By David Oddie
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Extra info for A Journey of Art and Conflict: Weaving Indra’s Net
He developed his thinking further on these issues with the concept of the moral imagination: Stated simply, the moral imagination requires the capacity to imagine ourselves in a web of relationships that includes our enemies; the ability to sustain a paradoxical curiosity that embraces complexity without reliance on dualistic polarity; the fundamental belief in and pursuit of the creative act; and the acceptance of the inherent risk of stepping into the mystery of the unknown that lies beyond the far too familiar landscape of violence.
This is the dominant symbolism in our culture. Nondiscursive symbolism, on the other hand, is the language of art, myth, dream and religion. Writing of non-discursive symbols Peter Abbs observed: Whatever value or universality they possess they hold within the uniqueness of their structural forms. Their meanings are embodied in the symbols and it is only in response to those actual symbols that they can be truly understood. Thus for Langer, non-discursive symbols bear conception (particularly the conception of feelings and sentience) and engender reflection but in a radically different manner from that, say of science or mathematics.
My elder brother had been in the business for some years and had already established and earned his place and role, a position to which he was ideally suited 27 A Journey of Art and Conflict in temperament and skills. Somewhere inside I knew there was not really an authentic place for me, unless I would be content to permanently play ‘little brother’. By this time my passion for reading, classical music and theatre was feeding my burgeoning engagement with the arts. I had considered applying to drama school but persuaded myself that I could pursue these activities as a ‘hobby’.
A Journey of Art and Conflict: Weaving Indra’s Net by David Oddie