- 5.3. Vision Theory of Genius

Это продолжение увлекательной статьи про визионистская теория гениальности.

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dream dream during the day and during the night is not too great." In addition to the desire to fall asleep, unfamiliar, never-before-seen, emotionally colored visual, mostly visual, images arise. The creative essence of these states consists in extreme lability and mobility of consciousness, which oscillates between bright fantasy images and reality, which leads to the interpenetration of consciousness and subconsciousness, imaginary and real, and gives the images themselves materiality, convexity and doubtlessness. At the same time, the predominantly unconscious nature of activity leads to the emergence of non-standard, free, unrestrained associations, and opens access to deep layers of individual and collective experience.
“Subsurface” states are caused by brain activity in the Alpha range from 8 to 13 Hertz, correlated with states of deep relaxation and meditation, as well as slow and rhythmic Theta waves (4 to 8 Hertz) that are associated with hypnotic trance states and contribute to the emergence of bright , extraordinary images, creative ideas and unexpected insights (E. Green). Many geniuses, in particular A. Einstein, were constantly in the alpha state or in the mediation state of physical and mental relaxation. Roger Walsh cites these observations of subjects who have achieved excellence in the practice of Transcendental Meditation: “they all said that they constantly retain awareness 24 hours a day. In the study of their sleep, a never-before-seen picture of the brain's electrical activity was found: a combination of fast rhythms characteristic of the waking state superimposed on very slow rhythms of deep sleep. ”
At the same time, speaking about the mechanisms of brain activity during sleep, it is necessary to add that it is determined by the over-excited focus of the search dominant, as well as the activity of both hemispheres of the brain, all its divisions, the “ancient” and “young” structures that continue during the dream, functional organs, neural ensembles and engrams. At the same time, activity of visual analyzers dominates in this total flow, which are distinguished by greater sensitivity and lower depth of inhibition.
Elmer Green created a method of teaching arbitrary induction of hypnagogic states using biofeedback. He also developed a technique for creating hypnagogic images, which he successfully used to creatively solve scientific problems.
Separately, it is possible to identify hypnotic states, the achievement of which can serve as an effective way of enhancing creative abilities. So V. L. Raikov, introducing the subjects to the hypnotic state, inspired them with images of great people, Raphael, and. E. Repina, S. V. Rakhmaninov and at the same time there was a significant improvement in the visual activity. At the same time, the degree of activation of creativity in hypnosis directly depended on the subject's familiarity with the image of the person who is being instilled in the subject. V. L. Raikov noted that the consciousness changed under the influence of hypnosis in many respects resembles the state of creative ecstasy. In addition, the fact that the level of development of skills and abilities achieved in hypnosis was consolidated and then manifested itself in a waking state is extremely important.
Many geniuses asserted that in the process of creation they entered into a special hypnotic state, very similar to a dream. At the same time, brilliant people themselves are clearly aware of the creating potential of these states and are able to independently enter into hypnotic, somnambulistic states with preservation of their pure awareness. So Brahms wrote about the process of his creative work: “... I have to be in semi-trance to experience this state when the conscious mind is in temporary inaction, and the subconscious mind controls. It is through the subconscious that is part of the Almighty that inspirations come. I have to be careful not to lose waking consciousness, otherwise ideas disappear. ” Alexander Pushkin, Nikolo Tesla, Niels Bohr and many other brilliant personalities often in the creative process, froze, disconnected from the outside world and gave the impression of being in a state of hypnosis.
D. Azarov, developing the theory of self-hypnosis A. Birah, developed a special method of managing his sleep, in which the subject plunged into sleep and "agreed" with the brain in what form the answer should be received, for example "in the form of an inscription on the wall ..." .
Lucid dreams (from the English. Lusid - transparent), special states of interpenetration of consciousness and subconsciousness, wakefulness of the dream, in which the content of the dream is realized, and its flow is manageable, have a special creative potential. The term lucid dreams was introduced by Frederick van Eden, who kept a dream diary all his life and was not only a psychiatrist, but also a famous writer and poet.
Transparent lucid or clear dreams are embedded in each other, recursive worlds, texts in the text, the intensive dialogue and interpenetration of which gives rise to new images, symbols and meanings. They are creative in their structure and represent a special state of pure creativity which, according to A. B. Migdala occurs at the moment “when the mind and subconsciousness mix, when the conscious thinking continues in a dream, the subconscious work is done in reality”.
Stephen Laberge writes about the enormous creative potential inherent in lucid dreams and their wide range of possibilities in solving problems from repairing cars to visual art and mathematics. The author argues that it is possible with the help of special training to develop the ability to use the creative potential of their lucid dreams.
Patricia Garfield argued that integrating dreams into real life and mastering the art of managing them can significantly increase the creative potential of the individual, make human life richer, more colorful and more successful. “You can already achieve a creative result in your dreams. With the help of methods reminiscent of the “carving” of dreams by the ancients, you can cause colorful “artistic” dreams or dreams that solve your problems ... Dreams can become your muse, an internal source of inspiration. ”
S. Krippner, J. Dillard write: “Dreams are an invisible thread connecting a person with creativity. When people have dreams, they often catch glimpses of the future with all its possibilities. Consciously working with their dreams, they can begin to embody this future even today. ” According to them, dreams are directly related to creativity, and directed management of them leads to the intensification of creative processes. “Working with dreams,” the authors write, “can become a powerful tool for creative problem solving.”

