- 5.3. Vision Theory of Genius

Это продолжение увлекательной статьи про визионистская теория гениальности.

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are capable of truth, all those feel their conscience, what is good and what is not." I. Kant believed that conscience manifests itself as a practical reason, which by means of maxims and imperatives controls the actions of man, Hegel understood conscience as an individual embodiment of good, and J.J. Rousseau wrote: “Conscience! you are the divine, immortal and heavenly voice, ... you are the infallible judge of good, you alone make a man like God! ”. M. Heidegger claimed that the conscience returns a person from being lost in Man to freedom, B. Brecht said that it provides the very existence of existence, Jean-Paul identified it with aesthetic taste, and V. Frankl directly connected conscience with creativity. Russian religious philosophers defined conscience as a manifestation of the Absolute in man and the “breath of higher life”, in particular, I. Ilyin, wrote: “Heartful contemplation, conscientious will and religious thought are the three great forces of the future, which all problems of existence can match they will create a person with creative integrity. " Any act committed on the soft push of conscience that comes from the very depths of the spirit equalizes the person with the Universe, fills it with creative power and invincible confidence, gives all its manifestations a distinct personality, personality and originality, that is, qualities that are essential attributes of genius.
Spiritual vision has always served as the basis and method for the implementation of various religious trends, practices and systems. Thus, in Eastern Christianity, spiritual vision was understood as a clever and cordial vision, as a comprehension of the innermost meaning and invisible divine secrets of being. At the same time, the internal conditions for gaining spiritual vision were repentance, humility, heartfelt prayer, faith, and love of the world. According to the fathers of the church, the realization of the vision itself leads to spiritual rebirth, deliverance from spiritual blindness, to the purification of the heart, the deification of the soul and the strengthening of the spirit. The state of spiritual vision was understood as enlightenment given from above, divine revelation and grace, as an experience of tenderness, sublime love and delight before the revealed original beauty of being and divine design. (Isaac Sirin, St. Ignatius, Venerable Justin). In Judaism, spiritual vision is based on the realization of the mystical unity and co-creation of man and God. The practice of Judaism itself is the development of a spiritual vision given from birth and the affirmation of a living faith (Emunah), which is related to the word “Omen” and is translated from the Hebrew as “educate” or “train” (Dov-Ber Haskelevich). In Hinduism, spiritual vision was associated with the opening of the inner spiritual “eye of Shiva”, with the acquisition of phenomenal intuition and the ability to penetrate through cosmic time and space and through any obstacles, sight. При этом согласно некоторым направлениям йоги, на высшей стадии развития духовного видения адепт обретает способность ощущать вкус и аромат звезд, слышать вздохи планет, питаться космическими энергиями и свободно понимать любые языки. В буддизме духовное видение понимается как прямое, ясное и истинное восприятие вещей такими, какими они есть и, в то же время, как переживание глубокого, всепроникающего состояния любви и сострадания. Религиозная практика суфизма направлена на установление духовной связи с божественным, на переживание целого спектра высших мистических переживаний и обретения внутреннего духовного видения, кото¬рое тождественно видению во сне. Путем очищения сердца от мирских страстей и реализации специальных мистических практик, суфий устанавливает духовную связь с Хранимой Скрижалью (Лаух ал-Махфуз), некоторым мировым зеркалом, отразившем и сохранившем в себе все события, произошедшие и даже могущие произойти в будущем. Очищение своего сердца от страстей и избавление от собственной воли приводит суфия в кратковременное экстатическое состояние «фана», сопровождающееся открытием внутреннего духовного видения, которое в суфизме носит разные имена: ал-басира, басират, или мошахада - созерцание, внутреннее видение, “свидетельство”. Дальнейшее вхождение суфия в устойчивое экстатическое состояние «хал» и установление контакта с «мировым зеркалом», открывает для него возможность непосредственного познания вещей, а также проникающего видения далеких и будущих событий. Практически во всех религиях достижение духовного видения рассматривалось как высшая и возможная цель, реализация которой осуществлялась посредством сходных этапов: очищения сердца, избавления от мирских страстей и эгоистичного я, а также получения в награду высшего экстатического состояния, в процессе которого открывается новое духовное зрение, укрепляется вера и обретаются новые качества и способности.

