5.3. Vision Theory of Genius

5.3. VISIONIST THEORY claims that the basis of genius lies in the ability for a universal, creative and transformative vision of the world, the ability to see reality from the point of view of the Absolute, Universe and Eternity (Sub specie Absolute, Universum et Aeternitatis).
The absolute vision of a genius is manifested as the ability to see the universe and its formation on a giant internal screen, at the same time contemplate all its phenomenal and possible worlds, its deep tendencies, generating structures and ideal results. It represents a holistic spectrum of unmixed, qualitatively original visions, a powerful laminar flow, including spiritual-transforming vision, filling objects with higher meanings, eidetic contemplation, freely grasping ultimate meanings, universal structures and phenomena, liberating vision, eliminating unnecessary connections and determinations, relieving a vision that finds and awakens new opportunities, a planetary vision that captures the universal in any object and reveals deep connections and refs one relationship, direct vision, allowing to perceive the world as it really is, as well as extremely effective and productive vision, aimed at manipulating and free play with images and models and their decisive embodiment in reality.
As Evelyn Underhill wrote: “All people of art inevitably, in one way or another, are contemplators. To the extent that they surrender to him wholeheartedly, they see the Creation through the eyes of God. ” With the help of uncomplicated purity of view, "artistic natures get an opportunity to learn the true look of things, which they then demonstrate to the world in their works." According to N.V. Goncharenko: “This is a genius - the desire to assert his vision of the world, to conquer living space, not for himself and his ambition and glory, but for new world views.”
At the same time, the key dimension and essential characteristic of a genius is his own, original, individual, unique in the history and in the universe itself, the vision of the world, the ability to see and transmit the phenomena of the surrounding world in the way no one can do. In this sense, a genius appears as a person who has managed to achieve a new vision and gain a new perspective on reality, who has learned and dared to see the world with new eyes and who has managed to convey his unique vision of the world to other people. “In truth,” wrote W. James, genius means little more than the ability to perceive the world in an unusual way ”.
At the same time, genius is the root cause, engine and crown of creative evolution, and the vision is the essence of his work, the phenomenological body and the way of existence. “The task of strictly human evolution in the present planetary cycle,” wrote Alice Bailey, “is the development of a vision culminating in spiritual perception, which is the main gift of the soul of a person as a result of their contact ...”. The basis of the birth of a new era has always been a change in the world view, which, according to the scale of accomplishment, was subject only to geniuses. At the same time, the genius creator has not only the ability and courage to acquire a new vision, but also the gift to convey this vision, teach others to look at the world through his eyes, and even teach others to see in a new way. The man whom we recognize a genius, - said Otto Vaynigger - is the one that has just seen the light and has already started to open their eyes to other people. “Artists are the eyes of mankind,” M. Voloshin wrote ... They discover images in the world that no one has seen before them. This is the purpose of artists. People always see in nature only what they used to see in pictures. Therefore, a new picture, conveying nature from a new point of view, always seems unnatural at first and unlike the truth. ”
Geniuses stand above their contemporaries, see farther, deeper and deeper, they are able to contemplate the world in all its novelty and freshness, and also to combine their original, unique vision with extremely objective, universal and penetrating contemplation. It is important to note that the vision of the genius of the world is not passive and contemplative, but on the contrary, extremely active, imbued with creative efforts, efficient and productive. So V.S. Solovyov believed that a genius is a person who acquires cosmic secretion, moral wisdom and the power to pierce hearts in a way of perfection, and Y. Boreyev wrote that the artist's genius manifests itself in the power of perception of the world and in the depth of its impact on humanity.
The discovery and acquisition of a new vision leads to the generation of new values ​​and meanings and the simultaneous transformation and improvement of its inalienable, independent poles, namely, the awakening of ingenious abilities and the birth of a new, more perfect world. A new vision of the world, clear, pure, full sound and alive, filled with new colors, sounds, experiences and meanings changes a person and his life, and also opens before him all the treasures of the world.
At the same time, creative vision can be awakened and consolidated at the moment in the process of experiencing cosmic harmony, unspeakable beauty and unity of the world. Plotinus, Jacob Böhme, Meister Eckhart, Blaise Pascal, Rene Descartes, Teilhard de Chardin, Walt Whitman, Emmanuel Swedenborg, Leonid Andreev, Stanislav Grof wrote about creative insights that transform the inner world of a personality and generate new worlds.

