Creative Imagination, Openness, and Music

Abstract

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.