This paper addresses the importance of creativity, speculative imagination and the production of novelty in pedagogic practices in art education and art practice. These terms refer to always incomplete assemblages or agencements of experiencing. Whitehead's ideas on imagination, speculation and propositions are linked with Stengers's work on speculation and the cosmic adventure. The paper proceeds to consider the notion of imaginative interdependence as a key leitmotif, illustrated by Haraway's (2016, p. 14) discussion of the children's game ‘cats cradle.’ Imaginative interdependence is then aligned with the notion of ‘agencement’ to move away from viewing practice or imagination as processes initiated by a prior or transcendent subjectivity, what we might call the phenomenological subject. In contrast, practice and imagination are conceived as emerging within agencements, interdependent relations, considered as cosmic adventures often involving human and non‐human participants. Such adventures are explored and problematised in the context of art education. Questions arise involving the contrast between the dispositifs of institutionalised art education and local agencements of art practice that may not conform. The notion of aesthesis is introduced to explore these contrasts as well as that pertaining to the contrast between established conventions of art education and the rupturing force of art's education that may open new modes of sensing and becoming. To conclude the paper builds upon the notion of agencements of imaginative interdependence in the context of art education by emphasising the importance of aesthesis and Deleuze and Guattari's call for a new earth and a people to come.

中文翻译：

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想象的相互依存：想象、思辨和审美


本文探讨了创造力、思辨想象和新奇事物的产生在艺术教育和艺术实践的教学实践中的重要性。这些术语指的是总是不完整的体验组合或影响。怀特海关于想象力、推测和命题的思想与斯滕格斯关于推测和宇宙冒险的工作有关。本文继续将想象力相互依存的概念视为一个关键主题，Haraway（2016 年，第 14 页）对儿童游戏“猫摇篮”的讨论说明了这一点。然后，想象的相互依存与“现实”的概念相一致，不再将实践或想象视为由先验或超验的主体性启动的过程，我们可以称之为现象学主体。相比之下，实践和想象被认为是在相互依存的关系中出现的，被认为是经常涉及人类和非人类参与者的宇宙冒险。这样的冒险在艺术教育的背景下被探索和问题化。问题涉及制度化艺术教育的处置与可能不一致的地方艺术实践之间的对比。引入审美的概念是为了探索这些对比，以及与既定的艺术教育惯例与艺术教育的破裂力量之间的对比，这可能会打开新的感知和成为模式。总而言之，本文通过强调美学的重要性以及德勒兹和瓜塔里对新地球和未来人民的呼吁，建立在艺术教育背景下想象力相互依存的概念之上。