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'No matter how long I may look at an image, I shall never find anything in it but what I put there. It is in this fact that we find the distinction between an image and a perception.' - Jean-Paul SartreL'Imagination was published in 1936 when Jean-Paul Sartre was thirty years old. Long out of print, this is the first English translation in many years. The Imagination is Sartre's first full philosophical work, presenting some of the basic arguments concerning phenomenology, consciousness and intentionality that were to later appear in his master works and be so influential in the course of twen

The usefulness of strategic imagination is one of the coveted competitive advantages today. I present some of the moments of its historical evolution and some of the social architectures that can generate it.

AbstractImagination is often considered the pinnacle of representational cognition. Looking at the concrete details of imagining in context, this paper aims to contribute to the emerging literature that is challenging this representational view by offering a relational and radically situated alternative. On the basis of observing architects in the process of making an architectural art installation, we show how to consider imagination not as de-contextualized achievement by an individual but as an opening up to larger-scale "affordances," i.e. the unfolding possibilities for action. We show how the architects coordinate the enactment of multiple affordances across different timescales, from small-scale affordances of picking up a mobile phone to the large-scale affordance of making the installation that takes months to unfold. These affordances get co-determined as they are jointly enacted. It is within this determining process that imagination too finds its place. On our view it is the indeterminacy of multiple affordances unfolding in action simultaneously that can be experienced as imaginative. The indeterminate character of this coordinative process allows activities to widen and open up, letting new possibilities for action enter into them.

The article is concerned with the current security policy paradigm of precaution, which tries to be prepared for a completely unknown ("unknown unknowns") situation of danger. Within this political security regime, imaginations, both of disruption and security, gain center stage: They enable – at least approximately – the preparative handling with a yet unknown or even unthinkable future catastrophe and simultaneously serve as media of societies self-description. To be able to grasp the political role of imagination analytically, after a short historical and theoretical introduction, the article presents a model that shows the transformation of diffuse anxiety into specific scenarios of fear infused with implications of values and actions to be the central function of collective imaginations of danger. Based on this, a typology of disruption is developed that distinguishes between predetermined disruption, adaptive disruption and overstressing disruption. ; The article is concerned with the current security policy paradigm of precaution, which tries to be prepared for a completely unknown ("unknown unknowns") situation of danger. Within this political security regime, imaginations, both of disruption and security, gain center stage: They enable – at least approximately – the preparative handling with a yet unknown or even unthinkable future catastrophe and simultaneously serve as media of societies self-description. To be able to grasp the political role of imagination analytically, after a short historical and theoretical introduction, the article presents a model that shows the transformation of diffuse anxiety into specific scenarios of fear infused with implications of values and actions to be the central function of collective imaginations of danger. Based on this, a typology of disruption is developed that distinguishes between predetermined disruption, adaptive disruption and overstressing disruption.

Kant's reflections on animals open up a hitherto overlooked approach to his conception of human intuition and imagination. In her book, Rahel Villinger shows how Kant's aesthetics, epistemology, and theory of history must be reread against the background of the assumption of sensible cognition in non-rational animals. Kant as a frigid thinker of human reason, who sees in the forces of sensibility nothing but immorality and animal baseness: this prejudice is still widespread. However, sensibility for Kant is first and foremost an autonomous and independent faculty of cognition through intuition and imagination. In this way, Kant's account of sensibility differs radically from that of the rationalist school philosophy of his day and also from the newly emerging philosophy of German idealism. Furthermore, Kant thought that we need the imagination of other animals to be able to critically think our own. Therefore, an imagination of animals with Kant includes both: the notion of a superhuman power of purely sensible intuition and imagination whose singularity and immediacy reflect the perfection and infinity of divine intuition; and the specific imagination of rational animals, whose descriptive activity combines image and writing, intuition and concept, and which becomes possible only through the imagination of their prehistorical origin - their animal prototype. Kant's reflections on animals thus reveal a hidden ambiguity in his thinking of sensible nature, which lives on in the foundations of modern aesthetics, poetics, and image theory. - Kants Reflexionen über die Tiere eröffnen einen bisher übersehenen Zugang zu seiner Konzeption menschlicher Anschauung und Einbildungskraft. In ihrem Buch zeigt Rahel Villinger, wie Kants Ästhetik, Erkenntnis- und Geschichtstheorie vor dem Hintergrund der Annahme eines tierischen Erkenntnisvermögens durch Anschauung und Einbildungskraft völlig neu lesbar werden.