To see is to be. A vision is a substantial attribute of a person, an innate, basic, essential characteristic of a personality, its immanent property, a constant sign and a self-sufficient basis, depending only on itself. It is not a means, not a way to achieve the goal, but the pure, true existence, the highest reality, the real life, the manifestation of the true inner nature, the true way of life (modus vivendi) and the most effective mode of action (modus operandi) of the person. Vision, like breathing, are immanent and natural foundations, resilient bearing streams of all forms of mental activity that do not need their foundation, but only to be improved. V.V. wrote about the substantive and value primacy of vision. Rozanov: "I came into the world to see, not to commit." Leonardo , who always identified vision and vision with life, wrote: “The eye, called the window of the soul, is the main way by which the general feeling can contemplate the endless works of nature in the greatest wealth and splendor”.
At the same time, in metaphysical terms, the vision acts as a living primary source, a dynamic limiting basis, as the true mode of existence of the Absolute. In the static and hierarchical model of the first essences above the Absolute there can be nothing but a living personified in the vision of the Absolute, aspiring to the Absolute. It is this process of aspiration, universal intent, and the effective Absolute vision of itself and can be considered as the ultimate basis of reality.
The substantiality and immanence of vision, expressed in the formula - Vidio, ergo sum (I see, therefore, I exist), consist in its obviousness, regularity and certainty. So Castaneda wrote: “We perceive. It is an established fact. But what we perceive is not among the facts that are equally unequivocally established. For we learn what to perceive and how. ”
Even Aristotle believed that "disinterested contemplation" is the highest value, so "it is valuable in itself." If practical virtues are devoid of leisure and always strive for a certain goal, the contemplative activity of “reason is remarkable for its significance, exists for its own sake, does not strive for any goal external to it, and contains in itself the inherent pleasure that enhances energy”. As noted D.T. Suzuki, the ideal of Ch'an life, should have been realized "not in a simple vision of truth, but in living it, experiencing it, not allowing any dualism in human life between the vision of truth and life itself: the vision should be life, and life should be vision, without the slightest difference between them, except in words. " A. Bergson wrote: “We must try to see precisely in order to see, and not in order to act. Then the absolute is very close to us and, to a certain extent, in ourselves. ” According to I. Ilyin, one can find his earthly homeland and create worlds only through cordial, loving contemplation. “A man,” he wrote, “was born primarily for contemplation: it lifts up his spirit and makes him a winged man; if he can faithfully use these wings, he will be able to carry out his recognition on the ground. " Contemplation - considered V.F. Asmus, self-sufficiency and perfection are most characteristic, contemplation is the only thing that is loved only for its own sake.
According to I. I. Garin, Dante's creative method was based on the generation of clear and visible images. "This visibility is a direct consequence of visionary, a vision of a supersensible world that enhances artistry ... Dante's realism is the power of a vision of the inner world that absorbed not only the external world, but also the spirit of centuries and cultures."
Leonardo da Vinci considered the vision and its direct embodiment, painting, the most fundamental and essential types of human creative activity. "That which contains more universality and diversity is called more excellent," he wrote. Therefore, painting should be put above any other activity, because it contains all forms, both existing and non-existent in nature. ” Leonardo's phenomenon, - noted V.P. Zubov - that he saw life the way that no one had seen before. Leonardo taught people to see, see a person, see the world. For Leonardo, seeing meant thinking. To live well is to be able to see the world and decorate it, the ability to see, understand, create. “It is well known,” wrote M.M. Bakhtin, - what value Goethe attached to the culture of the eye and how deeply and widely he understood this culture ... Visibility was for him not only the first, but also the last instance, where the visible was already enriched and saturated with all the complexity of meaning and knowledge. ” So, being in Rome, Goethe practically identified his life and existence with pure and immediate vision. “I live here in such a serene calm that I have not experienced for a long time. My habit of seeing and perceiving all things as they are, my constant concerns about maintaining clarity of vision, my complete rejection of all claims are again useful for me and make me quietly very happy ... ".

To see is to create.
Creative vision appears as a substantial Absolute, which reveals and acquires its actual reality in the flow of life-creating genius. At the same time, genius is distinguished by the ability to see the world in all its novelty, freshness, singularity, immediate relevance and bottomless inexhaustibility.
It is the individual vision of a genius that is the source and manifestation of his pure creative originality and the characteristic of a unique contribution to culture. So Goethe wrote: “But, speaking in honor, what was actually mine here, besides the desire to see and hear, choose and discern, breathing in life and what was heard and seen”.
So also Friedrich Wilhelm Schelling wrote about the inner, spiritual, higher self, manifested in the desire to contemplate eternity. This higher contemplation, in contrast to the sensual, has its source of freedom and is aimed at finding the deepest, true and authentic entities. In turn, Gotthold Ephraim Lessing stated: “A genius is destined not to know thousands of things known to every schoolchild; his wealth does not constitute the acquired stock of his memory, but that which he can extract from himself, from his own feeling. " K. Jaspers also believed that not all mental and creative processes are based on associations, among them there are also “free-emerging” formations. “We need to learn not to write, but to see, Saint-Exupéry said. To write is already a consequence. ”
“Higher creativity, - considered G.S. Batishchev, - does not boil down to an actively translatable creativity, directed only or mostly outside, - the highest creativity is the attitude that precedes any activity - the attitude to the world as to what can be significantly different ... ”. Creative vision manifests itself as the generation of initially pure, self-sufficient and unconditional novelty, which is spontaneously detected and self-detected in a stream of directed creative efforts. It is self-generated from within, and the generated novelty is self-sufficient and independent of the old experience and habitual representations of the world. “To see the world in a new way, not in the way it was seen and explained before,” writes E.N. Nekrasov, means to see him outside the ready stereotypes of vision and explanation, which constantly put pressure on perception, “extinguish” him ... But in the original vision the world is always new, since it is a living, immediate perception, a state of immediate relevance, there is no dead past, with which compares the present. Here the new is not in comparison with the old, not in the shadow of the old and not against the old. ”
Creative vision itself is no longer presented as a detached contemplation, but as a holistic stream involving perception, understanding, experience and action. “All art,” wrote the Gonkur brothers, “is reduced to seeing, feeling, expressing.” Karl-Gustav Jung emphasized the effective, productive nature of the vision. “The obvious goal,” he wrote, “is to concentrate, concretize and materialize the vision, thereby creating fantasy materiality, which replaces the physical nature of the world known to us. Another reality is created from the substance of the soul.”
Creative vision unites and fuses all kinds of creativity, leads to their interpenetration and mutual reinforcement, manifesting itself as a qualitatively highest manifestation of self-expression, creative dialogue, solving problems and generating new ideas and products. Thus, creative vision is presented as the “second spontaneity,” the free expression of learned and awakened universal meanings, as the ideal form of the problem-solving process, in which results and solutions are not displayed from below, but are given from above. “I'm not looking, I find” - Picasso spoke about his work.
Creative vision is a special reality, some generative field, which allows to unite the souls of man and nature, creating the seer and his worlds. "If the subject and I exist separately, true poetry will not work" - wrote Basho. The vision is always bigger, more active, more complex than the subject of the vision, as it continuously opens to him the eternally new world. As G. Hesse noted: “... no great clairvoyant or poet could ever completely interpret his own visions!”. At the same time, the vision is always more than the world, as it highlights it, includes, intentionally awakens and multiplies its properties and attributes. In its utmost and ability to create something new, the vision correlates with the Universe, manifesting itself as its dynamic and personified way of being.
At the same time, the “I” of a genius is not a substantial demiurge, who by his own intention, by a titanic effort of will, creates his masterpieces. Genius exists and creates in the flow of creative vision, in a dynamic space, in an organic living whole, constituted by two oncoming flows of energy and meanings, coming from the individual and the world.
Creative vision is a stream of verified, precise mental efforts, including a consistent change of perspectives, and free manipulative actions with an object, a vision of its ideal and key contradictions, its past and future, super-systems and components, active involvement and removal from it. Creative vision does not create the world, but creates conditions for self-disclosure and self-creation of its true essence. It crumples, “brakes”, “shakes”, rotates the world, unfolds it with fresh facets, creates voids and gaps, through which new meanings shine through, it “loosens” reality, creating the ground for the self-development of truth.

