Appadurai articulated a view of cultural activity known as the social imaginary. For Appadurai the imaginary is composed of five dimensions of global cultural flow:1) ethnoscapes;2) mediascapes;3) technoscapes;4) finanscapes;5) ideoscapes.
He describes his articulation of 'the imaginary' as:
"The image, the imagined, the imaginary - these are all terms that direct us to something critical and new in global cultural processes: the imagination as a social practice. No longer mere fantasy (opium for the masses whose real work is somewhere else), no longer simple escape (from a world defined principally by more concrete purposes and structures), no longer elite pastime (thus not relevant to the lives of ordinary people), and no longer mere contemplation (irrelevant for new forms of desire and subjectivity), the imagination has become an organized field of social practices, a form of work (in the sense of both labor and culturally organized practice), and a form of negotiation between sites of agency (individuals) and globally defined fields of possibility. This unleashing of the imagination links the play of pastiche (in some settings) to the terror and coercion of states and their competitors. The imagination is now central to all forms of agency, is itself a social fact, and is the key component of the new global order"
Appadurai credits Benedict Anderson with developing notions of imagined communities. Some key figures who have worked on the imaginary are Cornelius Castoriadis, Charles Taylor, Jacques Lacan (who especially worked on the symbolic, in contrast with imaginary and the real), and Dilip Gaonkar. However, Appadurai's ethnography of urban social movements in the city of Mumbai has proved to be contentious with several scholars like the Canadian anthropologist, Judith Whitehead arguing that SPARC (an organization which Appadurai espouses as an instance of progressive social activism in housing) being complicit in the World Bank's agenda for re-developing Mumbai.