How Do We Imagine the Past? On Metaphorical Thought, Experientiality and Imagination in Archaeology


Book Description

Recent years have witnessed a search for new sources for archaeological inspiration within areas which until recently have not been imagined as a source for science. Archaeology has become more “anthropologized”, and, as such, is becoming increasingly influenced by the Zeitgeist, although some European schools are yet to recognize this. The process of scientific research that archaeologists have always considered to be an objective approach has been revealed to be the result of different subjective cognitive processes, forming part of the contemporary humanistic paradigm, a fact confirmed by new tendencies in contemporary archaeology. Consequently, this book considers the question: how does the archaeologist think today? Beginning with simple analogies issued from archaeological experiments or from ethnography, the structure of the contemporary archaeological thought is increasingly complex, working today with concepts that only yesterday were a subject of study. This book considers these new types of approaches, through a series of personal narratives provided by archaeologists, describing their working methods in the process of imagining the past.







Imagining Landscapes


Book Description

The landscapes of human habitation are not just perceived; they are also imagined. What part, then, does imagining landscapes play in their perception? The contributors to this volume, drawn from a range of disciplines, argue that landscapes are 'imagined' in a sense more fundamental than their symbolic representation in words, images and other media. Less a means of conjuring up images of what is 'out there' than a way of living creatively in the world, imagination is immanent in perception itself, revealing the generative potential of a world that is not so much ready-made as continually on the brink of formation. Describing the ways landscapes are perpetually shaped by the engagements and practices of their inhabitants, this innovative volume develops a processual approach to both perception and imagination. But it also brings out the ways in which these processes, animated by the hopes and dreams of inhabitants, increasingly come into conflict with the strategies of external actors empowered to impose their own, ready-made designs upon the world. With a focus on the temporal and kinaesthetic dynamics of imagining, Imagining Landscapes foregrounds both time and movement in understanding how past, present and future are brought together in the creative, world-shaping endeavours of both inhabitants and scholars. The book will appeal to anthropologists, sociologists and archaeologists, as well as to geographers, historians and philosophers with interests in landscape and environment, heritage and culture, creativity, perception and imagination.




History and Future


Book Description

Perhaps the most important histiographic innovation of the twentieth century was the application of the historical method to wider and more expansive areas of the past. Where historians once defined the study of history strictly in terms of politics and the actions and decisions of Great Men, historians today are just as likely to inquire into a much wider domain of the past, from the lives of families and peasants, to more abstract realms such as the history of mentalities and emotions. Historians have applied their method to a wider variety of subjects; regardless of the topic, historians ask questions, seek evidence, draw inferences from that evidence, create representations, and subject these representations to the scrutiny of other historians. This book severs the historical method from the past altogether by applying that method to a domain outside of the past. The goal of this book is to apply history-as-method to the study of the future, a subject matter domain that most historians have traditionally and vigorously avoided. Historians have traditionally rejected the idea that we can use the study of history to think about the future. The book reexamines this long held belief, and argues that the historical method is an excellent way to think about and represent the future. At the same time, the book asserts that futurists should not view the future as a scientist might--aiming for predictions and certainties--but rather should view the future in the same way that an historian views the past.




Counternarratives


Book Description

Now in paperback, a bewitching collection of stories and novellas that are “suspenseful, thought-provoking, mystical, and haunting” (Publishers Weekly) Ranging from the seventeenth century to the present, and crossing multiple continents, Counternarratives draws upon memoirs, newspaper accounts, detective stories, and interrogation transcripts to create new and strange perspectives on our past and present. “An Outtake” chronicles an escaped slave’s take on liberty and the American Revolution; “The Strange History of Our Lady of the Sorrows” presents a bizarre series of events that unfold in Haiti and a nineteenth-century Kentucky convent; “The Aeronauts” soars between bustling Philadelphia, still-rustic Washington, and the theater of the U. S. Civil War; “Rivers” portrays a free Jim meeting up decades later with his former raftmate Huckleberry Finn; and in “Acrobatique,” the subject of a famous Edgar Degas painting talks back.




