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VI. THE TEACHER'S USE OF THE IMAGINATION






From: How to Teach

magination is governed by the same general laws of association which
control habit and memory. n these two former topics the emphasis was
upon getting a desired result without any attention to the form of that
result. magination, on the other hand, has to do with the way past
experience is used and the form taken by the result. t merges into
memory in one direction and into thinking in another. No one definition
has been found acceptable--in fact, in no field of psychology is there
more difference of opinion, in no topic are terms used more loosely,
than in this one of imagination. Stated in very general terms,
imagination is the process of reproducing, or reconstructing any form of
experience. The result of such a process is a mental image. When the
fact that it is reproduction or reconstruction is lost sight of, and the
image reacted to as if it were present, an illusion or hallucination
results.

mages may be classified according to the sense through which the
original experience came, into visual, auditory, gustatory, tactile,
kinaesthetic, and so on. n many discussions of imagery the term
"picture" has been used to describe it, and hence in the thought of many
it is limited rather definitely to the visual field. Of course this is
entirely wrong. The recall of a melody, or of the touch of velvet, or of
the fragrance of a rose, is just as much mental imagery as the recall of
the sight of a friend.

Three points of dispute in connection with image types are worth while
noting. First, the question is raised by some psychologists as to
whether kinaesthetic or motor images really exist. An example of such an
image would be to imagine yourself as dancing, or walking downstairs, or
writing your name, or saying the word "bubble." Those who object to such
an image type claim that when one tries to get such an image, the
attempt initiates slight muscle movements and the result is a sense
experience instead of an imaged one. They believe this always happens
and that therefore a motor image is an impossibility. Others agree that
this reinstatement of actual movements often happens, but contend that
in such cases the image precedes the movement and that the resulting
movement does not always take place. The question is still in dispute.

The second question in dispute is as to the possibility of classifying
people according to the predominant type of their imagery. People used
to be classed as "visualizers," "audiles." etc., the supposition being
that their mental imagery was predominantly in terms of vision or
hearing. This is being seriously questioned, and experimental work seems
to show that such a classification, at least with the majority of
people, is impossible. The results which are believed to warrant such a
conclusion are as follows: First, no one has ever been tested who always
used one type of image. Second, the type of image used changed with the
following factors: the material, the purpose of the subject, the
familiarity of the subject with the experience imagined. For example,
the same person would, perhaps, visualize if he were imaging landscape,
but get an auditory image of a friend's voice instead of a visual image
of him. He might, when under experimental conditions with the
controlling purpose,--that of examining his images,--get visual images,
but, when under ordinary conditions, get a larger number of auditory and
kinaesthetic images. He might when thought was flowing smoothly be using
auditory and motor images, but upon the appearance of some obstacle or
difficulty in the process find himself flooded with visual images.
Third, subjects who ranked high in one type of imagery ranked high in
others, and subjects who ranked low in one type ranked low also in
others. The ability seems to be that of getting clear image types, or
the lack of it, rather than the ability to get one type. Fourth, most of
the subjects reported that the first image was usually followed by
others of different types. The conclusions then, that individuals,
children as well as adults, are rarely of one fixed type, the mixed type
being the usual one, is being generally accepted. n fact, it seems much
more probable that materials and outside conditions can more easily be
classified as usually arousing a certain type of image, than people can
be classified into types.

The third point of controversy grows out of the second. Some
psychologists are asking what is the value of such a classification?
Suppose people could be put under types in imagery, what would be the
practical advantage? Such an attempt at classification is futile and not
worth while, for two reasons. First, the result of the mental
processes--the goal arrived at is the important thing, and the
particular type of image used is of little importance. Does it make any
difference to the business man whether his clerk thinks in terms of the
visual images of words or in terms of motor images so long as he sells
the goods? To the teacher of geography, does it make any difference
whether John in his thinking of the value of trees is seeing them in his
mind's eye, or hearing the wind rustle through the leaves, or smelling
the moist earth, leaf-mold, or having none of these images, if he gets
the meaning, and reaches a right conclusion? Second, the sense which
gives the clearest, most dependable impressions is not the one
necessarily in terms of which the experience is recalled. One of the
chief values urged for a classification according to image type of
people, especially children, has been that the appeal could then be made
through the corresponding sense organs. For instance, Group A, being
visualizers, will be asked to read the material silently; Group B,
audiles, will have the material read to them; Group C, motiles, will be
asked to read the material orally, or asked to dramatize it. For each
group the major appeal should be made in terms of the sense
corresponding to their image type. But such a correspondence as this
does not exist. An individual may learn best by use of his eyes and yet
very seldom use visual images in recall. This is true of most people in
reading. Most people grasp the meaning of a passage better when they
read it than when they hear it read, and yet the predominant type of
word image is auditory-motor. Hence if any classification of children is
attempted it should be according to the sense by means of which they
learn best, and not according to some supposed image type. Many methods
of appeal for all children is the safest practical suggestion.