Eidetic vision (from the Greek. Eidos - view, image, pattern) - is understood as a direct seizure and intuitive comprehension of entities, deep structures, ideas, values ​​and meanings. In this case, it is understood not as a vision of vivid images and pictures, but rather as an extrasensual contemplation and formation of eidos ideas (Plato) or as a process of ideation, which is the direct discretion and grasp of entities (E. Husserl). According to D.V. Winnick, any meaning is cognized only through eidetic contemplation, as a result of which the contemplator can say "I see the meaning in this."
According to P. Karabushchenko: “Eidetic speculation is the highest level of creative activity in science and philosophy. Here, the mind contemplates the essential structural characteristics of the entire subject areas of being and cognition. With the help of eidetic speculation, the eidos of the universe, his “power” ordering informational frameworks, a kind of “crystal lattice”, providing order and harmony of being, are revealed to the thinker. ” V.F. Ern believed that the creation of the doctrine of the supersensible world of ideas became possible because Plato's consciousness itself possessed an "eidetic vision." Marcus Aurelius called “To contemplate causality, relatedness of acts through the peel,” “Look inside, inside a source of good, and he can always break through if you always dig it out”, and also see and understand the essence of people with a special penetrating contemplation: notice “What is their leader, because of what they clap, for what they love and honor. Consider that you see their souls in nakedness. " K.G. Jung said: "What distinguishes me from others is that I do not recognize the" partitions "- they are transparent to me."
The intuitive seizure of entities can be carried out not only with the help of intellectual, but irrational intuition, which is understood by A. Bergson, "knowledge, grasping his object from the inside, perceiving it as he himself would perceive himself, if his perception and being were one and the same same. " So according to Yu.A. Kimelev, an eidetic vision based on empathy, empathy is a necessary internal condition for the intuitive discretion of the essences underlying religious phenomena.
KA Svasyan pointed to the essential connection with the phenomenology of the world outlook and the method of knowledge of Goethe . “The Goethean doctrine of the protophenomenon,” he wrote, “exhaustively anticipates the entire Husserl technique.” In confirmation of this, he cites a number of statements by the great poet and scholar. “We need a peculiar turn of the mind in order to grasp the shapeless reality in its most original form ...”. “There is nothing more difficult than to take things as they really are.” “To understand that the sky is everywhere blue, not you need to drive around the world. ”“ I leave things quietly acting on me, watch the action after that and try to convey it correctly and genuinely. Here lies the whole secret of what they like to call genius. "
Creative eidetic vision is aimed at generating new meanings, at their multiplication, deepening and elativization. It organically combines two independent, historically established ways of understanding eidetic vision, based both on the seizure of the internal form of the object and on the contemplation of its appearance, vivid images and pictures.
The universal dichotomous matrix of understanding eidos was laid down in ancient philosophy. “If within the framework of a pre-Socratic philosophy,” wrote MA Mozheiko, - eidos was understood as the external structure of an object, then Plato's content of the concept "eidos" is essentially transformed: first of all, eidos is understood not as external, but as internal form, i.e. the immanent way of being an object.
Such a dual interpretation of the eidetic vision is manifested in its understanding as the discretion of pure entities in Husserl's phenomenology and as the vision of vivid images of objects that are not represented in direct perception. At the same time, these types of eidetic vision, projecting into the sphere of the psychic as intuition and imagination, are immanent forms or stages of the manifestation of a holistic consciousness. In their inseparable integrity, they are represented even in the process of ideation, the material of which can be both a living experience of perception and imagination.
Creative eidetic vision is the ultimate potentiation of objects, the injection and generation of new images, connotations, associations and meanings, the free variation and manipulation of them, as well as the simultaneous seizure of the most successful combinations and the discretion of new self-generating meanings.
Universal creative vision is a laminar flow, an intentional bundle of immiscible vision rays, aimed at destroying the habitual connections between objects and combining them into new combinations, the complete grasp of the whole set of their above and subsystems, the awakening of their hidden qualities and capabilities, at the discretion of the ultimate entities and endowments of worlds and objects with absolute, creatological meanings. In this case, there is a sequential or simultaneous activation of the flows, flexible switching between them, instant drawing up of a pattern of intensities isomorphic to the current situation or the structure of the object.

At the personological level of analysis, the vision of a genius manifests itself as a series of talents, abilities, and personal qualities:
1. The gift of foresight. A number of authors claim that the genius has the gift of foresight and acts in his work as a prophet and seer. Jürgen Mayer in one phrase accurately expressed the essential prophetic ability of a genius: "A genius hits a goal that we do not see." At the same time, the ability to foresee is manifested among geniuses in the most diverse spheres of creativity and life activity. “To control means to foresee, and to foresee means to know a lot,” said Cicero, “To write is to foresee,” said P. Valery, “Every science is a prediction,” said G. Spencer. E. Torrance wrote that most creative people like to think about the future, and according to F. Pollak, “Throughout history, the development of civilization was stimulated and directed by“ images of the future ”, which were created by the most talented and talented members of society.” Daniel Andreev wrote that all great people possessed the gift of prophecy and messenger, qualities that are close, but not identical. “The Herald,” the author believed, “is the one who, makes people feel through the images of art in the broad sense of the word, the highest truth and light pouring from other worlds .... a prophet can accomplish his mission in other ways - through oral preaching, through religious philosophy, even through the image of his whole life. "
According to S. Parkinson, a man of genius miraculously combines outstanding ability with the gift of foresight. “The gift of foresight is the complete opposite of ability. A person possessing them can imagine what no one sees and what, perhaps, simply does not exist. ” At the same time, as the author correctly notes, the genius successfully combines the gift of foresight with the ability to incarnate the seen images. “He has a vision, giving him the opportunity to define his goal, and outstanding abilities that enable him to find the means to achieve it. The way up from where it is located, and the way back from where it aspired, intersect. This is the genius that Abraham Lincoln and Walt Disney were endowed with. ”