Center for creative thinking, awareness, experience and action. The creative ego is localized in the stream of vision, as the center of pure and productive awareness, which flares up extremely rarely and briefly in everyday life. This center is acquired at the moment when the balance point of the totality of phenomenological worlds and limiting entities is found and manifests itself as a resonance with universal structures, as harmonization with the flow of creativity and “settling an elastic and foaming wave of life”.
The creative person catches powerful ascending, highlighted by limiting entities, streams coming from the inner and outer phenomenal worlds and keeps the state of flight, permeated with experiences of omnipotence, omnipotence, spiritual cheerfulness and readiness for precise, superproductive and transforming actions.
This center does not exist initially, but is always re-created, it suddenly appears and is captured by directional effort, like a flashing and fading light spot with a focused perception. This center is different from the metaphysical center of the Universe or the acmeological peak of the manifested world, it is different from the self and from the higher spiritual self. It is a synthesis of the Olympic balance of spirit and an unusually lively, mobile awareness that unites the center and the periphery, unity and diversity, universal and extremely concrete.
At the moment of capturing the balance point of worlds and universals, the creative I is transferred to the immobile center of the world, filled with attentiveness, cheerfulness and readiness, and all objects, including one’s own body, acquire lightness, flexibility, lively mobility and friendliness, merging in a single dance and synergistic pulsating flow.
Capturing and acquiring this “immovable center in a changeable flow” generates bifocal vision, which is the unity of self-dissolving in the flow and its extremely sober, pure awareness. The genius creates in the flow of vision, in the space of oscillations of the creative center, merging with the flow and simultaneously translucent and owning it.
At the same time, the idealization and nigilation of objects of the surrounding world, their potentiation and simplification, involvement, identification and liberation from them, spontaneous self-expression and dynamization of reality become a single interpenetrating process.
The selfless immersion into the depth of the moment, in the very center of the vision, in the unity of understanding, experience and action, makes all boundaries and poles, the very subject of the vision and its worlds, transparent and unified.
At this instant, all creative manifestations of the personality merge with the individual ideal trajectory, which is one of the strands of the bundle of trajectories of creative evolution, and any effort suddenly multiplies many times and rapidly moves towards an ideal result. "The great husband," wrote Meng-Tzu, occupies the most correct, "middle" position in the Celestial and passes a great pride ¬ ing, and the ideal man, Chuang Tzu thought, acquires the center, the "axis of the Tao," which allows him to act “without friction”, easily and naturally, spontaneously and effectively.
The center of creative vision, manifests itself as a multidimensional minimized point, as a synthesis of centers of reflection, awareness, experience and action. Therefore, the achievement of this center not only induces a state of pure awareness and total attentiveness, but is also accompanied by an experience of creative enlightenment, productive inspiration, which opens direct access to the absolute and allows one to break into the creature space, into some glutted possibilities, generating and stimulating the nutrient medium.
It is the center of awareness and balance that is the point of contact of the ordinary, undeveloped and higher, creative space, a new channel, opening access to those layers of the superconscious, where universal structures and meanings are stored. Generation, achievement and consolidation of this center creates a transition from the phenomenal world to the world of pure creativity, opens the door to the treasury of new ideas and meanings, into a space of abundance consisting of ideal solutions and clots of unlimited possibilities. Capturing the state of creative balance, reaching the center of awareness and action, allows you to easily move to the center of higher space and further, down to the center of the centers, as well as see and extract new opportunities and highly organized, creative energy from more open spaces.
A genius through a primary effort enters into the flow of creative vision, into a special state, saturated with possibilities of the creatological space, which spontaneously begins to generate pure novelty. V. Nizhinsky said: "I am only at the beginning, then something takes over, and I am no longer ... And who dances, I do not know."
At this moment, consciousness and vision, open, release, swing open towards the Universe, become one with it. Man acquires the gaze of the Absolute, and his vision becomes a co-vision, a contemplation of himself by the Universe. At the same moment, there is a “miraculous simultaneous coincidence” (divinus simultaneous coincidence) of everything with everything, a total mutual embedding of all isomorphic multilevel structures of the universe and connecting them with a single meaning. Universe structures, as universal structural codes, open synapses, splash out internal clean and invigorating drugs of creative intoxication, all doors suddenly open, all lotuses bloom, all objects vibrate and dance, every cell of the body sings, and everything around is arranged into the melody of life-affirming chords. All the desired, necessary things, ideas, solutions, ideal results and even people incomprehensibly self-manifest, arise in sight and rush towards. The world becomes transparent, plastic, friendly and responsive, everything is around, and the Universe itself suddenly becomes a loyal and powerful ally.
To achieve a creative center of vision, there is no need for long-term accumulating efforts or long-term “ascent to the summits.” The center is engaged instantly, due to the right creative effort leading to the ideal development trajectory.Such an effort can be taking an active position, making the right decision, making a courageous choice and even a simple change in the world view. His achievement does not depend on place, time and experience, it can be found by every person at any instant. In this case, genius is associated with the ability to consolidate this center, to preserve the state generated by it, as well as with the creative power and productivity of its implementation.
Passing through the center of awareness and balance into the creatology space, the creator finds himself inside a multidimensional totality of all individual visions, all creative meanings and brilliant accomplishments, inside the timeless universe of the existence of all known and future geniuses of humanity. At the same time, the opportunity and ability to live in their inner world, in life situations and the circumstances of creativity, to comprehend and acquire the vision of each genius, to appropriate their talents and experience their successes and achievements as their own, is acquired.