VISION AS A COGNITION
Vision, contemplation and observation are a powerful heuristic tool for learning the laws of nature and revealing the truth.
P. Valery wrote about the general state of the observer, scientist and artist, when his "soul is absorbed by the world of sight." "Our knowledge evaporates like a dream, and we are suddenly transferred to some completely unknown country, to the very bosom of pure reality." He wrote about the cognitive power of correct vision, the mastery of which makes everything extremely clear and simple: “The secret of Leonardo — like Bonaparte — the one that anyone who has reached a higher understanding seizes — is only in a relationship that they discovered were forced to discover , between phenomena, whose principle of connectedness eludes us. Obviously, at the decisive moment, they could only carry out precisely defined actions. The last effort — the one that the world contemplates — was as difficult as comparing two segments. ”
The scientific method of Leonardo da Vinci consisted in the ability to see the essential laws of nature, to observe and grasp its stable relationships. V.P. Zubov wrote that Leonardo was distinguished by his belief in “the power of the eye” and the desire to make the finest relationships visible. Leonardo had the gift of seeing the hidden world behind the manifested world, seeing more things and things than he knew before perception. “The air,” wrote Leonardo, “is filled with countless straight luminous lines that intersect and intertwine, never merging, and in which every object is represented by the true form of its cause (its conditionality).” According to Paul Valery, this phrase Leonardo contained in the embryo a future theory of light oscillations.
Worship before the vision was distinguished by another universal genius - Goethe , who had a harmonious outlook, accuracy, inner truthfulness and freshness of his gaze. He built his theoretical systems not on speculative reasoning, but on experience, on a clear, concrete and objective vision of things. “Recall,” writes D.Yu. Dorofeev, - that Goethe , even calling himself "the son of light", was in full sense der Angenmensch, "a man who perceives the world through sight", an absolute supporter of scientia intuitia, knowledge through contemplation ... ".
Contemplation, he understood as true knowledge, as a living insight into a vividly presented image of a phenomenon. “My contemplation,” wrote Goethe , “is thinking, and thinking is contemplation.” His vision, contemplation, observation of nature was based on the following principles:
1. Take a position Nothing. "We must be nothing if we want to become everything." Become nothing, become a child, be silent and listen, be silent and watch.
2. To see the “Primary Phenomenon” (Urphanomen), the primary unity and the simplest beginning, from which all the diversity of the phenomenal world unfolds and derives and which is present in the world itself as its basis, to penetrate into the “primary,” the symbol explaining the law and the inner nature of the phenomenon.
Ernst Cassirer wrote that for Goethe and Leonardo, the style rested "on the deepest foundations of knowledge, on the essence of things, as far as we can comprehend this creature in visible and tangible images"
The brilliant physicist Faraday had an extraordinary productive power of vision. His pupil J. Clerk Maxwell wrote about his teacher: “Where mathematicians saw the force poles interacting at a distance, Faraday saw with his mind’s eyes the lines of force crossing all space; where they saw only distance, Faraday saw Wednesday. "

