Creative Imagery

These images can be used in a variety of contexts.

Types of Images

Suppose I asked you, ‘Where is your home?’ When answering such a question, would you have an image in your mind of where your home is in relation to where you are now? Even if I simply said ‘teapot’ – would you just remember the word or would you picture a ‘teapot’ almost instinctively? If I asked you to describe in words what your mother looked like, would you simply remember or would you first create an image in your mind and then describe the image? Now think about ‘church bells’. What is it that comes to mind? Finally, think about ‘vinegar’. All these examples, to different degrees, combine both memory and images. The point is that we often remember by first creating an image.

Images are not only visual. We can have images of sound (auditory), of movement (kinaesthetic or motor), of touch (tactile), etc. Undoubtedly, the most common image is visual. In terms of a sample of the population, the types of images and their percentage in ranking order are:

    Visual imagery    97
    Auditory          93
    Motor             74
    Tactile           70
    Gustatory         67
    Olfactory         66
    Pain              54
    Temperature       43

This in itself is useful information. If you intend to improve your imagery, then you should concentrate on the visual and auditory, since these are the easiest and will lead to the greatest success. This book emphasizes creative visualization and as such deals to a large extent with visual imagery. Given that most of the population has visual imagery then this emphasis is justified.

Why are visual images in the mind so important? The most important thing about visual images is that they can influence the body. This does not apply to all images, but only to those images in which you are involved. The image, however, does not have to be about reality, it can be a totally imaginary (unreal) image. In the mind’s eye it is possible to place an image of oneself in a totally imaginary scene. But why go about this image formation? A strongly formed image will lead to an emotional response or some other bodily response. It does not matter whether the image is about reality or something totally imaginary. Both will create changes in the body that are consistent with the image. You only have to ask a small boy to imagine that he is brave and strong and you will see him straighten up and throw out his chest. In other words, the body is responding to the image being formed in the mind.

But it is not only the body that is influenced by images; images also influence behaviour. Again the result is similar. A strong image leads to behaviour consistent with the image being formed in the mind’s eye. It does not matter whether the image is one of reality or unreality. What matters is whether the image is strong and whether you have belief in the image.

What is generally lacking in image formation, especially when the image involves something that is not real, is an ability to create and hold a strong image. The reason for this is simply that we have not developed the skill. It has not been thought necessary to train a person in image formation. The fact that nearly everyone forms images and uses images as guides to their memory does not mean that most people do it well. Everyone can speak (with a few exceptions) but some are better than others because they have practiced it and been taught how to do it well. Creating images in the mind is no different. This type of training plays a central role in psycho­synthesis.

What is Imagination?

Imagination is the mental faculty of forming images or concepts of external objects not present to the senses. Imagination, however, is very closely linked with daydreaming and fantasy. Daydreaming is the act of indulging in fantasy or reverie while awake; fantasy is the faculty of inventing images. Behaviourism put an effective stop to research into subjective states of mind – and imagination, daydreaming and fantasy are all subjective states. Fortunately, there has been a return of interest in such states, e.g. J. L Singer’s Daydreaming and Fantasy. In this section we shall not attempt to distinguish between these three faculties but concentrate on some tentative remarks about the imagination.

Although we cannot measure people’s imaginative ability – at least not precisely – it is clear that people possess it. But research takes us no further. At our present state of knowledge we cannot answer the following questions.

·        What is the imagination?
·        What purpose does the imagination serve?
·        How does the imagination function?
·        Where is the imagination located?
·        Has imagination changed over the course of history?
·        What is the relationship between imagination and creativity?
·        Is imagination positively or negatively related to language development?
·        Who has a good imagination and why?
·        Can the imagination be improved?
·        Can a person have no imagination?

This list is by no means exhaustive, but it does highlight the extent of our ignorance about the imagination.

Given this ignorance, let me make a number of personal speculations about the imagination.

1. Imagery of some form, whether visual, auditory, or any one of the others listed in the previous section, would seem to be a basic element in our make-up. This would suggest that everyone has an imagination – the only difference is the degree.
2. The fact that visual images are the most frequent, and probably the most important, would suggest that imagination is an attribute of the nervous system that predates language. Language, however, has given imagination a new dimension that is almost as significant as the purely visual features of imagination.
3. The main groups of individuals to possess a good imagination are writers, artists, actors, poets, dancers and, above all, children. The fact that children have a good imagination suggests that imagination is associated with those parts of the brain that are formed in the early years. Its poor state in later life would further suggest that it is simply neglected as language and other logical pursuits are concentrated on in the person’s educational development. The fact that certain groups, such as poets and actors, retain and develop their imaginations as they grow older, would suggest that it does not naturally diminish with age, but diminishes from lack of use (or by the design of the educational system).
4. Image formation is a feature largely (although not wholly) of the right brain. The points made in my third speculation on the imagination support this. Children are only beginning to develop their powers of reason; that is to say, they are only beginning to develop the faculties of their left brain. While this is going on, they can readily call on the faculty of imagination, with its dependence on imagery. Writers, artists, actors, poets, and dancers use many of the features of the right brain – imagery, synthesis, rhythm, etc. They have retained and developed their imaginations.
5. The age of reason has meant that all other faculties of the mind have been treated as less, or even of no, importance. Put bluntly reason is more important than imagination! But this is placing reason and imagination in conflict with one another in such a way that a choice has to be made. However, reason and imagination are different things, each with its individual use and purpose. It is wrong to ask, ‘Is reason more important than the imagination?’ The more appropriate question is, ‘How can we develop both reason and the imagination?’
6. Creativity is the ability to show imagination as well as routine skill. In other words, creativity is the combining of reason and the imagination. The creative person combines the features of the left brain with those of the right: reason with imagination.