5.3.1. The theory of universal vision asserts that genius is understood as the realization of a universal spectral, multi-level, complex vision, based on a combination of different types of vision, generated by universal primordial essences.
It is a holistic spectrum of unmixed, qualitatively original visions, a powerful laminar flow, including absolute, spiritually transforming, eidetic, liberating, potentiating, holistic and immediative, as well as its own, original, individual, unique in history and in the Universe itself, the vision of reality . At the same time, this multidimensional, total, scooping up the entire content of being, the vision of the world, consists in simultaneous activation of all types of vision, as well as flexible switching between them, the realization of each level alternately or the creation of patterns of perception rays, depending on the design, purpose or features of the situation.
Spectrum of vision. Genius possesses a universal spectrum of vision, on top and within which is absolute vision, which is understood as discretion, seizure and generation of ultimate meanings, first principles, universal structures and phenomena. Absolute vision manifests itself as an understanding and experience of worlds and objects from the point of view of the Absolute (Sub specie Absolute), from the point of view of Eternity (Sub specie Aeternitatis) and from the point of view of the Universe (Sub specie Universum). The vision, namely, understanding, awareness, experience and action is carried out from the center and generating nucleus of culture, from the core of the flow of creativity, from the Absolute itself. At the same time, writes S.L. Frank: “In order to achieve the absolute, the transrational, the incomprehensible, we must not leave, leave behind ourselves the relative, the rational, the comprehensible, on the contrary, the first shines through the last, immanently given in it and with it and only in this form is available to us - more Moreover, it is only in this form that it is intelligently conceivable. ” In this case, the vision manifests itself as an integral laminar flow, which is generated and correlated with the spectrum of consciousness. Various structural multilevel models of consciousness were proposed in Eastern religious-philosophical contemplative traditions, summarized in the teaching of Aurobindo, as well as in Western concepts of R. Assagioli, S. Grof, C. Tart. Numerous eastern and western structural models of consciousness were integrated by K. Wilber and presented in the form of a hierarchy of five levels: 1. Mind or Higher Self identification with the Absolute. 2. Transpersonal Self - identification with Archetypes. 3. Existential I - identification with the biosociocultural environment.4. Ego - identification with the psychosomatic body. 5. Shadow - identification with a distorted image of I. Speaking about the architectonics of total Supraconsciousness, it is necessary to complement K. Wilber's model with R. Assagioli's consciousness schemes, including the middle and lower unconscious, S.Grof, containing levels of cosmic unity and absorption, with intrauterine development and “ evolutionary memories ”, the theory of T.Leary’s neurogenetic contours of the brain, describing seven and R. Wilson’s eight levels, as well as P. McLean’s three-sided holographic model of the brain, including the primate’s brain, mammal and reptiles, which are implemented through certain programs of perception and action. To explain and describe the holistic perception of the world, it is necessary to build an inverted pyramid of levels of the unconscious, stretching into the most ancient, but continuing to act, deep layers and structures of existence. They are responsible for pure, naive, fresh, devoid of any categorization, instinctive grasp of reality, its perception through the eyes of a child, a baby and even a young beast, wood or stone. O. Mandelstam, who can be attributed to geniuses from God, or rather from Nature, wrote: "... beauty is not a whim of a demigod, but a predatory eye of a simple joiner."
"You don't need to talk about anything
Shouldn't learn anything
And sad and good
Dark bestial soul:
Doesn't want to teach anything
Can't talk at all
And swims a dolphin young
On the gray depths of the world. "
It is known that once Tolstoy so fascinatingly told Turgenev that the old horse standing before them felt and felt that he involuntarily exclaimed: "Listen, Lev Nikolayevich, really, have you ever been a horse." Franz Marc wrote about contemporary painting: ““ How poor and soulless is our tradition: to place animals in the landscape that we see, instead of penetrating the soul of the animal and understanding its vision. ”
A. G. Danilin, on the basis of the theory of R. Wilson, developed a training on the development of genius, including a consistent identification with its evolutionarily formed “inner creatures” fish, amphibians, reptiles, mammals, monkeys, man-made monkeys, cavemen, people of the 21st century and man of the future. With successive transformations, the respective contours of the cerebral mash are activated and the person begins to feel, perceive the world from the position of the new “inner being”.
At the same time, the surrounding world acquires new, unexpected smells, paints, outlines, he recalls, awakens forgotten useful qualities, is filled with new living energy. So he acquires the ability of a genius amphibian to romp in different situations or feels the gift of intuition of a caveman. In conclusion, he is identified with the man of the future, a free, creative, quantum man of the eighth contour. He accumulates the experiences of all internal "breakthroughs" —which are directly correlated with the true, eternal “I” and feels like a brilliant man, possessing the instinct of genius.
K. Jung, speaking of the all-seeing, merciless as, true and nature, mysterious, instinctive "natural thinking", argued that identifying oneself with an animal means activating the subconscious, as well as rejuvenation by touching the source of life. “This feeling is akin to instinct or the archaic mechanism of participation - a mystical connection with others. It’s like inner sight when every act of vision is impartial. ” “Sometimes it seems to me,” he continued, “as if I absorb the space and the things around me. I live in every tree, in a splash of waves ... - in every creature. " In turn, G. H. Andersen described the tree in the following way: “The tree seemed to sense that the time was festive, the bells were ringing, and he was dreaming of a warm, quiet summer day ... All that the tree had experienced and saw around itself in its entire long life, now passed before him in a solemn procession. "
This is a multidimensional, total, scooping out the entire content of being, a vision of the world consisting in simultaneous activation of all levels of perception, as well as flexible switching between them, the implementation of each level alternately or the creation of patterns of perception rays, depending on the purpose or features of the situation.
At the same time, genius has not only spectral, multi-level, but also some complex vision, based on a combination of different types of vision, generated by universal primordial entities.