VISION AS ARTISTIC CREATIVITY
Artistic creativity is one of the highest, and, according to many geniuses, the highest form of mastering the world. Its essence and deep-inner goal is to create a new perfect reality, saturating it with the utmost spiritual and creative values ​​and meanings, seeing and awakening in all inanimate and living objects of their higher meanings and ideals. “Perfect art,” wrote V. Solovyov, “in its final task should embody an absolute ideal not in one imagination, but in fact, should spiritualize, transfigure our real life”. At the same time, the meaning and main goal of artistic creativity and art is the discovery of new opportunities in a person, the awakening of new abilities, the activation of imagination, the expansion of consciousness and the formation of a creative vision. At the same time, the most important task of a genius is to acquire a new, original creative vision and overeat it to other people. Thus, according to N. Poussin, the largest representative of classicism: “painting, is for the painter himself an incessant exercise in“ vision, ”he exercises in“ vision, ”to then see the world through his drawings and paintings. “He is not a writer,” said K. Paustovsky, “who did not add at least a bit of vigilance to a person’s sight.”

Artistic vision is distinguished by its non-utilitarian, aesthetic, sensual-figurative and intuitive character, the ability to penetrate into the most intimate essence of things. Another A. Schopenhauer noted that there are two types of knowledge - discourse and artistic, allowing you to contemplate pure ideas. These two types of knowledge are diametrically opposed. The artist has an exceptional ability to contemplate; his genius represents a kind of excess of this ability, akin to madness. "The artist who has learned only the idea, outside of reality, reproduces a pure idea in his creation, makes it stand out from reality, eliminating all the accidents that prevent it. The artist forces us to look at the world through his eyes."
Possession of a living creative vision is the basic, fundamental ability of artistic genius, and in all types and directions of creativity. “Sincerity, and the depth of contemplation,” wrote T. Carlyle, “make a person a poet, and O. Balzac, at the height of his creative success, admitted:“ My observation has become acute instinct ... ”. So, even Philostrat the Younger, bringing together painting and poetry, wrote: "... The common for both of them is the ability to make the invisible visible ...". One of the founders of romanticism in painting E. Delacroix said, “... what is commonly called creativity by great artists is nothing but the inherent manner of seeing, coordinating and transmitting nature”, and K. Corot is one of the most successful and fertile landscape painters, who had a strong influence on the Impressionists, stated: “The main thing is to do only what you see and how you see. Treasure the first impression that excited you ... first of all - obey your instinct, your vision. " The ability for creative vision is the most important quality of geniuses in literature: “A true poet,” wrote I. Ilyin, “raises and deepens his contemplation; through him he grows himself; and from it he grows his best creations ... And his very talent becomes only a living and true harp of the contents he sees. ” According to M. Prishvin, “the ability of an artist to see the world means an endless expansion of the usual ability of all people to related attention. The limits of this kindred attention are expanding endlessly through art - this ability of especially talented people, artists to see the world from the face. ”

Artistic vision is understood as the discretion and embodiment in the objects of the surrounding world of absolute spiritual meanings, the grasping and awakening in them of the highest general cultural values ​​and ideals, the construction of reality according to the laws of love and beauty.
It manifests itself as “a vision of sacred meaning in a branch of blossoming sakura and unity with the Buddha’s body, as a“ vision beyond random events of eternal beginnings ”(Vladimir Solovyov), as a combination of vision and co-creation, as rich in higher meanings and love of a dialogue with the creative essences of objects that essentially represent the living particles of our true self.
The most important characteristic of artistic vision is its holistic, universal and planetary character. “The perfect integrity of nature,” wrote SM. Daniel, - is reflected in a specifically human form entirely of animate perception. We can say that the perception of the artist creates in the image and likeness of nature. " At the same time, the artistic vision unfolds in the cultural and creative space saturated with meanings, values ​​and forms. So K. Paustovsky
He said that the writer can not neglect anything that expands his vision of the world, and “knowledge of all the neighboring areas of art - poetry, painting, architecture, sculpture and music - unusually enriches the inner world of the prose writer and gives a special expressiveness to his prose. It is filled with light and colors of painting, freshness of words peculiar to poetry, proportion of architecture, convexity and clarity of the lines of sculpture and rhythm and melody of music. ”
At the same time, the basis of the artistic vision is the value-semantic position and the special perspective of the artist’s world view (M.M. Bakhtin), and it itself has an effective and productive character and is manifested as a method of semantic, expressive expression and emotional impact (S.M. Eisenstein), as a form of translation of individually experienced spiritual and aesthetic meanings.
CM. Daniel, emphasizing the peculiarity of fine art, wrote: “From the point of view of the artist, the word“ see ”is close in meaning to the word“ to understand. ” According to the author, the artist sees the objects sharper and more meaningful because in the process of drawing, he reveals what he misses the usual, absent-minded look. "The art of image, therefore, is inseparable from the art of seeing."
In artistic (as in all spiritual) art, wrote I.A. Ilyin - a person has two functions, two abilities that people are not gifted with in equal measure: the ability of creative contemplation and the ability of an easy and quick manifestation, or, if you like, of a successful, bright, apt, maybe pleasant or sweet expression. ” . The last ability I. Ilyin called talent. At the same time, in the opinion of the philosopher, “Artistic art arises only from a combination of two forces: the power of spiritual contemplating and the power of faith that reflects and obstructs what is seen.”