2. Intuition as an internal discretion. A particular manifestation of the visionary theory is the understanding of genius as a manifestation of phenomenal intuition, consisting in the internal discretion of truth, in the unmistakable grasp of entities and in the incredible depth of comprehension of problems.
About the special gift of genius - "intellectual intuition," wrote Friedrich Schelling, calling it the ability that allows you to cross the boundaries of reason, see the truth and make discoveries. N. Berdyaev wrote about himself: “I am a type of thinker of an exceptionally intuitive-synthetic type. I certainly have a great gift to immediately understand the connection of the whole, partial, with the whole, with the meaning of the world. The most insignificant phenomena of life cause in me an intuitive insight of a universal character .... Behind a small and separate world, I see the spiritual reality from which light is shed on everything. ”
Intuition is often identified with the action of the unconscious, with the ability to catch the weak but accurate signals of the Universe and the subtlest impulses of the inner world. I.G. Herder wrote that intuition, which manifests itself in a certain ability to create and comprehend reality, without the help of abstractions, is an essential feature of genius, and N. Hartmann, argued that the process of creative genius is the "life-giving breath of the unconscious." B. Pascal, himself possessing a brilliant intuition, called it a synonym for the heart, a natural instinct and divine insight. Understanding of intuition as an instinct was supported by A. Voltaire, who wrote in a letter to Diderot that all brilliant works were created instinctively, and A. Bergson, who also considered it an act of free contemplation and a kind of intellectual sympathy. In psychoanalysis, intuition was understood as an unconscious source and a key first-principle of creativity (Z. Freud, C. Jung). J. Gowen believed that the essence of genius lies in a person’s ability to mobilize unlimited and hidden reserves of the subconscious, and he regarded the brain of a genius as a receiving device that, with careful tuning, can receive subtle signals and provide access to its own subconscious.
Intuition is often identified with mystical vision,
with supernatural sensitivity and the ability to see the invisible, to comprehend the inexplicable, to catch the weak but significant signals of the external and internal world. N. O. Lossky believed that in the act of mystical intuition a substantial figure operates more likely with concepts, not symbols, and only with the help of symbols, parables, poetic allegories, a religious adept, or a messenger, conveys to others what came to him in the process of divine illumination. , transmitting to others not so much knowledge, as his condition.
In this understanding, intuition is identified with the third eye of inner vision, which overcomes the sensory channels of information and the rational mind and is awakened by resonance with universal structures and fundamental principles of being.
Almost all geniuses in all spheres of creativity possessed intuition and inner discretion of truth. So Ignatz Philip Zemmelweis wrote that the idea of ​​the existence of microbes "suddenly came to his head with irrefutable clarity," in turn, Karl Gauss said: "I already have a solution, but I still don’t know how to reach it," Derd Poya remarked: “when you are convinced that the theorem is true, you begin to prove it,” and P. Hein argued that: “Art is a solution to problems that cannot be clearly stated until they are solved”.

3. Inner vision. The essential feature of a genius is his gift of inner vision, exceptional ability to visualize and visual potentiation of objects, extremely developed creative imagination and extraordinary intensity and dynamism of the images generated by him. The basis of brightness, richness and continuity of the inner vision of a genius is a developed eidetic memory, depth and high intensity of experiences, living figurative thinking, as well as concentration, breadth and flexibility of attention that allow you to easily and clearly reproduce real and possible objects on the inner screen and freely manipulate by them. S. Eisenstein always emphasized the pronounced visual character of his creative process: “I am extremely keenly aware of what I read, or what comes to my mind. It probably combines a very large stock of visual impressions, a sharp visual memory with a great workout on "day dreaming", when you make before your eyes, like a film strip, run through visual images what you think or remember. Even now, when I am writing, I, in essence, almost “wrap around” my hand like the contours of the drawings of what is being passed in front of me with a continuous ribbon of visual images and events. ”
The genius of Nikola Tesla consisted in his natural gift of seeing in nature and transferring to the inner screen, hidden connections and deep structures, and then using these visible images in his inventions and discoveries. From childhood, he had the ability to see vivid images of objects and scenes remembered, and these images were so real and real that, in his words, they could be touched. At the same time, Tesla managed to overcome the obsession of these involuntary images and learned to consciously use his eidetic abilities in the process of inventing. He developed the skill of mental imaging, and the ability to “see new scenes” that go “beyond the limits of a small world”. He acquired the ability to see in the smallest detail his inventions even before proceeding to their graphic image. “It was absolutely unimportant to me whether I was testing the turbine in my mind or testing it in the workshop,” he wrote. - The result is the same in all cases. I even determine if it is properly balanced. ”
A. Einstein possessed a developed creative thinking. The delay in the development of his reading ability, which he experienced as a child, was compensated for by the development of the visual system and the ability for inner vision. Einstein described his creative process in the following way: “Language or words, written or spoken, do not seem to play any role in the mechanism of my thinking. Physical entities, it seems, serving as elements of thinking, are certain signs and more or less clear images that can be “voluntarily” reproduced and combined ... A typical style of thinking for me is visual and motor. When words finally invade the scene, for me they are purely auditive in nature, and appear only in the secondary stage. ” “Instead of words or mathematical formulas,” wrote R. Dilts, “Einstein thought mainly with the help of visual images and sensations ... The verbal and mathematical fruits of these thoughts appeared only after the most important thing — creative understanding of the problems.”
In addition, inner vision is the basis of a mental experiment, which is a powerful heuristic method for making discoveries and creating a fundamentally new one. Thought experiments provide great opportunities for free, creative manipulation of an object, allow the most daring fantastical images to be embodied and therefore are often more effective than laboratory ones.
In a single stream of creative vision, the process of visualization merges with the metaphorization, symbolization and eidetic discretion of entities.
So M. Heidegger seized the highlight essentials of objects, in particular, "efficiency", and the "commitment to the land" of peasant shoes in the Van Gogh picture , in the process of their figurative, deeply deep feelings, understanding: "From the dark, trampled inside of these shoes, he stares at us steps during work.The coarse weight of the shoes absorbed the viscosity of a long way through the widely spread and always the same furrows of the arable land, which is pierced by the wind. Moisture and dampness of soil lie on their skin .
At the same time, inner vision is an essential condition and a powerful tool for brilliant accomplishments in artistic creation. So Mozart possessed such a specific manifestation of the holistic vision as an inner ear, with which he not only easily covered the mind and heard the entire work, but also distributed all its elements in accordance with the order of its future performance. He had the phenomenal ability to contemplate his works with his inner eye, to cover them with one glance, to hear all the instruments and parties at the same time.
“I don’t listen to the parts in my imagination consistently,” he wrote, “I hear them sounding at the same time. I can't tell what kind of pleasure it is! ”Before writing music on paper, I saw it“ almost completely completed and completed in my brain, so I could consider it as a beautiful picture or statue ... Therefore, transferring to paper happens quickly enough because, as I said, by this time everything is already finished; and what is written on paper is very rarely different from what was in my imagination. ”
According to K. Stanislavsky, in theatrical creativity, the artist must first of all activate and maintain his inner vision. “From all these moments,” he wrote, “a continuous, endless chain of internal and external moments of visions, a kind of film, is formed outside and now. Creativity lasts, it continues to stretch, reflecting the suggested circumstances of the role on the screen of our inner vision. .. "A real artist needs to" cultivate in himself the skill of arbitrary continuity of inner visions on a fictional topic "and, most importantly, keep his vision on the inner screen.
The writer, as well as the artist in the process of creation, must also maintain a “living chain of visions that feed the word”. S. V. Gippius wrote about this: “Words without vision are stamped, they die. Visions cannot be stamped because they are living, moving, changing. ”
Inner vision is a powerful tool of creativity not only in science and art, but also in all spheres of human activity. Many great battles in history were won even before they began, by thinking through and reviewing the generals strategic moves on the internal screen, “scrolling” possible scenarios in the internal action plan. “Great is the joy of action,” wrote O. Mandelstam, but even more joy in doing things in the council, not in Borodino and not in Moscow, but in the cabin in Fili. The success of an activity is determined by the ability to act in the mind, - wrote Ya. A. Ponomarev, - by the ability to form an internal plan of action.
Inner vision frees a person from the closedness and fragmentation of the current situation, opens up to the Universum and opens access to all the accumulated and possible experience of mankind. “I close my eyes to see,” wrote Paul Gauguin, who attached great importance to creative imagination and embodied in his works the dream of an earthly paradise, of the lives of free people living in harmony with inexhaustible rich and generous nature.
The practice and realization of the inner vision, provides an opportunity for one-stage contemplation of the multidimensional and polysemantic hologram of the universe, allows you to see the space between images and sounds, the emptiness between thoughts, to determine the gaps through which something deeper, universal and true flows. At the same time, the inner creative vision is a creative creative environment, a dynamic, saturated with possibilities space, a stream of live action, projecting into various phenomenal worlds in the form of corresponding types of creativity: productive activity, self-actualization, dialogue and problem-solving process.

