But elsewhere Wright seems to place far greater faith in things than in their representations ("A thing is not an image, / imagination's second best") and to mock the notion that the abstract imagination could ever be preferable to the physical world's adamant particulars.
Regarding "Semantics," 20 subjects (44.4%) were at level 2 (concrete description), 14 (31.1%) at level 3 (concrete imagination), 5 at level 4 (abstract description), and 6 at level 5 (abstract imagination).
He conjectured that in making moral judgments individuals abstract in imagination from their own particular interests and adopt an impartial point of view from which they assess the effects of others' actions on the interests of everyone.
Sometimes when I play with kids, I realize that they have a much greater capacity for abstract thought (imagination) than adults.
"There was nothing too abstract for his imagination.
Toward the middle of "Pop," as Warhol struggles with his feelings about Abstract Expressionism, his imagination creates a slapstick barroom brawl involving the New York School's biggest names.
Dresser must have dreamed in abstract patterns, his imagination fed by an eclectic range of sources -- Persian, Egyptian, Indian, pre-Columbian, Assyrian and, most of all, Japanese -- and by a knowledge of plant morphology, which he wrote and lectured about widely before his design career took off.
These intelligible ideas are not abstracted from the imagination, as Aristotle would have it, but come from the universal Agent Intellect, transforming the purely potential and passive intellect into an acquired intellect ('aql mustafâd).[38] This is an active state of cognition, when the intellect is actively conjoined to its intelligible object.
The first four pages of the book are abstract doodles, drawn from imagination as Peeters focuses his mind on how to tell his story.
Rather, it is about the relationship between abstract reasoning and visual imagination at a time — not long ago — when the most advanced theorizing in math and physics seemed to defy visual representation.
In his final publication (his testament as it were, again building on Jung), Gaston Bachelard (1960) thematised this relationship between iconoclasm (abstract, quantitative thinking) and imagination (reverie) in terms of animus and anima, arguing that, in order to overcome epistemic paralysis, we need mutual exposure between the two.
