The merging of reality in unique ways. Putting the puzzle together when the pieces can fit anywhere. Where you can pick originality from the trees, no matter what color or shape the leaves are.
Anything is possible. Nothing is required.
The IMAGINATION, then, I consider either as primary, or secondary. The primary IMAGINATION I hold to be the living power and prime agent of all human perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM. The secondary I consider as an echo of the former, coexisting with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate; or where this process is rendered impossible, yet still, at all events, it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead. FANCY, on the contrary, has no other counters to play with but fixities and definites. The fancy is indeed no other than a mode of memory emancipated from the order of time and space; and blended with, and modified by that empirical phenomenon of the will which we express by the word CHOICE. But equally with the ordinary memory it must receive all its materials ready made from the law of association. ***Capitals and Italics as in the original text***
This was Brian Wilson's first (released) album of new material since his 1988 eponymous solo album, and pre-release reports were mixed. Some, like Sean Lennon and Peter Buck, raved about the album, while most were cautious, remembering that co-producer Joe Thomas had worked on the pretty poor Stars & Stripes Vol 1 album with the Beach Boys.
In the event, both schools of thought had an element of truth to them. The production on the album is dire - the worst 80s AOR sound imaginable. And the collaborators Thomas inflicted on Wilson on some songs are an odd bunch - Jimmy Buffett, Carole Bayer Sager and Jim Peterik (writer of Eye Of The Tiger for Survivor). But Wilson's vocals are his best in decades, and there are at least five songs on here that rank with his best - Your Imagination, She Says That She Needs Me, Lay Down Burden (dedicated to the memory of Carl Wilson who died shortly before the album was completed), Sunshine and Happy Days.
But even then, She Says... was a rewrite of Sherri She Needs Me, an unreleased track from the 70s (the unreleased version is better) and Happy Days, while a 'new' song, contained sections from an unreleased SMiLE instrumental, an unreleased song called My Solution, and the old vaudeville song Happy Days Are Here Again. This, plus the inclusion of two remakes of old Beach Boys songs (insisted on by Thomas) led some to speculate that Wilson was suffering writer's block. It seems more likely in fact that he merely wasn't very interested in the album (a belief borne out by the much more interesting demos he recorded with Andy Paley shortly before work on the album started.
Tracklist:
The album was released in 1998 on Giant Records
I know this write up has little relevance to anything, but I just wanted to write about how weird imaginations are in a weird way.
As I sit at my computer screen, the wall behind it seems blank. White. But as I look closer, I dive deeper and deeper into the world of my imagination. On the wall appear smudges that are only noticable when studied carefully. Each one of these smudges looks to be turning into an image. First, a grubby hand print overlapping the smear of a dead spider, looks like a marsh-mellow roasting. Then I notice a fly has landed on the wall. It stays dead still, scared to move, scared to fly, as I might swat it. I pick up a pencil and take aim. As the pencil hits the wall, the nail that I thought was a fly does not move. Next to it has appeared a pencil line.
I lie in my bedroom staring at the floral border. I look hard at a particular blue flower, and it grows eyes. Small puppy dog eyes. Then I notice a nose, and a lapping tongue. The small dog is looking to the right. As I follow its line of vision, I see a yellow rose. In a very strange way it looks like a bulldog with a russian looking hat on. Next to the russian dog there is a leaf. Behind the leaf is a plant bulb, forming a rather quaint little duckling.
I hear a ding.
This program has performed an illegal operation and will be shut down
My world of marsh-mellows and animals disappears in a flash, and I return to the unforgiving land of computer errors.
Im*ag`i*na"tion (?), n. [OE. imaginacionum, F. imagination, fr. L. imaginatio. See Imagine.]
1.
The imagine-making power of the mind; the power to create or reproduce ideally an object of sense previously perceived; the power to call up mental imagines.
Our simple apprehension of corporeal objects, if present, is sense; if absent, is imagination. Glanvill.
Imagination is of three kinds: joined with belief of that which is to come; joined with memory of that which is past; and of things present, or as if they were present. Bacon.
2.
The representative power; the power to reconstruct or recombine the materials furnished by direct apprehension; the complex faculty usually termed the plastic or creative power; the fancy.
The imagination of common language -- the productive imagination of philosophers -- is nothing but the representative process plus the process to which I would give the name of the "comparative." Sir W. Hamilton.
The power of the mind to decompose its conceptions, and to recombine the elements of them at its pleasure, is called its faculty of imagination. I. Taylor.
The business of conception is to present us with an exact transcript of what we have felt or perceived. But we have moreover a power of modifying our conceptions, by combining the parts of different ones together, so as to form new wholes of our creation. I shall employ the word imagination to express this power. Stewart.
3.
The power to recombine the materials furnished by experience or memory, for the accomplishment of an elevated purpose; the power of conceiving and expressing the ideal.
The lunatic, the lover, and the poet Are of imagination all compact . . . The poet's eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven, And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes, and gives to airy nothing A local habitation and a name. Shak.
4.
A mental image formed by the action of the imagination as a faculty; a conception; a notion.
Shak.
Syn. -- Conception; idea; conceit; fancy; device; origination; invention; scheme; design; purpose; contrivance. -- Imagination, Fancy. These words have, to a great extent, been interchanged by our best writers, and considered as strictly synonymous. A distinction, however, is now made between them which more fully exhibits their nature. Properly speaking, they are different exercises of the same general power -- the plastic or creative faculty. Imagination consists in taking parts of our conceptions and combining them into new forms and images more select, more striking, more delightful, more terrible, etc., than those of ordinary nature. It is the higher exercise of the two. It creates by laws more closely connected with the reason; it has strong emotion as its actuating and formative cause; it aims at results of a definite and weighty character. Milton's fiery lake, the debates of his Pandemonium, the exquisite scenes of his Paradise, are all products of the imagination. Fancy moves on a lighter wing; it is governed by laws of association which are more remote, and sometimes arbitrary or capricious. Hence the term fanciful, which exhibits fancy in its wilder flights. It has for its actuating spirit feelings of a lively, gay, and versatile character; it seeks to please by unexpected combinations of thought, startling contrasts, flashes of brilliant imagery, etc. Pope's Rape of the Lock is an exhibition of fancy which has scarcely its equal in the literature of any country. -- "This, for instance, Wordworth did in respect of the words �xbf;imagination' and �xbf;fancy.' Before he wrote, it was, I suppose, obscurely felt by most that in �xbf;imagination' there was more of the earnest, in �xbf;fancy' of the play of the spirit; that the first was a loftier faculty and gift than the second; yet for all this words were continually, and not without loss, confounded. He first, in the preface to his Lyrical Ballads, rendered it henceforth impossible that any one, who had read and mastered what he has written on the two words, should remain unconscious any longer of the important difference between them." Trench.
The same power, which we should call fancy if employed on a production of a light nature, would be dignified with the title of imagination if shown on a grander scale. C. J. Smith.
© Webster 1913.
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