4. Creative dreams. A characteristic distinction of a genius personality is her ability to integrate wakefulness and dream states into a single holographic flow of life-creation. At the same time, both states, submitting to the creatine imperative and creative dominant, interpenetrate and merge with each other, speaking as equal manifestations of life activity and creativity. From the point of view of the day consciousness, a dream is its dark part a shadow, an unconscious, chaotic state, however, from the position of creative superconsciousness, the dream manifests itself as its other, equal and possessing its own virtues, expression.
Another A. Adler argued that dreams reveal the individual's lifestyle, are an integrated part of the individual way of thinking and solving life problems, and precisely in the ways that the individual uses in everyday life. B. Bonym also considered dreams to be a person’s open self-expression and, more than A. Adler, included their cultural and interpersonal context. Such an integrated approach to the dream, as a form of creative manifestation of the essence of man, was also supported by R. May, who believed that creativity can be realized both with full awareness, and in dreams or drowsiness. L. Binswanger and M. Boss, introducing the dream into an existential context, understood him as one of the modes of being-in-the-world, as a way of expressing the most complete world, homologous to waking. In surrealism, the dream was considered as a basic model, an object and the main goal of creativity. “I believe,” wrote A. Breton, “that in the future, dream and reality — these two so different states, apparently, will merge into a kind of absolute reality, into surreal, if I may say so.” Arnold Hauser extremely expanded understanding of the dream, introducing his universal, holistic context of world thinking: "The dream becomes the paradigm of a holistic picture of the world in which the real and the surreal, logic and fantasy, the banal and the high form an indecomposable and inexplicable unity." Alexander Genis also wrote about the universal nature of the dream: “A dream is an example, if not the source of any metaphysical model. He allows, moreover - he condemns us to life in two worlds at once, which conduct their incessant silent dialogue within us. And this allows us to say that dreams may not be a raw material for art, as it happens in movies. Dreams themselves can be art. ”
As a person who freely accommodates the Universum, a genius manifests and realizes his holographically organized inner world in a variety of ways and, first of all, with the help of two basic states of consciousness, special relations between which were reflected in ancient Egyptian texts, in the philosophy of Hinduism, Taoism , Buddhism, in a variety of magical practices and modern existentialism.
Egyptian priests believed that the dream shows the way to himself, to his true “I”, and in Buddhist philosophy, the dream was the only way to break through to the true reality - the reality of true being. In the Babylonian Talmud there is a whole section of Berakhot (Brakhot) devoted to dreams, the rules for deciphering the symbols of dreams, and the art of interpreting them. Thus, in the analysis of dreams, it was prescribed to find, as an auxiliary source of meanings, a corresponding positive fragment in the Torah or the Tanakh. This tradition was continued in the Kabbalistic literature, in which dreams are attributed to the prophetic character, and they themselves are considered as a mystical source of knowledge. It was here that the practice of Sheelat Khalom (dream questioning) arose, which consisted in asking himself a series of questions regarding the desired solution, the answers to which he had seen and found in a dream. This practice was subsequently actively used by many scientists and researchers.
The identification of reality with sleep stems from the philosophy of Hinduism, in which reality itself is associated with the individual mind that produces dreams. However, such a comparison did not raise the dream status, since reality itself was considered an illusion, the fruit of an imperfect mind. Awakening from the dream and finding the true reality was achieved by getting rid of the mind and the reality-dream produced by it. According to Osho, there are seven types of dreams and seven types of interpenetrating realities. And if in the first physical, sleep and reality are absolutely distinguishable, in the sixth they merge and cosmic myths are comprehended in a dream. "Those who saw dreams in the cosmic dimension were the creators of great systems, great religions." And only in the seventh, nirvanic reality, the dream and reality become one essence, one center.
Ken Wilber writes about a similar nirvanic state characterized by constant awareness in all states — wakefulness, dreams, and sleep: “His signs are very simple — you are in a state of conscious wakefulness, and then, when you fall asleep and begin to see dreams, you are still realize that you are dreaming. This is similar to transparent dreams, but with a slight difference — in a transparent dream, you usually begin to manipulate the content of the dream. But with a constant witnessing consciousness, you don’t have a desire to change anything ... you remain just an unsophisticated witness of all this ... Then, when you go to a deep dreamless sleep, you still remain conscious, and now you are not aware of anything, except for the bottomless pure void, devoid of any content ... It’s more like the pure consciousness itself, devoid of qualities and content, or subjects and objects .. You are not identified with anything separately and therefore e cover absolutely everything that arises. Freed from the ego, you become one with the All. ” Patanjali and Aurobindo spoke about the amazing ability to maintain awareness not only in dreams, but also during dreamless sleep. “When this ability becomes mature,” wrote Roger Walsh, “awareness remains uninterrupted throughout the day and night. Practitioners are able to observe how they fall asleep, have dreams, are at rest in pure awareness without dreams, and eventually awaken the next morning - and all this without losing consciousness. Plotinus called this ability "omnipresent vigilance"; Transcendental Meditation practitioners call it "cosmic consciousness", and psychologists call it "subjective continuity." Hinduism even calls this state of consciousness Turia, which means “fourth,” implying that this is the fourth state, in addition to the usual three states of wakefulness, dreams, and dreamless sleep. ”
The Buddha said that: "Life with its phenomena can be likened to a dream, a phantom, a bubble, a shadow, the glitter of a dew, or a flash of lightning, and it should be represented just like this." Tenzin Wangyal Rinpoche, a researcher in Tibetan yoga of sleep and dreams, adhering to the Buddhist tradition, wrote that there is nothing more real than a dream. “This statement makes sense only if you understand that ordinary reality is just as unreal as a dream. Then it can be understood that the dream yoga extends to all experiences - not only to night dreams, but also to real dreams. ” So thanks to practice, one can learn to view all one’s experiences as a dream, to be better aware of every moment of life, to gain freedom and flexibility, to maintain full awareness, both in a dream and in wakefulness. “The feeling of brightness and radiance of life, its resemblance to a dream, will make your experience more spacious, bright and clear,” Rinpoche wrote. “When you achieve awareness in a dream and in reality, you will have much more freedom to give your life a positive direction ...” The main difference of this practice of dreams from the Western approach is that the dream is not considered as messages here and the significance of the process of extracting meaning from dreams is denied. “The meaning does not exist independently. Meaning does not exist until someone starts searching for it, ”Rinpoche considered. The main goal of the dream practice is self-improvement, the attainment of a Clear Light sleep, the unity of emptiness and clarity, supreme joy and supreme peace. “Oddly enough, before the mind can attain complete liberation, the very concept of meaning must be rejected. This is the main goal of the dream practice. ”