Western dependence on reason has meant that we frown on such things as the imagination. Schooling develops reasoning powers and implicitly, if not explicitly, treats the imagination as unimportant. It is not surprising, therefore, that children very soon give up being imaginative. As this process continues, the growing person finds it more and more difficult to form mental images, simply because this particular faculty goes unused. For such a person creative visualization is not easy. But remember, imagination is inherent in the nervous system and as such it can be re-learned.

Developing the Imagination

From what has been said in the previous section, it would appear that we all possess an imagination, which most of us have simply left to diminish from lack of use. But how do we develop imagination? This can be done from two directions. First, by practicing forming mental images. Second, by developing imaginative skills.

Developing mental images

Visual Close your eyes and practice forming the following images in your mind’s eye.

·        numbers written on a board
·        letters or words written on a board
·        a coloured circle
·        a coloured triangle
·        a coloured square
·        a crescent moon
·        a star

If you have difficulty with any of these then construct them on large sheets of white A4 paper. Look at them for a few minutes and then visualize them in your mind’s eye. This can be especially useful in the case of the coloured shapes. In the case of writing, visualize the page of a book with writing on. In the case of numbers, see them on a page and begin to do addition and subtraction – visually.

Auditory In your mind’s eye recreate the following sounds. If you find them difficult, create a scene in which the sound is a natural part.

·        a gong
·        a voice calling your name
·        children playing
·        traffic
·        a train
·        a ship’s horn
·        a church bell

Kinaesthetic (i.e. movement) In your mind’s eye see, and most particularly feel, yourself doing the following.

·        walking
·        running
·        swimming
·        driving
·        sawing wood
·        dancing

Tactile In your mind’s eye feel yourself doing the following.

·        shaking hands
·        stroking a cat (or dog)
·        placing your hand in snow
·        stroking a piece of wood
·        placing your hand under running water
·        running your fingers through soft wool

Gustatory In your mind’s eye imagine what it’s like to taste the following.

·        your favourite dish
·        an orange
·        whipped cream
·        ice-cream
·        a hot drink
·        a date (or fig)
·        whisky (or some other spirit)

Olfactory In your mind’s eye imagine what it’s like to smell the following.

·        perfume
·        petrol
·        freshly baked bread
·        wood
·        tar
·        mint
·        a rose

All these examples are purely illustrative and you can readily devise your own. The important point is to practice them. Since they are all done in the mind’s eye they can be practiced anytime and anywhere – most especially when travelling. Nor are they independent of one another. When trying to smell a rose in your mind’s eye, it is highly likely that you will also visualize one. Creating situations in which you are actively participating is a very good way to practice. This will also help in developing your imagination. For instance, imagine yourself, in your mind’s eye, walking down the street. In the background you hear the church bells ringing out. In the street children are playing, you hear them clearly, and they are playing with a large red ball. A friendly dog comes up to you at this point, and you stroke it And so on...

It is not just a question of remembering similar situations. The object is to be in the scenes, seeing and feeling, smelling and tasting what you are creating. It requires you to pay attention and concentrate on the images being created in your mind’s eye. As you practice all these various images they become easier.

Developing imaginative skills

This is less straightforward. The object, however, is ‘to be as a child’. If you present a child with a picture of a youngster with a guitar and then ask him or her to create a story to account for this, then you will observe the imagination in action. Some children with very vivid imaginations have imaginary com­panions – and some go as far as to hallucinate these companions. As we get older we ‘put away such childish things’ but do not put anything in their place (with the possible exception of sexual fantasies). But there does appear to be a need to ‘feed’ the imagination a need that is most commonly met by novels and films – most especially science fiction.

The simplest way to practice being imaginative is to role-play. Just as in the case of the child creating a story about the youngster with the guitar, you can be as imaginative as possible in fully creating the role and carrying it through in your mind’s eye. Although you may feel a little foolish doing this for the first few times, there is no need because it is all done in the mind and no one need know you are doing it. If you give up readily it is a likely indication that you cannot carry it through; that you have a poor imagination. In this case you should increase the role-playing rather than decrease it.

To aid in developing your imaginative skill try the following role-playing.

·        Hercules (or Aphrodite)
·        Merlin the Magician
·    Julius Caesar (or Cleopatra)
·        a rabbit
·    a sea gull
·    a computer
·    a £20 note

Such roles are the basis of fairy tales, mythology, novels and films. In literature, and more recently in scientific works comparing man and machines, you will find many imaginative essays written from an unusual vantage point – from Kafka’s Metamorphosis to Harding’s On Having no Head, this second reprinted in Hofstadter and Dennett (1981).

Imagination and the Will

The will is no match for a strong imagination. If the will and the imagination are in conflict then the imagination will win.

We have pointed out that little is known about the imagination, but even less is known about the will. It appears to be a force belonging to the inner self that gives direction and purpose to a number of things we do. For example, a blind boy or girl may have ‘the will to succeed at college against all odds’. The will acts as a means of marshalling the body’s energies, emotions, drives, etc. into a purposeful and co-operative relationship. It has no obvious outward manifestation: it simply directs – like the conductor of an orchestra. Assagioli in The Act of Will puts it as follows:

The most effective and satisfactory role of the will is not as a source of direct power or force, but as that function which, being at our command, can stimulate, regulate, and direct all the other functions and forces of our being so that they may lead us to our predetermined goal.

There is no intention here to discuss the will; suffice it to say that the will can direct the imagination in a purposeful way in order to achieve some stated goal. When an individual has no clear idea of the purpose of the will, then it is possible that the will and the imagination are directed at two opposing pur­poses. When this happens, the person’s behaviour is governed more by the imagination than by the will – this is especially true when the imagination is acting negatively.