This embodied analysis posits three imaginative processes – the provision of possibilities, the development of associative patterns, and image composition. ![]() In this thesis I demonstrate that, at its source in the imagination as brain function, there may be certain processes common to most creative endeavors. While each creation engages in its own specific processes, I contend that there are practices common to creating in general. In addition, I argue that creating, as an outcome, is trainable. The tactile imagination is that aspect of imaginative brain function associated with the sense of touch, at all levels of experience, here employed to stimulate the generation of original material for a style of performance known as physical theatre. From the first facet I focus on one aspect of biological imagining, which I refer to as the tactile imagination. ![]() I contend that there are two interconnecting facets of imaginative functioning referred to as the biological imagination and the existential imagination, both active on a conscious and non-conscious level. Imaginative brain function is defined as an autonomous systemic, interconnected brain system capable of activating to produce specific outcomes enabling the human organism’s fitness for purpose. Key to my investigation is acknowledging that the imagination is a function of the brain. This thesis investigates a set of theoretical principles concerning the imagination as cognitive function, based on scientific readings in neuroscience, cognitive science, and neurobiology, as well as experiential observations of creative practice pedagogy drawn from theatre training methods employed to develop the practice of creating original work for the theatre. Patterns and Possibilities: The Brain, Imagination, and Creative Practice
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