Aesthetic vision. Within the artistic, one can distinguish aesthetic vision, understood as pure, disinterested perception
beauty, harmony and perfection of the form of the object, the complex relationship of the sublime and ridiculous, mysterious and pristine, symmetry and asymmetry, the direct disclosure of its simplicity, naturalness, grace.
“For an artist, everything is beautiful,” asserts O. Roden, “because in every creature and in every thing his penetrating gaze reveals character, that is, inner truth that shines through under the outer form. And this is true - beauty itself. ”

Aesthetic vision is saturated with higher, spiritual experiences of the sublime, majestic and tragic, as well as qualitatively peculiar pleasure derived from the perception of harmonious forms, melodic and rhythmic sounds, elegant movements, delicate, fresh aromas, combinations and play of pure colors and colors. K. Paustovsky, who believes that nothing brings such pleasure as the contemplation of colors, so described his perception of the morning star:
“I have never seen the brilliance of such tension and purity. Venus was iridescent like a drop of diamond moisture in a green, pre-dawn sky. ” The author spoke about Van Gogh : “It’s an artist’s business to bring joy. And he created it with the means that he owned most of all - colors. On his canvases he transformed the earth. He seemed to have washed it with miraculous water, and it was lightened with paints of such brightness and density, that every old tree turned into a work of sculpture, and every clover field turned into sunlight ... "

Love, empathic, heart vision is understood as a deep, intimate perception of objects and phenomena of the world, the experience of their closeness, kinship, the disclosure in them of their qualities, their unique self.
I. Ilyin said: “Contemplating empathy can be transmitted to any vital content or any subject, - to perceive it and culturally and creatively translate it. At the same time, it is always addressed to the realities that are chosen and perceived by the power of spiritual love. ”
V. Goethe said: “I strove ... to look with love at what was going on outside, and to expose myself to the effects of all beings, each in his own way, starting with a human being and then - on a descending line - to the extent that what they were comprehensible to me. From here arose a wonderful relationship with individual phenomena of nature, an inner consonance with her, participation in the choir of a comprehensive whole ... "
Aesthetic vision is a manifestation of "aesthetic attitude to reality", which A.A. Melik – Pashayev understood as “a person’s ability to perceive the sensual appearance of objects and phenomena as an expression of their non-utilitarian value and inner life, akin to his own, and because of this consciously experience his involvement in the world: other people, nature, works of human culture”.
Van Gogh , an unrecognized, suffering, rejected genius who was happy in his work, wrote: "... There is nothing more genuinely artistic than loving people." He described the process of expressing his feelings with colors: Suppose I want to write a portrait of my artist friend. “And I would like to put into the picture all my admiration, all my love for him. Therefore, to begin with, I write it with all the accuracy I am capable of. But the canvas after that is still unfinished. To complete it, I become an unbridled colorist. I exaggerate the bright tones of his blond hair, reaching orange, chrome, pale lemon. ”