The vision and feeling of the complex unity of dream and wakefulness were expressed by Dos Chuangzi's teacher : “Once upon a time Chuangzi dreamed that he was a butterfly, merrily fluttering a moth. He enjoyed it wholeheartedly and did not realize that he was Chuangze. But he suddenly woke up, was very surprised that he was Chuangzi and could not understand: did Chuangzi dream that he was a butterfly, or did the butterfly dream that she was Chuangzi ?! ”
In Sufism, dreams are an important part of mystical practices. So Ibn Arabi noted: “A person should manage his thoughts in a dream. Training such vigilance ... will give tremendous benefits. Everyone should diligently engage in the acquisition of this extremely valuable ability. "
In the magical practices on which Castaneda’s teaching was based, the line between wakefulness and dream was made subtle and insignificant. At the same time with the help of special exercises formed the ability to control dreams, the ability to build them at will. Mastering the art of dreams led to the liberation of man and the attainment of "power", the expansion of the range of perception, the disclosure of the possibility of perception of other worlds.
It is the recursive relationship between wakefulness and the dream, consciousness and the unconscious that creates a holographic generative structure of life creation, which allows the genius to create reality, in a special hypnotic state and in a dream, by discerning and fixing new images, symbols and meanings. Freud emphasized the similarity of creativity, artwork and dreams, which by their nature are aimed at symbolic satisfaction of their deep unfulfilled desires. At the same time, the unity of the mechanisms of artistic fantasy, dreams, wit and games was noted. In confirmation of his theory, Z. Freud quotes Schiller's words about creativity: “It seems to me harmful if the mind extremely sharply criticizes the emerging thoughts, as if the watchman and the very impulse of them. In the creative head, on the contrary, the mind removes its guard from the gates, ideas flow in disarray, and only then he looks at them, examines a whole cluster of them. ”
At the same time, the reality of a dream is considered as a necessary, integral essential component of both the process and the result of creativity itself. So, F. Novalis noted: “All fairy tales are our dreams about our father’s house, which is everywhere and nowhere. Higher potencies, like genes dormant within us, will one day awaken our will ... ”. And Giorgio de Chirico underlined: “In order for an artwork to be immortal it is necessary that it go beyond human, where there is no common sense and logic. Thus, it comes close to sleep and childish reverie. ”
A dream is often presented as contact with the superconscious, during which a person dreams of a religious, spiritual and sacred nature. Spiritual dreams are often the result of the sacred dominant, created by in-depth study of sacred texts, continuous prayer, which according to St.. Isaac Sirin "does not cease in the soul of a person neither in a dream nor in wakefulness", as well as the realization of Eastern spiritual practices consisting of concentration on mantras or koans.
These can be meetings with saints, a vision of religious subjects, universal symbols, mandalas or sacred geometric figures. K.G. Jung argued that the "great", creative, meaningful dreams have their origins in the deep layers of the collective unconscious, which contain "archetypical" or universal mythological symbols.
Such dreams have an unusually strong, inspiring and inspiring influence on creative individuals, awakens spiritual and creative forces, strengthens faith in their mission. Pavel Florensky wrote about the dream: “It is saturated with the meaning of the other world, it is almost the pure meaning of the other world, invisible, immaterial, imperishable, although it is visible and seemingly real ... The dream is the sign of the transition from one sphere to another and a symbol. What? From the mountain - a symbol of the valley, from the valley - a symbol of the mountain. A dream can occur when both sides of life are visible at the same time, although with varying degrees of clarity ... What has been said about sleep can also be attributed to artistic creativity ... ” In turn, Jorge Luis Borges wrote that: "Life is a dream, appearing to God," and Kilton Stewart called the dream "an unopened letter of God."
The source of genius accomplishments and discoveries is often the ability of a genius to use the entire spectrum of dreaming states, to keep in wakefulness the state of hypnotic relaxation and inspiration, as well as the ability to draw images, symbols, metaphors and scenes of dreams and freely implement them in his work.
A genius regards and accepts his state of sleep not as a suspension of life, rest or forced idleness, but as an integral, qualitatively unique and important part of life, as an unusually productive form of creativity.
"The creative dreamer," wrote Patricia Garfield, "has tremendous superiority over ordinary dreamers in the fact that he has the ability to consciously combine two levels of his existence." In this case, consciously using the principles and rules of control over dreams, he can turn his dreams into a special level of consciousness. A creative dreamer can feel in a dream his boundless personal power and solve his problems more successfully, implement all his ideas faster and more productively than an ordinary dreamer.
So A. Kekule, who saw in a dream, after long and unsuccessful conscious efforts, sought the formula for benzene, directly called: “Learn to see dreams, gentlemen!”
Ingenious people actively use the “fabulous third of their life” to meet with the limitless possibilities of unconscious, productive contact with both the deep layers of universal structures and archetypes and with all the treasury of life-time experience. “My brain works when I sleep,” Balzac said, continuing, like many geniuses, to create in a dream and accept their dreams as a magical source of new ideas, images and experiences. The biochemist Albert Szent-Gyordy wrote: "I keep thinking about problems all the time; my brain is obliged to think about them when I sleep, because sometimes I wake up in the middle of the night with answers to the questions that have puzzled me."
At the same time, although according to some data, an average person sees only a fifth of his dreams dreaming, therefore some researchers speak of three states: wakefulness, dreaming and dreamless sleep. At the same time, the sleep time itself varies greatly among the geniuses themselves. So T. Edison slept only 2-3 hours a day, and A. Einstein until 10-12 hours, Goethe , Schiller, Humboldt, Mirabeau, Bekhterev, Napoleon slept for four to five hours, and the latter, based on his individual experience, He derived his formula for the duration of sleep: "Four hours for men, five for women, six for idiots."

