Creative Imagination, Openness, and Music

  • Roberto Wu
Part of the Analecta Husserliana book series (ANHU, volume 119)


At the same time that specific cosmic conditions make life the point of juncture of a complex of forces, life itself promotes and fulfills, in its own way, specific laws of cosmos. This statement lies on the basis of A.-T. Tymieniecka’s phenomenology of life and points out the main role of the Imaginatio Creatrix that emerges from Nature-Life, though the former is not determined by the latter as a simple response, for creative imagination only accomplishes its own function by means of an ontopoietic activity grounded in interrogation. The creation that one realizes is a cipher, a symbol of unique significance, an inter-subjectively intentional object that can be shaped in an intellective, moral or aesthetic sense. This draft of Tymieniecka’s phenomenology renders us a key to interpret aspects related to the essential incompletion and openness of the work of art. Roman Ingarden discusses the “places of indeterminacy” that cannot be completely covered in music notation and H.-G. Gadamer approaches the importance of the performance and its dialogical feature in art. Improvisation, reinterpretation and performance are phenomenological subjects related to fine arts that can be unfolded through an analysis of the way that Imaginatio Creatrix allows one to partake in the logos.


Gadamer Ingarden Places of indeterminacy Performance Ontopoiesis 


  1. Benson, Bruce E. 2003. The improvisation of musical dialogue: A phenomenology of music. Cambridge: Cambridge University Press.Google Scholar
  2. Brown, David P. 2006. Noise orders: Jazz, improvisation, and architecture. Minneapolis: University of Minnesota Press.Google Scholar
  3. Gadamer, Hans-Georg. 1986. The relevance of the beautiful and other essays. Trans. Nicholas Walker, ed. Robert Bernasconi. Cambridge: Cambridge University Press.Google Scholar
  4. Gadamer, Hans-Georg. 2006. Truth and method. Trans. Joel Weinsheimer and Donald G. Marshall. London: Continuum.Google Scholar
  5. Heidegger, Martin. 2001. The origin of the work of art. In Poetry, language, thought. Trans. Albert Hofstadter. New York: Harper & Row.Google Scholar
  6. Ingarden, Roman. 1989. Ontology of the work of art: The musical work – The picture – The architectural work – The film. Trans. Raymond Meyer with John T. Goldthwait. Athens: Ohio University Press.Google Scholar
  7. Majewska, Zofia. 1998. Roman ingarden’s philosophy of culture: An attempt at a reconstruction. In Creative virtualities in human self-interpretation-in-culture: Phenomenology of life and the human creative condition (Book IV), Analecta Husserliana, vol. LV, ed. Anna-Teresa Tymieniecka, 177–191. Dordrecht: Kluwer.Google Scholar
  8. Mardas, Nancy. 2004a. Creative imagination – The primogenital force of human life: Following Anna-Teresa Tymieniecka’s thread from the elemental stirrings to the human fulfillment. In Imaginatio creatrix: The pivotal force of the genesis/ontopoiesis of human life and reality, Analecta Husserliana, vol. LXXXIII, ed. Anna-Teresa Tymieniecka, xxi–xlii. Dordrecht: Kluwer.Google Scholar
  9. Mardas, Nancy. 2004b. The Cipher as the Unity of Signifier and Signified. In Imaginatio creatrix: The pivotal force of the genesis/ontopoiesis of human life and reality, Analecta Husserliana, vol. LXXXIII, ed. Anna-Teresa Tymieniecka, 13–23. Dordrecht: Kluwer.Google Scholar
  10. Schopenhauer, Arthur. 2010. The world as will and representation, vol. 1. Trans. Judith Norman, Alistair Welchman, and Christopher Janaway. Cambridge: Cambridge University Press.Google Scholar
  11. Slawek, Stephen. 1998. Keeping it going: Terms, practices, and processes of improvisation in Hindustani instrumental music. In In the course of performance: Studies in the world of musical improvisation, ed. Bruno Nettl and Melinda Russell, 335–368. Chicago: University of Chicago Press.Google Scholar
  12. Tymieniecka, Anna-Teresa. 1974. Imaginatio creatrix: The ‘Creative’ versus the ‘Constitutive’ function of man, and the ‘Possible Worlds’. In The phenomenological realism of the possible worlds, Analecta Husserliana, vol. III, ed. Anna-Teresa Tymieniecka, 3–41. Dordrecht: Reidel.Google Scholar
  13. Tymieniecka, Anna-Teresa. 2009. The fullness of the logos in the key of life, Analecta Husserliana, vol. C. Dordrecht: Springer.Google Scholar

Copyright information

© Springer International Publishing Switzerland 2016

Authors and Affiliations

  1. 1.Federal University of Santa CatarinaCanasvierias, FlorianopolisBrazil

Personalised recommendations