“imagining doing” and “doing imagining”.
An interesting feature of making is how you apply yourself to a particular situation.
What are you going to do and why are these choices being made?
This becomes more obscured when you do not do what you “imagine” you would, things change.
What is directing what?
Perhaps the possible has been organised into method, but it is experiencing the situation, the act, the action, that appears to trigger imagination. This is when imagining moves through possibilities, potentials, probabilities, to actualities. Acts of “becoming as” that eventually in turn demand, require, imagining to be reflected upon, interpreted and analysed as and through the image.
Imagining can imply application to something ,or doing something, to represent acts of imagining as images.
Imagining needs the specificity. The aligning of the imagination to or at something. Imagining becoming…a verb, “arting” as…
Without alignment we cannot clearly begin to talk about what is happening. Reference points need to be esatblished. Imagining needs a context to allow possibility.
The mind allows all forms of possibility, but the subjective/objective imagining relies on the experience of applying oneself to something.
Imagining requires the specificity of aligning the imagination as though each series of acts are case studies of the imagination. The studies provide images.
Specificity leads us into imagining through recognition of a situation understood, thus allowing the imagination to run constructed experiences of selection and rejection based on both certainty and uncertainty, “simultaneously both everything and nothing”.
With the connection of experience and imagining as thought through action, the images form something not previously seen, approximations of works previously done, experienced before, something different, unexpected, or even wrong, the act of imagining takes on another role as a return for a combined effort of thought and act. This is not thought out as an image beforehand, but a negotiation of any number of imagined and experienced scenarios. Something can “work” or “not work”. Where you stand in relation to a specific image involves self-censoring negotiations with the imagination.
Imagining and image
What stimulates the connections in imagining? What shapes the acceptance of “being as”, a product of imagining, so that an action can be accepted as “just is”?
How does something make someone imagine?
It is important to realise that the products of imagining are not necessarily easy to read as imagined images, seen pictures. The imagination operates between knowing and not knowing. Selecting through both outcome and possibility to conform to personal rule sets and exchanges of values that seem to be generated from different parts of the brain constructed through different social and personal experiences and varieties moral coding.
What makes someone start rejecting parts of their imaginings and accepting others as appropriate?
 From a conversation between Jean Francois Lyotard and Bernard Blistene.