Philosophy. Among the brilliant philosophers who actively used dreams in their work, we can distinguish Socrates, whose dreams that prompted him to “compose and cultivate music” were the impetus for his studies of philosophy, the French enlightener E. Condillac, who concentrated on his work before going to sleep, in the morning, after waking up, I recorded everything I saw and experienced in a dream. Rene Descartes kept a special diary of dreams "Olympica", where he recorded his famous fateful dreams. In one of the two, after a nightmare that had dreamed, he got up to pray for intercession and fell asleep again, after which he dreamed a dictionary and a poetic anthology that later, when interpreting a dream, called scientia mirabilis - the sum of all sciences. In the dream, he also came to a stranger, in which he recognized the Spirit of Truth, who reproached him for being lazy and convinced that he was destined to bring mathematical principles into the knowledge of nature and thereby unite all the sciences.
Rene Descartes actually revolutionized philosophy and science, created an integral system of combining philosophy and mathematics, laid the foundations of the modern scientific method and became one of the founders of the New Age world outlook.
At the same time, as a true rationalist and founder of the method of radical doubt, Descartes subsequently questioned the very ability of dreams to provide the researcher with valuable information.

Literature. Writers and poets such as Dante, who saw the idea of ​​the Divine Comedy in a dream, Robert Luce Stevenson, who wrote “The Strange Story of Dr. Jekyll and Mr. Hyde” based on his dreams, drew from their dreams, motifs and images for their works. also Samuel Taylor Coleridge with his poem, the dream "Kubla-Khan." In addition, it is known that La Fontaine composed in his dream the fable "Two Doves", Gabriel Derzhavin his ode "God", Voltaire - scenes from "Henriada", Goethe - the second part of "Faust", Alexander Griboedov - "Woe from Wit", Arthur Christopher Benson - the poem "Phoenix", Robert Browning - "Childe-Roland reached the Dark Tower", Mary Shelley - "Frankenstein, or Modern Prometheus."
Alexander Pushkin, before going to bed, left pen and paper next to him. He recalled: "Since I woke poor Natasha and recited to her poems that I just saw in a dream ... Two good poems, the best ones I wrote, I wrote in a dream."
Goethe, who confessed that he wrote “The sufferings of young Werther” in a lunatic state, often wrote in soft pencil, so as not to “frighten” the soaring ideas and not interrupt the flow of thought.
Images and symbols of the unconscious, derived from dreams, were also used in their works by Voltaire, Lafontaine, Franz Kafka, Edgar Poe, Alexei Tolstoy, William Burrows, Stephen King, Susie Mackey Carnas, poets William Blake, Athanasius Fet, Vladimir Mayakovsky, William Morris and John Squire.

