, if so, is this the case for all areas of knowledge?
When we talk about imagination, we will almost immediately think of the arts. Artists use imagination to create art work. In addition, the spectator or audience resorts to imagination to interpret the knowledge conveyed by the art work. We could consider genuine (good) art to be the product of this creative, interpretative dialogue between the artists, his/her work of art and its audience. We can ask ourselves whether art without imagination is possible. Without this imaginative, interpretative dialogue, we seem stuck with a skills based level; craft which does not convey or lead to new knowledge. Given the important role imagination plays in the arts, we can evaluate the implications of using imagination as a basis for knowledge creation in this AOK. If the knowledge produced by the arts is founded in what is not real, are there limits to the knowledge the arts can bring us? If the knowledge produced by the arts is founded in human imagination, are there limits to the scope of knowledge production of the arts? Given that imagination can lead us to knowledge beyond reality and the ethical boundaries that confine our reality, does this perhaps lead to a broadened scope of knowledge production through the arts?
Indigenous knowledge communities also seem to rely quite heavily upon imagination as a source of knowledge. The importance of songs, dance and story telling in indigenous societies lead us to believe that imagination plays an invaluable role in the creation and representation of indigenous knowledge systems. Imagination can be used to make sense of the world, to organise knowledge about the natural world and to explain reasons for our existence.
Interestingly, what is considered imagination to some people, may well be reality to others. For example, to atheists, religion is a mere product of human imagination. Yet, even if you feel that religion represents reality and truth, you will have to resort to imagination to grasp the finesses which religious knowledge systems have to offer. Morality plays an important role within religion and to gain knowledge in the field of ethics, we need imagination. After all, to empathise you need to be able to imagine. We also need imagination to interpret religious texts, to make religious knowledge our own and to conceptualise the bigger things in life such as death, the reason we live, and our place in the universe. In this context, it is worth exploring the role of metaphor and the figurative use of language within religious texts, creation stories and oral traditions.
So can imagination give us knowledge which other ways of knowing can't? Imagination conveys truths that reality hides and stimulate us to create new knowledge. Many scientific discoveries would not have been made without imagination. Problem solving is often the result of creative imagination as well. In the field of politics and ethics, imagination can lead to the 'discoveries' of dystopian and utopian realities. The ideologies as well as the nightmare scenarios which some political leaders present us, clearly draw on imagination (whether or not these visions are based on reality). They shape what we know and how we live our lives. The apocalyptic futures of religious text draw on imagination as well. Imagination also plays an important role in understanding others, as illustrated before through the example of empathy. Imagination is more than conjuring a mental picture of something. It also means 'imagining that'. The latter partly explains the political role of imagination in sociological advances as well as socio-political ideals and paradigm shifts. The importance of imagination as a way of knowing is highlighted by the mental conditions which distort one's imagination, such as schizophrenia and severe autism. Finally, imagination plays a substantial role in theory creation and the invention of models. The latter could lead to some interesting knowledge questions, as questions on models, prediction and theory are central within the TOK course.
The improved status of imagination in contemporary society is partly due to the easy access to information through new technologies. The availability of 'factual' information through the internet, for example, somewhat diminishes the importance of learning by heart. In a time of post-truths, and 'alternative facts', we have to evaluate the information that reaches us. Reciting (factual) information from Wikipedia, does not necessarily make you look smart. Having an imaginative idea, however, or being able to think for yourself, seems to suggest the opposite. We also have a lot more free time than people had generations ago. We now have access to an entire entertainment industry which thrives largely due to the power of imagination. We seem to have unlimited access to the imaginative worlds presented by films, certain television programmes, (computer) games and literature. Consequently, imagination has become part of our daily lives, whether we feel particularly creative or not.
But, is imagination a source of knowledge? Is it a tool we use to gather knowledge? And, if so, is this the case for all areas of knowledge?