Table 12 Types of Creative Vision

Holistic vision		Potentialist vision
Immediative vision	Absolute vision Spiritual vision	Nienthic vision
Connectionist vision		Eleftheric Vision

The table uses paintings by N. Roerich, Van Gogh , M. Escher, T. Setovsky, I. Klun, I. Levitan

BEING (INTERACTION - WHOLE)
1. Immediative vision (from Lat. Immediatus - direct) is a vision of the world as it really is, it is a transparent understanding, a pure and clear awareness of reality. It represents a direct, fresh and direct perception of things in all their relevance, naturalness and simplicity, overcoming mental stereotypes, conventional patterns, cultural cocoons, common sense labels, and the occupation of a new center from which the familiar seems unfamiliar. This is a vision of the world from the inside from the position of pure consciousness, pure intuitive grasp, going beyond the limits of intellect, logic and reason. It is such an intuitive, holistic contemplation, deep, pure, direct and direct, based on openness of mind and renunciation of selfhood that is affirmed in Zen Buddhism. “Zen perceives reality directly, in its“ suchness, ”wrote A. Wats. “To see the world specifically as it is, not dissected through categories and abstractions, it is necessary to look at it with an unthinking mind, that is, with a mind that does not create symbols about it.” At the same time, according to Nishida Kitaro, such a vision is a realization of the “Basa idea”, a place of absolute emptiness, which is occupied by the true, purified from all egoistic I, which, without distorting reality, contains pure things as they are . At the point of absolute emptiness, transcendental and phenomenological perception unite. Leonardo da Vinci and Goethe can be distinguished among Western geniuses with an immediative vision of things . So the worldview of Goethe was built not on speculative reasoning, but on experience, on a clear, concrete and objective vision of things. “Vague, shapeless and baseless fantasizing often hurts,” said the poet. You need a living sense of reality and the ability to express it. In turn, Leonardo argued that the painter's mind should be like a pure mirror, which “turns into as many colors as there are in the objects set before it”

INTERACTION
2. Connectionist vision - is a vision of new deep connections between objects, finding simple, initial relations, visualization of invisible lines of force penetrating the field and space, analogization, disclosure of similar and common between phenomena. At the same time, it is also the mental creation of connections, including compulsory ones, the unification of worlds, the linking, gluing and combining systems and objects in all possible, non-standard and most incredible ways.