mages may also be classified according to the use made of past
experience. Past experience may be recalled in approximately the same
form in which it occurred, or it may be reconstructed. n the former
case the image is called reproductive image or memory image; in the
latter form it is called productive or creative image, or image of the
imagination. The reproductive image never duplicates experience, but in
its major features it closely corresponds to it, whereas the productive
image breaks up old experiences and from them makes new wholes which
correspond to no definite occurrence. The elements found in both kinds
of imagery must come from experience. One cannot imagine anything the
elements of which he has not experienced. Creative imagination
transcends experience only in the sense that it remodels and remakes,
but the result of that activity produces new wholes as far removed from
the actual occurrences as "Alice in Wonderland" is from the humdrum life
of a tenement dweller. Just the same, the fact that the elements used in
creative work must be drawn from experience is extremely suggestive from
a practical point of view. t demonstrates the need of a rich sensory
life for every child. t also explains the reason for the lack of
appreciation on the part of immature children of certain types of
literature and certain moral questions.

No more need be said here of the reproductive image, as it is synonymous
with the memory image and was therefore treated fully under the topic of
memory. One fact should be borne in mind, however, and that is, that the
creative image is to some extent dependent on the reproductive image as
it involves recall. However, as productive imagery involves the recall
of elements or parts rather than wholes, an individual may have talent
in creative imagery without being above the average in exact
reproduction.

Productive imagery may be classified as fanciful, realistic, and
idealistic according to the character of the material used. Fanciful
productive imagery is characterized by its spontaneity, its disregard of
the probable and possible, its vividness of detail. t is its own
reward, and does not look to any result beyond itself. Little children's
imaginations are of this type--it is their play world of make-believe.
The incongruity and absurdity of their images have been compared to the
dreams of adults. Lacking in experience, without knowledge of natural
laws, their imagination runs riot with the materials it has at its
command. Some adults still retain it to a high degree--witness the myths
and fairy stories, "Alice in Wonderland," and the like. All adults in
their "castle-building" indulge in this type of imagery to some extent.
Realistic productive imagery, as its name implies, adheres more strictly
to actual conditions, it deals with the probable. t usually is
constructed for a purpose, being put to some end beyond itself. t lacks
much of the emotional element possessed by the other two types. This is
the kind most valuable in reasoning and thinking. t deals with new
situations--constructs them, creates means of dealing with them, and
forecasts the results. t is the type of productive imagery called into
play by inventors, by craftsmen, by physicians, by teachers--in fact, by
any one who tries to bring about a change in conditions by the
functioning of a definite thought process. This is the kind of imagery
which most interests grammar school pupils. They demand facts, not
fancies. They are most active in making changes in a world of things.

dealistic productive imagery does not fly in the face of reality as
does the fanciful, nor does it adhere so strictly to facts as does the
realistic. t deals with the possible--with what may be, but with what
is not yet. t always looks to the future, for if realized it is no
longer idealistic. t is enjoyed for its own sake but does not exist for
that alone, but looks towards some result. t is concerned primarily
with human lives and has a strong emotional tone. t is the heart of
ideals. The adolescent revels in this type of productive imagery. His
dreams concerning his own future, his service to his fellow men, his
success, and the like involve much idealistic imagery. Hero worship
involves it. t is one of the differences between the man with "vision"
and the man without.