Kant als frigider Denker der menschlichen Vernunft, der in den Kräften der Sinnlichkeit nichts als Unmoralität und tierische Niedrigkeit sieht: Dieses Vorurteil ist immer noch weit verbreitet. Tatsächlich aber ist Sinnlichkeit für Kant ein eigenförmiges und eigenständiges Vermögen der Erkenntnis durch Anschauung und Einbildungskraft. Gegen die rationalistische Schulphilosophie seiner Zeit und auch gegen die neu aufkommende Philosophie des deutschen Idealismus hat Kant damit eine von der Vernunft unabhängige Sinnlichkeit radikal aufgewertet.
Wir brauchen die Imagination anderer Tiere, um unsere eigene denken zu können und ihr kritisch die Grenzen zu ziehen. Darum umfasst eine Imagination der Tiere mit Kant beides: die Vorstellung einer übermenschlichen Kraft rein sinnlicher Anschauung und Einbildung, deren Singularität und Unmittelbarkeit die Vollkommenheit und Unendlichkeit göttlicher Anschauung spiegelt; und die spezifische Einbildungskraft vernünftiger Tiere, deren beschreibende Tätigkeit Bild und Schrift, Anschaulichkeit und Begriff verbindet, und die erst durch die Imagination ihres vorzeitigen Ursprungs - ihrer tierischen Urform - möglich wird. Am Leitfaden seiner Reflexionen über die Tiere wird so eine versteckte Doppelsinnigkeit in Kants Denken der sinnlichen Natur sichtbar, die die Grundlagen moderner Ästhetik, Poetik und Bildtheorie bestimmt.

Call for Papers für ein Panel auf der DGS-Sektionenkonferenz vom 23. bis 25. September 2024 in Osnabrück. Deadline: 15. März 2024

This paper retraces the political imagination in the background of an activist-artistic-scholarly project of commemorating socialist heritage in Mostar, Bosnia and Herzegovina. It suggests that more analytical attention needs to be paid to the coevalness of postsocialism. As a growing body of literature demonstrates, postsocialism can provide inspiration for imagining utopian futures. However, this orientation towards the future is not all there is to its political imagination. The main argument of the paper is that postsocialist political imagination is an epistemological and political project of re-describing the failures – those of socialist modernity as well as of the contemporary postsocialist moment – in a way that acknowledges disappointment, but still makes it possible to act. With its focus on redescribing present failures, it differs from decolonial political imagination, which is a project of prescribing new models, blueprints, and examples for how to organize reality beyond the hegemonic concepts and institutions that have been developed within the modernity/coloniality nexus. While postsocialist and decolonial political imaginations are interwoven in complex ways, since both are critical epistemological and political projects, there are important differences between them and one cannot and should not be reduced to the other. ; In diesem Beitrag wird die politische Imagination nachgezeichnet, die den Hintergrund für ein aktivistisch-künstlerisch-wissenschaftliches Projekt mit dem Namen "Mostar's Hurqualya" bildet, das an das sozialistische Erbe des Partisanenfriedhofs in Mostar, Bosnien und Herzegowina, erinnert. Die Hauptthese des Beitrags lautet, dass die postsozialistische politische Imagination ein erkenntnistheoretisches und politisches Projekt zur Neubeschreibung des Scheiterns – sowohl des Scheiterns der sozialistischen Moderne als auch des gegenwärtigen postsozialistischen Moments – darstellt, und zwar in einer Weise, die die Enttäuschung anerkennt, aber dennoch die Möglichkeit zum Handeln zulässt. Mit seinem Schwerpunkt auf der Neubeschreibung des Scheiterns unterscheidet sich der Beitrag möglicherweise von einer dekolonialen politischen Imagination. Er wird als ein Projekt verstanden, das neue Modelle, Entwürfe und Beispiele dafür vorgibt, wie die Realität jenseits der hegemonialen Konzepte und Institutionen organisiert werden kann, die im Rahmen des Zusammenhangs von Moderne und Kolonialität entstanden sind. Postsozialistische und dekoloniale politische Imaginationen sind zwar auf komplexe Weise miteinander verwoben, da es sich bei beiden um kritische epistemologische und politische Projekte handelt, es gibt jedoch auch Unterschiede zwischen ihnen. ; Peer Reviewed

Das Berliner Ensemble und die Komische Oper haben die aufwendige Hybrid-Inszenierung "Felix's Room" zusammen produziert. Dank eines virtuellen 3D-Scanners entstand aus einer Skizze ein Bühnenraum mit Fenstern, einer Tür und Möbeln.

von Sophie Diesselhorst