Historical Imagination


Book Description

Historical Imagination examines the threshold between what historians consider to be proper, imagination-free history and the malpractice of excessive imagination, asking where the boundary between the two sits and the limits of permitted imagination for the historian. We use "imagination" to refer to a mental skill that encompasses two different tasks: the reconstruction of previously experienced parts of the world and the creation of new objects and experiences with no direct connection to the actual world. In history, imagination means using the mind's eye to picture both the actual and inactual at the same time. All historical works employ at least some creative imagination, but an excess is considered "too much". Under what circumstances are historians permitted to cross this boundary into creative imagination and how far can they go? Supporting theory with relatable examples, Staley shows how historical works are a complex combination of mimetic and creative imagination and offers a heuristic for assessing this ratio in any work of history. Setting out complex theoretical concepts in an accessible and understandable manner and encouraging the reader to consider both the nature and limits of historical imagination, this is an ideal volume for students and scholars of the philosophy of history.




Dark Persuasion


Book Description

A harrowing account of brainwashing’s pervasive role in the twentieth and twenty-first centuries This gripping book traces the evolution of brainwashing from its beginnings in torture and religious conversion into the age of neuroscience and social media. When Pavlov introduced scientific approaches, his research was enthusiastically supported by Lenin and Stalin, setting the stage for major breakthroughs in tools for social, political, and religious control. Tracing these developments through many of the past century’s major conflagrations, Dimsdale narrates how when World War II erupted, governments secretly raced to develop drugs for interrogation. Brainwashing returned to the spotlight during the Cold War in the hands of the North Koreans and Chinese. In response, a huge Manhattan Project of the Mind was established to study memory obliteration, indoctrination during sleep, and hallucinogens. Cults used the techniques as well. Nobel laureates, university academics, intelligence operatives, criminals, and clerics all populate this shattering and dark story—one that hasn’t yet ended.




Imagine


Book Description

How do you measure the imagination? How do you quantify an epiphany? In Jonah Lehrer's book, we go in search of the epiphany. Shattering the myth of creative 'types', Lehrer shows how new research is deepening our understanding of the human imagination.




What If


Book Description

What if Christianity is simple? When Jesus gave his first public address, he said, I have come to fulfill the law and the prophets and to set the captives free. When a contract is fulfilled, it is completed and is no longer in effect. Religion is a form of bondage that enslaves its adherents to a set of rules that constitute sin. It portrays the image of a God who acts as a judge. In one hand he has a legal pad and pen and in the other a club. When sufficient sins have been committed, the club is used on the sinner. Jesus died on the cross to fulfill the need for justice and came to earth to show that God is not the ogre with a club but a loving father with outstretched arms wanting to hug his children He sent to us the Holy Spirit so we might have the heart and mind of Christ and be empowered to live a life free from the bondage of sin and religion. This book shows the reader how to do that and points out the stumbling blocks that may interfere. It enables the reader to see the simplicity of Christianity and understand why it should surpass religion in our lives.




The Cambridge Handbook of the Neuroscience of Creativity


Book Description

Historically, the brain bases of creativity have been of great interest to scholars and the public alike. However, recent technological innovations in the neurosciences, coupled with theoretical and methodological advances in creativity assessment, have enabled humans to gain unprecedented insights into the contributions of the brain to creative thought. This unique volume brings together contributions by the very best scholars to offer a comprehensive overview of cutting edge research on this important and fascinating topic. The chapters discuss creativity's relationship with intelligence, motivation, psychopathology and pharmacology, as well as the contributions of general psychological processes to creativity, such as attention, memory, imagination, and language. This book also includes specific and novel approaches to understanding creativity involving musicians, polymaths, animal models, and psychedelic experiences. The chapters are meant to give the reader a solid grasp of the diversity of approaches currently at play in this active and rapidly growing field of inquiry.