WHOLE
3. Holistic (from the Greek. Holos - whole) holistic, global, planetary, cosmic, universal and universal, holographic vision. Often, these definitions of vision are used as synonyms, although each of them carries a specific semantic load.
The holistic vision is aimed at the seizure of living, organic integrity, which are perceived as the only distinguishable objects and are understood as the "last reality of the universe." Thus, objects and phenomena are seen as organic, living integrity, not amenable to further dismemberment. At the same time, the world itself, culture, society, texts and works of art are perceived as living, organic integrity.
Holistic vision of an individual object or a subject situation is understood as the organization of the totality of its elements into a total, complete, stable whole, expressing the true essence of the object. An example of this vision or a game with him is S. Dali's painting “The Slave Market with Voltaire’s Vanishing Bust”.
System vision is a consistent and simultaneous vision of all expanding supersystems and deepening subsystems of an object, as well as a vision of the past and the future of the system and its subsystems and supersystems. G.S. Altshuller, speaking of creative systems thinking, said: “a talented imagination lights up three screens at the same time: a supersystem (group of trees), a system (tree), a subsystem (leaf) ... are visible ... Sometimes other screens are included: a super-subsystem (forest) and a subsystem (cell of a leaf) . And most importantly - all this is evident in the development, because there are side screens that show the past and the future at each level. Nine (at least nine!) Screens systematically and dynamically reflect the systemic and dynamic world. ”
Global vision - is understood as the simultaneous perception of the totality of worlds, spheres and spaces. This type of vision is based on the removal and equidistance from all worlds, the achievement of a balance point and the ability to combine different things and easily penetrate all barriers and borders.
Planetary vision is a view of worlds and phenomena from outside the solar system, the vision of the Earth itself as an integral living organism. So contemplation of the starry sky, as living inconceivable integrity, astonished I. Kant, and M. Voloshin, possessing an artistic, planetary vision, could look "down at the stars" ... "from the earth chained to the foot."
The planetary, cosmic and universal vision of reality represents different positions, contexts of understanding, based on the awareness of cosmic unity, as well as the degree and level of expansion of consciousness. Cosmic vision manifests itself as the discretion of the entire wealth of the object’s relationship with the world, ranging from physical, biological, and ending to informational-semantic, as a love and joyful experience of unity.
Panoramic vision is understood as the ability to grasp space and time with one glance. It was a holistic, panoramic view of things that allowed geniuses to contemplate the past, present and future of all phenomenal worlds impassively on a huge frozen screen, to see the deep essence of things and at the same time everything the richness of the diversity of their relationships, to capture the hidden connections of the momentary and transitory with higher meanings and values. Charles Baudelaire wrote: “Often people who have unexpectedly survived an accident, choked in water or in mortal danger, see how their past life is illuminated in their brain. Time disappeared, and a few seconds contained a huge amount of feelings and images, equivalent to years. ” Panoramic vision also includes a calm contemplation of pictures of the future, consideration of the whole fan of possible scenarios, perspectives and ideal results.
Holographic vision is manifested as the ability to see in each separate part of an object, a three-dimensional image, structure and all the richness of the content of the whole. In addition, a holographic vision consists in the ability to collapse all information about an object, combine all existing and possible points of view on an object into capacious, holographic models, and also freely extract it by changing positions and viewing angle. Sometimes they talk about a fractal vision that focuses not on the semantic, but on the figurative, geometric self-similarity of the object. At the same time, the data of a vision can see in nature really existing, highly organized fractal objects, which are represented by snowflakes, clouds, tree crowns.
In the artistic work of holographic vision is manifested as a special gift to see the unity of all that is permeated with universal beauty and love. Geniuses have always been distinguished by their conscious or unconscious ability to see.
in the world of Eternity, in things - the Universe, and universal and universal in any ordinary event. This attitude was expressed in the classic lines of V. Blake:
"The sky is blue in flower,
In a handful of dust, infinity;
Hold the whole world in your hand
To see eternity in every moment. ”
The phenomenal gift of a holistic vision of the world, works of art and music itself was provided by V.A. Mozart A.V. Mikhailov wrote about the genius composer "of all his contemporaries, including Haydn, no one better than Mozart corresponds to this grasp of music as a whole, this hugging of it with both hearing and the inner eye." In the process of working on a piece, he laid out sheets of notes on the tables, on the floor and on the bed, trying to take everything written in a single glance. Comprehending his unexpected capacity for holistic seizure, Mozart even introduced two terms: Ubersehen "inner vision of an emerging musical work as a whole" seizing it "in the spirit" - in its perception - at once, as a visible unity, like a picture "and Uberhoren, which defines" the same inner process as a one-time embrace of the whole by hearing, as the hearing of the whole. ”
L. Beethoven in his work followed a stream of inspiration rapidly moving toward the completion of the whole, creating empty spaces that were filled later. F.M. Dostoevsky also initially seized the whole work with a single eye, which as a gift fell at his feet and, obeying the powerful influence of this whole, with pleasure wrote down separate parts of the work, and then returned and tied them. “Only inspirational places,” the writer noted, “and leave immediately, in one gulp, and the rest is all the hard work.” A.S. Pushkin also knew how to keep the whole work in front of his eyes: “I write and ponder. Most scenes require only reasoning; when I get to a scene that requires inspiration, I wait for him or miss this scene ... ”.
Holistic vision allows you to simultaneously grasp all the above-and subsystems of the object, as well as see the temporal integrity, the beginning, the culmination and the completion of the operation and at the same time, the totality of all its causes and consequences. So the creative method of Goethe was based on the desire to see the first phenomena and sources of generating objects, and at the same time see the whole world behind every thing.