The importance of productive imagery cannot be overemphasized. This
power to create the new out of the old is one of the greatest
possessions of mankind. All progress in every field, whether individual
or racial, depends upon it. From the fertility and richness of man's
productive imagination must come all the suggestions which will make
this world other than what it is. Therefore one of the greatest tasks of
education at present is to cherish and cultivate this power. One cannot
fail to recognize, however, that with the emphasis at present so largely
upon memory, the cultivation of the imagination is being pushed into the
background despite all our theories to the contrary. Not only is
productive imagery as a whole worth while, but each type is valuable. An
adult lacking power of fanciful imagination lacks power to enjoy certain
elements in life and lacks a very definite means of recreation. Lacking
in realistic imagination he is unable to deal successfully with new
situations, but must forever remain in bondage to the past. Without
idealistic imagination he lacks the motive which makes men strive to be
better, more efficient--other than what they are. At certain times in
child development one type may need special encouragement, and at
another time some other. All should, however, be borne in mind and
developed along right and wholesome lines; otherwise, left to itself,
any one of these, and especially the last, may be a source of danger to
the character.

mages may be classified according to the material dealt with into
object images or concrete images and into word or abstract images. No
one of these terms is very good as a name of the image referred to. The
first group--object or concrete image--refers to an image in which the
sensory qualities, such as color, size, rhythm, sweetness, harmony,
etc., are present. The images of a friend, of a text-book, of the
national anthem, of an orange, of the schoolroom, and so on, would all
be object images. A word or abstract image is one which is a symbol. t
stands for and represents certain sensory experiences, the quality of
which does not appear in the image. Any word, number, mathematical or
chemical symbol--in fact, any abstract symbol will come under this type
of image. f in the first list of illustrations, instead of having
images of the real objects, an individual had images of words in each
case, the images would be abstract or verbal images. Abstract images
shade into concrete by gradual degrees--there is no sharp line of
division between the two; however, they do form two different kinds of
images, two forms which may have the same meaning.

The question as to the respective use and value of these two kinds of
images is given different answers. There is no question but that the
verbal image is more economical than the object image. t saves energy
and time. t brings with it less of irrelevant detail and is more stable
than the object image, and therefore results in more accurate thinking.
t is abstract in nature and therefore has more general application. On
the other hand, it has been claimed for the object image that it
necessarily precedes the verbal image--is fundamental to it; that it is
essential in creative work dealing with materials and sounds and in the
appreciation of certain types of descriptive literature, and that in any
part of the thinking process when, because of difficulty of some kind, a
percept would help, an object image would be of the same assistance. t
is concerning these supposed advantages of the object image that there
has been most dispute. There is no proof that the line of growth is
necessarily from percept, through object image, to verbal image. n
certain fields, notably smell, the object image is almost absent and yet
the verbal images in that field carry meaning. t is also true that
people whose power of getting clear-cut, vivid object images is almost
nil seem to be in nowise hampered by that fact in their use of the
symbols. Knowing the unreliability of the object image, it would seem
very unsafe to use it as the link between percept and symbol. Much
better to connect the symbol directly with the experience and let it
gain its meaning from that. As to its value in constructive work in
arts, literature, drama, and invention, the testimony of some experts in
each field bears witness that it is not a necessary accompaniment of
success. The musician need not hear, mentally, all the harmonies,
changes, intervals; he may think them in terms of notes, rests, etc., as
he composes. The poet need not see the scene he is describing; verbal
images may bear his meanings. Of course this does not mean that object
images may not be present too, but the point is that the worker is not
dependent on them. The aid offered by object images in time of
difficulty is still more open to doubt. As an illustration of what is
meant by this: Suppose a child to be given a carpeting example in
arithmetic which he finds himself unable to solve. The claim is made
that if he will then call up a concrete image of the room, he will see
that the carpet is laid in strips and that suggestion may set him right.
But it has been proved experimentally over and over again that if he
doesn't know that carpets are laid that way, he will never get it from
the image, and if he does know it, he doesn't need an object image. t
seems to be a fact that object images do not function, in the sense that
one cannot get a correct answer as to color, or form, or number from
them. One can read off from a concrete image what he knows to be true of
it--or else it is just guessing. "Knowing" in each case involves
observation and judgment, and that means verbal images. Students whose
power of concrete imagery is low do, on the average, in situations where
a concrete image would supposedly help, just as well as students whose
power in this field is high. t does seem to be true that object images
give a vividness and color to mental life which may result in a keener
appreciation of certain types of literature. This warmth and vividness
which object images add to the mental processes of those who have them
is a boon.