Music. In a dream or in a state between sleep and wakefulness, Haydn, Mozart, Saint-Saens, Glinka, Stravinsky, Berman, Beethoven, Wagner created their music. Giuseppe Tartini heard in his dream his sonata “Trill of the Devil”, and Pyotr Tchaikovsky heard the melody of the First Concerto for piano and orchestra.
Mikhail Glinka recalled how, in a dream, “as if by magic action, a plan of the whole work was created,” Richard Schumann wrote that in a dream he received the theme of his composition from Franz Schubert, and Wolfgang Amadeus Mozart said that music arose in him “involuntarily, exactly in a beautiful, very distinct dream. ”
Ludwig van Beethoven remembered falling asleep in a carriage on the way to Vienna "the canon came to my mind ... but as soon as I woke up, the canon flew away ... But the next day, returning home in the same carriage ... I resumed my journey in a dream, while fully awake, and suddenly - lo and behold! - In accordance with the law of the association of ideas, the same canon flashed before me ... "
In September 1853, R. Wagner wrote to a friend: “The dream did not come, but I plunged into something like a nap, in the midst of which I suddenly thought that I was plunging into a rapid flow of water. The noise of the stream turned into a musical sound - a chord in E-flat major, from which melodic passages developed with ever increasing movement. Suddenly, I woke up, with horror realizing that it was an orchestral overture to the “Gold of the Rhine”, which must have long been hidden in me and which finally opened to me. ” Later he wrote to his girlfriend about the writing of the opera “Tristan and Isolde”: “Prepare to listen to a dream this time, a dream I embodied in the sound ... I dreamed it all. Never would my poor head create such a thing intentionally. "
In modern music, we can distinguish two classic hits that dreamed of their creators: Keith Richards "(I Can't Get No) Satisfaction", P. Macartney's "Yesterday". Steve Allen, year Steve Allen remembered passages of one of his dreams, resulting in the most popular of his songs, "It could be the beginning of something big."

Painting. Dreams were sources of inspiration, as well as vivid, unusual images and plots in the work of many artists. According to the anthropologist J. Laufer, most of the characters in Eastern myths were seen by ancient artists in a dream. Raphael exactly sketched images of women in the form in which they appeared to him in his dreams. F. Goya, when creating some of the paintings, also often used dreamed images. In some irrationalistic concepts, such as romanticism, psychoanalysis and surrealism, the dream in its pure form served as a model of creativity. So in the Second Surrealist Manifesto (1929), dreams were proclaimed the main object and purpose of artistic creation. His representatives Max Ernst, Rene Magritte, Salvador Dali, Paul Klee and the founder of metaphysical painting, Giorgio de Chirico, consciously used "intentional" dreams as a source of inspiration and an effective method of creativity. At the same time, they turned the content of their dreams into the plots of the works, directly sketched the paradoxical images seen in the dream, trying not to change, deepen or decorate them.

The science. The well-known discoveries in science, made in a state of sleep, include the example of Mesrop Mashtots, who saw in a dream an angel showing him the Armenian alphabet, the Indian mathematician Srinivas Ramanujan, who asserted that all his discoveries came to him in a dream from the Hindu goddess Namagiri, Friedrich Kekule, who in a dream saw the structure of a benzene molecule, in the form of a snake, biting itself by the tail (or holding each other by the tail of monkeys or necklaces around a duvushka).
In the dream, Georg Johann Mendel discovered the laws of heredity, Karl Gauss built the correct seventeen squares and discovered the law of mathematical induction, Heinrich Schliemann saw Troy and Mycenae, and Hermann Gilprecht deciphered the Babylonian cuneiform written in 1300 BC. er
Noto Prize winner Otto Levy, in a dream came the idea of ​​chemical excitation transfer between cells, Niels Bohr created a planetary model of the atom in a dream, which appeared before him in the image of the solar system with rotating planets, Albert Einstein established the relationship between space and time, Alexander Fleming saw dream formula of penicillin, and Frederick Banting the idea of ​​an experiment that eventually led to the discovery of insulin.
Karl Friedrich Burdach dreamed about the idea of ​​blood circulation. At the same time in a dream he came to mind and other scientific ideas. “They seemed so important to me,” he remarks, “that I was awakening.” DI. Mendeleev, who opened the Periodic Table of Chemical Elements, wrote: "In a dream I saw how the elements themselves become in the right places, thus forming a table. When I woke up, I immediately wrote it down on a piece of paper. The correction was then required only in one place."
Such well-known scientists as Isaac Newton, mathematicians Gerolamo Cardano, Jean Condorcet, Darren Crowdy, chemist J. Libih, psychophysiologists V.M. Bekhterev and I. Pavlov, biochemist Albert Sent-Gyordy, neurologist W. B. Cannon, philosopher and mathematician Bertrand Russell, inventor of the laser Alexander Prokhorov, physicist Paul Horowitz, programmer Stephen Bailey.