NOTHING (OPPORTUNITY - FREEDOM)
Neantic vision (from fr. Neant is nothing) manifests itself in focusing on internal and external voids, in places, receptacles, gaps between objects, spaces, “white spots”, “gaps and dips of being”, in concentration on the background, open fields and free spaces, and also in focusing attention on breaks in durations and points of transitions. At the same time, this type of vision can be understood as anticipation, prediction, visualization of the invisible, concentration on random, insignificant, weak, peripheral signals and signs.
Roberto Kaplan wrote: “Look with your own eyes on what is and what is not,” and Georg Lichtenberg urged: “One should see in every thing something that no one else has seen or anything else has thought about.”
At the same time, it is a mental manipulation of the voids, their hierarchization, interdeposition and further devastation. At the same time, the mastering of Nothing is done by the same methods that have already been tried in Being. This type of vision corresponds to “non-anti-ization”, which according to J.P. Sartre manifests itself as a distancing and neutralizing movement of free consciousness, capable of "denying the totality of the real." According to the philosopher, the conversion and transformation into Nothing, the denial of oneself and the world does not mean the annihilation, annihilation by the consciousness of the given, it is like an envelopment of the given by consciousness ("a clutch of nothing"). "It is necessary that denial be free invention, it is necessary that it would tear us out of the walls of positivity in which we are walled up."
In this sense, we can talk about eliminating vision (from Lat. Elimino — I go beyond the threshold, I expel) - the ability to mentally make things, people, objects, events, transparent, evaporate things, be able to decisively exclude from consideration, cross out, but not destroy. disturbing. At the same time, it manifests itself as the ability to radically lower the significance, to make senseless things, events, people, their own structures and manifestations.

OPPORTUNITY
Potentialist vision is manifested in the perception and understanding of the world as an infinite potential and inexhaustible resource, as a source of new high-quality and attractive opportunities. At the same time, it manifests itself as an awakening vision, as a mental generation of new phenomena, essences and forces, as an multiplication of the worlds of the Universe, the creation and construction of virtual worlds and pushing the boundaries of the possible.
Potentialist vision is understood as the ability to mentally create and freely use new conditional, “invisible” worlds with their new, unexpectedly awakening and reality acquiring reserves, capabilities, and powers. It manifests itself as a review of the developing spaces and the discovery of new horizons, as the creation of a mysterious conditional reality built from mutually placed opportunities, voids and places.
At the same time, the potentialist vision is understood as the design of the future, as the visual design of various models of phenomena, systems and objects, as the vision of various scenarios and trajectories of their development. It manifests itself as an orientation not on what is, but on what can and should be, as a focus on the capabilities and potencies of objects. This type of vision is the construction of conditional virtual worlds, the mental production, transformation and manipulation of their objects, as well as the vision and extraction of their qualitatively new possibilities.
Potentialist vision manifests itself as a potentiating thinking, which, according to F. Schelling, is a translational potentiation of its subject, a potentiation of self-contemplation and an ascent from the lower potencies to higher order potencies up to the highest aesthetic one. According to M. N. Epstein, potentiation and the realization of reality is the multiplication of possibilities by searching for hidden and generating new and new opportunities, deploying new alternatives and models, multiplying and searching for otherness. Potentiation, the author believes, determines the significance of life, its meaningful saturation, while “a life full of possibilities is noticeably richer and more eventful than life, reduced to the plane of actual existence ... Happiness is the art of becoming possible, acting in an open and expanding horizon of possibilities” .
In addition, the potentialist vision is directed not only at the exhaustion of existing and the generation of new opportunities, not only at their multiplication, but also at highlighting the streams of self-generating opportunities, at the discretion and seizure of the primary structures that generate and multiply the possibilities
In turn, the potentialist vision is the realization of the mystery mechanism, manifested in the disclosure of invisible, unexpected and mysterious possibilities, in the pursuit of the unknown, the new, mysterious and intriguing, in experiencing the mysterious and intimate nature of the world, as well as the surprise of its eternal novelty and inexhaustibility. In addition, potentiation and mystification are manifested as a vision of qualitatively new, unexpected possibilities, as the ability to distinguish between the miraculous and the mysterious in the commonplace and the ordinary. “It is very important,” wrote CG Jung, “to have a secret or a premonition of something unknown; it gives life an impersonal, numinous property. ”

FREEDOM
Eleftherical vision (from the Greek. Eleftheria - freedom) - is aimed at overcoming and breaking the existing connections and determinations, at cleansing objects from all the superficial and superfluous, at ridding them of false, imposed connections and meanings. This is a vision of breaking the chains, looking for openings and exits, looking beyond and finding passages in insurmountable boundaries. It is a transgressive vision penetrating behind the screens, directing its gaze into the dark and able to see the invisible. He is distinguished by the audacity of aspiration, challenge, risk, limiting energization, the rejection of censorship and controlled disabling control. This is a nihilistic, critical and skeptical vision, initially denying everything, questioning and enveloping with irony.
It is a deconstructive vision, destroying stereotypical connections and patterns, a kaleidoscopic vision that deliberately breaks ties, randomizes and fragments reality. In addition, the Eleftherian vision is aimed at decisively getting rid of multi-level “centrisms”, exploring the periphery, highlighting the insignificant, grasping random, randomly chosen objects, revealing indirect, relevant little relevant signs and capturing weak but useful signals.

