ABSTRACT
Many disciplinary lenses are available to analyze the imagination-aesthetics, psychology, philosophy, literature-but imaginative education's approach, is particularly relevant to museum work because it gives practitioners clear concepts and concrete strategies for engaging the learner's imagination and thus his creativity. The thinkers of the Scientific Revolution in the seventeenth century considered imagination as suitable only for poetry, art, or children and of no use in the higher realm of scientific reasoning. It took first the Enlightenment and then the romantic poets to revise this dismissive, even hostile perspective. According to Kieran Egan and imaginative education, children respond to binary opposites from an early age and use them to create and learn through stories. Jean-Paul Sartre argues that the imagination is 'an intentional act of consciousness rather than a thing in consciousness' in other words, a process and not a faculty. Story, imagination, and the body are parts of a whole. And all three belong to the making and experiencing of exhibitions.