On the whole, then, word images are the more valuable of the two types.
Upon them depends, primarily, the ability to handle new situations, and
even in the constructive fields they are all sufficient. These two
facts, added to the fact that they are more accurate, speedy, and
general in application, makes them a necessary part of the mental
equipment of an efficient worker, and means that much more attention
must be given to the development of productive symbol images.

Two warnings should be borne in mind: First, although the object images
are not necessary in general, as discussed above, to any given
individual, because of his particular habits of thought, they may be
necessary accompaniments to his mental processes. Second, although
object images may not help in giving understanding or appreciation under
new conditions, still the method of asking students to try to image
certain conditions is worth while because it makes them stop and think,
which is always a help. Whether they get object or word images in the
process makes no difference.

The discussion concerning the possibility of "imageless" thought, while
an interesting one, cannot be entered into here. Whether "meanings" can
exist in the human mind apart from any carrier in the form of some
sensory or imaginal state is unsettled, but the discussion has drawn
attention to at least the very fragmentary nature of those carriers. A
few fragments of words, a mental shrug of the shoulder, a feeling of the
direction in which a certain course is leading, a consciousness of one's
attitude towards a plan or person--and the conclusion is reached. The
thinking, or it may even have been reasoning, involved few clear-cut
images of any kind. The fragmentary, schematic nature of the carriers
and the large part played by feelings of direction and attitude are the
rather astonishing results of the introspective analysis resulting from
this discussion. This sort of thinking is valuable for the same reasons
that thinking in terms of words is valuable--it only goes a step
further, but it needs direction and training.

mages of all kinds have been discussed as if they stood out clearly
differentiated from all other types of mental states. This is necessary
in order that their peculiar characteristics and functions may be clear.
However, they are not so clearly defined in actual mental life, but
shade into each other and into other mental states, giving rise to
confusion and error. The two greatest sources of error are: first, the
confusion of image with percept, and second, the confusion of memory
image with image of the imagination. The chief difference between these
mental states as they exist is a difference in kind and amount of
associations. These different associates usually give to the percept a
vividness and material reality which the other two lack. They give to
the memory image a feeling of pastness and trueness which the image of
imagination lacks. Therefore lack of certain associations, due to lack
of experience or knowledge, or presence of associations due to these
same causes and to the undue vividness of other connections, could
easily result in one of these states being mistaken for another. There
is no inherent difference between them. The first type of confusion,
between percept and image, has been recently made the subject of
investigation. Perky found that even with trained adults, if the
perceptual stimulus was slight, it was mistaken for an image. All
illusions would come under this head. Children's imaginary companions,
when really believed in, are explained by this confusion. However, the
confusion is much more general than these illustrations would seem to
imply. The fact that "Love is blind," that "We see what we look for" are
but statements of this same confusion, and these two facts enter into
multitudes of situations all through life. The need to "see life clearly
and see it whole" is an imperative one.

The second type of confusion, between reproductive and productive
memory, is even more common. The "white lies" of children, the
embroidering of a story by the adult, the adding to and adding to the
original experience until all sense of what really happened is lost, are
but ordinary facts of everyday experiences. The unreliability of witness
and testimony is due, in part, to this confusion.


QUESTONS


1. How is the process of imagination like memory?

2. What is the relation of imagination to thinking?

3. What kind of images do you seek to have children use in their work in
the subjects which you teach?

4. Can you classify the members of your class as visualizers, audiles,
and the like?

5. f one learns most readily by reading rather than hearing, does it
follow that his images will be largely visual? Why?

6. Give examples from your own experience of memory images; of creative
images.

7. To what degree does creative imagination depend upon past
experiences?

8. What type of imagery is most important for the work of the inventor?
The farmer? The social reformer?

9. Of what significance in the life of an adult is fanciful imagery?

10. What, if any, is the danger involved in reveling in idealistic
productive imagery?

11. What advantages do verbal images possess as over against object
images?

12. Why would you ask children to try to image in teaching literature,
geography, history, or any other subject for which you are responsible?

13. How would you handle a boy who is hi the habit of confusing memory
images with images of imagination?

14. n what sense is it true that all progress, is dependent upon
productive imagination?

* * * * *





Next: VII. HOW THINKING MAY BE STIMULATED

Previous: V. HOW TO MEMORIZE



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