When we talk about imagination, we will almost immediately think of the arts. Artists use imagination to create art work. In addition, the spectator or audience resorts to imagination to interpret the knowledge conveyed by the art work. We could consider genuine (good) art to be the product of this creative, interpretative dialogue between the artists, his/her work of art and its audience. We can ask ourselves whether art without imagination is possible. Without this imaginative, interpretative dialogue, we seem stuck with a skills based level; craft which does not convey or lead to new knowledge. Given the important role imagination plays in the arts, we can evaluate the implications of using imagination as a basis for knowledge creation in this AOK. If the knowledge produced by the arts is founded in what is not real, are there limits to the knowledge the arts can bring us? If the knowledge produced by the arts is founded in human imagination, are there limits to the scope of knowledge production of the arts? Given that imagination can lead us to knowledge beyond reality and the ethical boundaries that confine our reality, does this perhaps lead to a broadened scope of knowledge production through the arts?
Indigenous knowledge communities also seem to rely quite heavily upon imagination as a source of knowledge. The importance of songs, dance and story telling in indigenous societies lead us to believe that imagination plays an invaluable role in the creation and representation of indigenous knowledge systems. Imagination can be used to make sense of the world, to organise knowledge about the natural world and to explain reasons for our existence.
Interestingly, what is considered imagination to some people, may well be reality to others. For example, to atheists, religion is a mere product of human imagination. Yet, even if you feel that religion represents reality and truth, you will have to resort to imagination to grasp the finesses which religious knowledge systems have to offer. Morality plays an important role within religion and to gain knowledge in the field of ethics, we need imagination. After all, to empathise you need to be able to imagine. We also need imagination to interpret religious texts, to make religious knowledge our own and to conceptualise the bigger things in life such as death, the reason we live, and our place in the universe. In this context, it is worth exploring the role of metaphor and the figurative use of language within religious texts, creation stories and oral traditions.
So can imagination give us knowledge which other ways of knowing can't? Imagination conveys truths that reality hides and stimulate us to create new knowledge. Many scientific discoveries would not have been made without imagination. Problem solving is often the result of creative imagination as well. In the field of politics and ethics, imagination can lead to the 'discoveries' of dystopian and utopian realities. The ideologies as well as the nightmare scenarios which some political leaders present us, clearly draw on imagination (whether or not these visions are based on reality). They shape what we know and how we live our lives. The apocalyptic futures of religious text draw on imagination as well. Imagination also plays an important role in understanding others, as illustrated before through the example of empathy. Imagination is more than conjuring a mental picture of something. It also means 'imagining that'. The latter partly explains the political role of imagination in sociological advances as well as socio-political ideals and paradigm shifts. The importance of imagination as a way of knowing is highlighted by the mental conditions which distort one's imagination, such as schizophrenia and severe autism. Finally, imagination plays a substantial role in theory creation and the invention of models. The latter could lead to some interesting knowledge questions, as questions on models, prediction and theory are central within the TOK course.
Too little imagination?What if we don't have enough imagination? Simply following the rules or reproducing information you have gathered somewhere, does not create new knowledge. To solve problems in maths, for example, you will need to use imagination. To have an original thought within your dissertation, you need to be creative. And to create a real work of art, you simply can't copy someone else's work. Originality is highly valued and is often considered a true sign of intelligence. Originality is often the result of interplay between shared and personal knowledge.
A lack of imagination can also be dangerous. Many historical atrocities were the result of groupthink, situations in which authorities were worshipped without the desire or courage of individuals to think for themselves. It is important to be original and different at times. Finally, a lack of imagination can be challenging. What if we find it hard to grasp metaphorical language? If we find it impossible to empathise? What if we just don't get what art is? If we don't experience the joys or catharsis of fantasies? |
Too much imagination?The film 'A Beautiful Mind' highlights the problems that arise when you have too much imagination, when a mental impairment does not allow you to distinguish between reality and fantasy. Yet, you don't necessarily need to suffer from mental impairments to fail to distinguish between imagination and reality. As Michael Shermer explores in his TED talk on patternicity, many of us tend to believe strange things. We need to find a balance between finding patterns where they are there, and avoid getting carried away by our imaginative fantasies.
Creativity can be wonderful, it can be the source of original art and unlimited wonderful expression. But sometimes, we forget that we need some roots to make these expressions meaningful or beautiful. For example, being a good musician is not confined to scales and technique. But expressing yourself freely on a piano without any background or knowledge about playing the piano will simply be expression, not necessarily art. Likewise, you need to follow the rules of mathematics or science if you want to reproduce or create knowledge in these fields. |