ABSOLUTE
Absolute vision is a spiritual, transcendental, metaphysical, mystical and eidetic vision, understood as capturing the ultimate meanings and universal relations of being, the vision of invisible entities, the discretion of the generating structures, sources of creative forces and deep creative streams. It is understood as identification with the Super Personal principle and manifests as spiritual, intelligent, hearty and loving vision, which transforms the world and fills everything with a higher meaning and value.
Absolute vision is achieved by courageous pursuing an absolute position, decisive mastering a new higher state and viewing, understanding and experiencing actual reality from an absolute point of view, grasping ideal, perfect and curtained sense-images of objects with subsequent sequential drawing and building paths from the Absolute to reality.
Absolute vision is contemplation of the world as Spinoza says God sees it. According to the philosopher, this is the perception of an exclusively holistic unity of interrelated and serving each other as a prerequisite for pure spiritual forces, and ignoring its bodily extension.
In the works of N.O. Lossky, B.P. Vysheslavtseva and S.L. Franca's absolute vision is manifested in the perception of the Superpersonal principle, in the contemplation and understanding of the Absolute, not as a transcendental primordial essence, but as “the absolute fullness of being and the fullness of life” and the highest perfect love. According to N. Lossky, the very intuitive, in-depth knowledge of the world and, in particular, “alien existence in the original is possible because the world is an organic whole, and the knowing subject, the individual human self is a super-temporal and supra-spatial being, intimately connected with the whole world” .
R. Abellio wrote that it is necessary to see the world from the position of the Absolute Structure and to do it in such a way that each object, each event is transformed through it. In this case, perception "is a vision of a universal relationship in any event, at every moment. Then the most insignificant object, the smallest fact, the sign is transformed. ” It is necessary to completely, but consciously restructure our attitude towards the world in order to see how meaning comes together in interaction.
Absolute Vision is understood as the simultaneous flashing of all real and possible worlds, the shining of all layers and depths of the Universe. At the same time, it is not just a vision of objects in the context of the Universe and Eternity, not just a vision in each object of universal structures and meanings, it is an all-encompassing and pervasive view of reality from the point of view of the Universe, a sense of worlds and objects as its organic part, a vision of them your own body, remembering all the moments of birth and presenting all the trajectories of development within yourself, contemplating all possible totality of Being on the inner, fixed, multidimensional screen of Eternity.
“Contemplation,” wrote Krishnamurti, means our conscious unity with the infinite eternal Absolute ... In contemplation, we become one with the Creator and see the whole Universe within ourselves. ”

Spiritual vision is the highest way of being of a person, a living form of existence and affirmation of faith, a universal method of comprehending and understanding reality, the process of understanding the absolute value of everything that exists, revealing its unity, deep connection and correlation with the Absolute. Spiritual vision is based on the unconditional acceptance of the world as it is, on understanding the value, expediency and necessity of all its objects, on granting them the right to their inner truth, their own logic and activity.
Spiritual vision manifests itself as the highest level of sense-creation, as the simultaneous discretion and endowment of the world with the highest universal and creative meanings, the saturation of all its elements with beauty, love and goodness. It appears as an internally active, extremely effective, transforming contemplation, filling all objects with the highest absolute meaning and evoking their ideal essence. Its highest goal is spiritualization, awakening, development of all worlds, including the inner world, strengthening of the spirit and improvement of the vision itself.
The source of spiritual vision is the belief in the existence of an absolute order and meaning, unconditional, deep conviction in the possibility of identifying with its essence and merging with its creative energy. The supra-rational character of faith, which generates the flow of spiritual vision, is manifested in the saturation of the vision itself with the highest experiences of unity, the joy of creativity, and most importantly, of the sublime love of the world around. As FM wrote. Dostoevsky : “Love the whole creation of God, and the whole, and every grain of sand. Love every leaf, every ray of God. Love animals, love plants, love every thing. You will love every thing and mystery of God you will comprehend in things. " S.L. Frank understood spirituality as a heartfelt type of world view, as a loving vision of the world: “The being is the true, infinitely complete, eternal being, it is the living endless life and the truly real, almighty creative power of love.” Spiritual vision manifests itself not only as a love contemplation, but also as a delight in the beauty and expediency of the world, an aesthetic perception of the highest beauty spread in the world. I. Ilyin wrote that the cathartic vocation and the power of artistic art lies in experiencing the harmony of the play of spiritual forces, in contemplating the spiritual and sacred depths of the world and introducing new contents and rhythms of life.
V.Solovyev, P.Aflorensky and S.N. Bulgakov understood the spiritual vision of the world as the contemplation and realization of Sophia - the soul and foundation of the world, the source of human culture, the symbol of unity, wisdom, harmony and beauty.
Spiritual vision is an “intelligent and hearty vision” understanding of the world through faith, accompanied by deep and higher experiences that inevitably find their embodiment in service, in living, active and productive action. With all its overwhelmingness and timelessness, it differs from the mystical insights by its striving towards man, focusing on the inspiration and improvement of all his phenomenal worlds. And although it draws its energy and strength in the high world, its existential incarnation is the increment of good, generating capacious, beautiful symbols, filling the world with love and compassion, enlightenment and strengthening the human spirit, the flowering of art and culture. In this sense, spiritual vision is the source, form of manifestation and effective tool of genius. Vl. Solov'ev considered moral strength to be an inherent quality of a genius, who gains the ability to rise above worldly passions and direct his energies to the transformation and spiritualization of reality, to the incarnation and affirmation of an absolute ideal in it.
The manifestation and method of manifestation of a higher spiritual principle in man is conscience, which is understood as the unity of spiritual freedom and moral imperative. Conscience is the inner creative force itself, the main component of the soul, "the depth of the personality, where a person comes into contact with God" (N. Berdyaev). Many geniuses were guided in their lives and works by the dictates and the voice of conscience: Buddha , Confucius , Lao Tzu, Socrates, Marcus Aurelius, Augustine, I. Kant, A. Schweitzer. A passionate desire for absolute self-improvement and a life of conscience was woven into the work of Fyodor Dostoyevsky, who wrote: "All who