Invention. One of the first recorded cases of invention in a dream was the creation in 1592 of a ship - a battleship by Korean admiral Yi Sushin, who dreamed of a sea turtle with a dragon's head, throwing fire out of its mouth. In 1782, William Watts saw a metal rain in his dream, as a result of which a new method of production of shot was invented, consisting of casting molten lead from a height into a water basin. It should be noted that as early as 1650, the English prince Rupert invented a convenient method of making shot, by casting an alloy of lead with arsenic through a large colander into a tank with water. During sleep, William Blake discovered a way to print his illustrated poems using effective copper engraving, which, he confesses, was told to him by his deceased brother Robert who had dreamed him. Elias Howe saw in a dream a new needle shape and invented a sewing machine. At the same time, he dreamed that savages were chasing him with perforated spear tips, the shape of which served as a model for the needle. Journalist Laszlo Joseph Biro saw in his dream the idea of ​​a ball-point pen, aircraft designer Oleg Antonov form the tail of the giant Antey aircraft, and Alan Turing the design of the world's first computer. Deirdre Barrett, who described such inventions in her book in detail, noted that ideas in a dream can come directly, and can be in the form of symbols that require further decoding. At the same time, many inventors were noted; they left paper and a pen at bedtime near the bed in order to instantly record the images, symbols, and clues seen in the dream. Henry Ford said: "During the day, I collected what was sown at night," and Bill Gates said: "The programs of my success are written in the hand of dreams."
Intense conscious work on the problem continues in a dream, during which access to the unconscious, which includes both accumulated experience and universal structures of the collective unconscious and superconscious, opens up. At the same time, the activity of the universal unconscious is distinguished by the utmost energizirovannost and spontaneity, and its "censor" are the original generative matrices and universal structures built according to the laws of beauty. At the same time, the chaos of the unconscious is ordered using the immanent, underlying mechanisms of creativity and the “filters” of universal structures, which choose the most effective and ideal solutions. At the same time, in the process of dreaming, all imposed stereotypes and models of perception are removed, there is an activation of the deep generative structures that are isomorphic to universal archetypes and constitute the folded and fixed mechanisms of creative evolution. Dreaming suggests discoveries in its own language in the form of vivid images, symbols and metaphors that can be easily deciphered in the intentional contexts of creative search. Thus, we can talk about a cyclical, interdirectional process of intense conscious search, unconscious generation of answers in the form of capacious symbols and metaphors and their further decoding and understanding. According to Allan Hobson, dream metaphors are particularly valuable because they are "high-level associations that pack a huge amount of material into a single compact unit."
Many geniuses intuitively grasped this feature of the work of their brain and consciously loaded them with information before they went to sleep and waited for the solution to come during the dream itself. So E. Condillac, W. B. Cannon, B. Russell worked especially hard at bedtime, and T. Edison drew up a list of questions for which he expected to receive answers during or after sleep.

"Prosonochnye" state. Special “subsurface” hypnagogic states of consciousness that arise when going to sleep or on awakening possess powerful creative potential. At the same time, the pictures that appear on the internal screen are distinguished by extraordinary brightness, detail and clarity, and they remind, independently of consciousness, the successive change of slides.
G. Flaubert described this state in the following way: “The visions that arise before bedtime are carried by before my eyes. We must eagerly throw them to grab ... These are not hallucinations, I know these states well, there is an abyss between them. ”
According to V.S. Rotenberg, this type of “hypnotic hallucinations” differs from the stream of consciousness in the waking state by extraordinaryness and eccentricity, and from dreams - by fragmentation and lesser affectivity. If dreams are like movies, then this type of image is like a series of pictures. V. Nabokov wrote that in the state of falling asleep before his eyes closed, picturesque paintings developed slowly and evenly. “Their movement and change takes place regardless of the observer’s will and, in essence, differs from dreams in some freshness, free decals, and even there, that in all their fantastic phases you are fully aware.”
K. Schneemann wrote that: “The source of all my works is hidden between sleep and awakening,” and Andre Breton suggested “as a starting point, as the first fact of surrealistic orientation of the spirit, a phrase upon awakening,” and on extraordinary state productivity during awakening Knut Hamsun wrote: “The next morning I woke up early. When I opened my eyes, it was still completely dark, and only after a while I heard five below. I wanted to fall asleep again, but the dream did not come, I could not even doze off, thousands of thoughts went to my head.
Suddenly, I came to mind a few good phrases suitable for an essay or feuilleton - a wonderful verbal find that I have never been able to do. I lie, repeat these words to myself and find that they are excellent. Soon others follow them, suddenly I wake up completely, get up, grab the paper and pencil from the table, which stands at the foot of my bed. It seems as though a spring was scored in me; one word entails another, they coherently lay down on paper, a plot arises; episodes are replaced, in my head flashes replicas, events, I feel completely happy. "
T. Edison successfully used the method of Aristotle to enter the prosonic state, with which the philosopher simply reduced sleep time and saved time for creativity. So, going to bed, the philosopher took a copper ball in his hand, and set a basin from below. When he fell asleep deeply, the hand relaxed and the ball crashed into the basin. T. Edison repeated this procedure exactly, and after awakening he reached a special productive state, during which his creative abilities became extremely active. This method was successfully used by Salvador Dali, who, falling asleep in a chair, put an iron tray under his feet and took a spoon in his hand. As soon as he plunged into sleep, his hand relaxed, and the spoon fell loudly on the tray, allowing him to capture and memorize elusive dreams.
These subsurface states are similar in nature to hypnagogic (from Greek. Hypnos - sleep; ago - set in motion, lead) (Frenchmen Mauri, 1848), trance, meditative, modified (Eastern philosophical and religious teachings and psychotechnics), hypnotic (A Birah, VL Raikov and the twilight (Tomas Budzinski, 1986) states of consciousness. K. Jung called this state a fantasy thinking, which is predominantly unconscious in the form of dreams and mythology. "Almost every day," he writes, "we experience the interweaving of our fantasies into dreams, when we fall asleep, so that the difference between the

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