Poetic vision consists in presenting the surrounding reality as a special world of poetry, shimmering with meanings and saturated with autonomous space, elements of which are bright polymodal images, capacious symbols and metaphors, lively actions and experiences, a form of connection - free, deep semantic relations between objects, structures - universal archetypes of beauty, and in the way of movement - dialogue, play and deployment of deep mechanisms of creativity.
With utmost conviction, Thomas Carlyle called out: "To the poet, like every other person, we will first of all say: behold!" “If you are not capable of this,” he continued, it’s absolutely useless to persist in seeking rhymes, ringing and sensitive endings ... and call yourself a poet ... ”

Poetic vision unfolds, creates and feeds in a special emotional context, sensual mood, caused by love for the world, an experience of delight, sadness, amazement before the mystery and beauty of reality, a whole palette of their own, ever-new sensations. “When I wrote this story,” recalled K. Paustovsky, “I kept trying to keep the feeling of the cold wind from the mountains at night. It was like a leitmotif of the story. ”

Poetic vision - animates, makes flutter, pulsate, sparkle a dull, mechanical reality, fills it with colors, smells, music and living meanings, justifies human existence and translates it into a space where there is no time.
Individual creative vision is manifested in a distinctive, unique, unique, original and independent view of things, which is born by courage, spontaneity, sincerity and inner freedom of the artist.
K. Paustovsky wrote that the main thing for a writer is to express himself in all things with the greatest completeness and generosity ... In this expression of himself nothing should restrain the writer, he should forget about everything and write as if for himself. “You need to give freedom to your inner world, open all the floodgates for it and suddenly see with amazement that much more thoughts, feelings and poetic power are contained in your mind than you thought.”

Transcategorical vision is understood as a conscious entry into a state of pre-categorical, non-linguistic contact with reality and direct perception, instinctive grasp of objects of the surrounding world in all their primordialness, uncertainty and lack of formality, extra-conceptualism and non-originality. This is a syncretic, including the internal-proceptive, holistic and acute sensation of light streams, pulsating movements and acoustic clots of space. This kind of vision, as a consciously induced kind of perception, is a process of unconscious formation of primary images that have a sensual nature, are generated by physiological elements and are completely cleared of experience (G. Hemholtz). Exploring the laws of perception, V.P. Zinchenko revealed the phenomenon of precategorical selection, some quasi-semantic transformations that are carried out at the earliest stages of processing input information, that is, at the stages of sensory recording and iconic storage.
This type of vision is the basis of an independent theory of genius put forward by A. Snyder and D. Mitchell, according to which geniuses, unlike ordinary people, are able to turn off “higher” categorical thinking processes and perceive and process information using evolutionarily early brain sections. Therefore, geniuses perceive the surrounding reality in its entirety, with striking details and details, without editing or cutting off the information. At the same time, due to the fact that separate, clearly defined, specific areas of the brain are not suppressed by higher divisions, as a result, such geniuses can acquire outstanding, but highly specialized abilities. Among them are often people with a phenomenal memory and outstanding abilities to count. Outstanding mathematical and linguistic abilities were held by William Sidis, who knew fluently in 40 languages ​​and even created a new language, as well as having an IQ of 250-300 points. A.R. Luria wrote about S.V. Shereshevsky, who could memorize a virtually unlimited number of tables with purely random rows of numbers and letters, and so much so that he reproduced them without error in 10-16 years. He had outstanding synesthetic vision. A.R. Luria once said to him: "Do not forget the road." “No, you are,” he replied. - Is it possible to forget? After all, this fence, it is so salty in taste and so rough, and it has such a piercing sound ... "
At the same time, they can only conditionally be called geniuses, but rather people with super-outstanding abilities, since they are deprived of a holistic active creative position.
At the same time, such pre-categorical, pre-reflective stay of the world in consciousness and consciousness in the world is the essential characteristic of the phenomenological perception of the world (E. Husserl), the existential, self-valuable extraconceptual vision and comprehension of being (N. Berdyaev), as well as the transcendental discretion of some pre-categorical beginning, absolute first principle, the “Oneself”, which underlies all concepts, categories and ideas (A.F. Losev).
Leonardo possessed a transcategorial that dissolves in nature and resonates with it, which was able to observe the fluctuations of water, light and sound waves in space. "The air," he wrote, "is filled with countless straight luminous lines that intersect and intertwine, never merging ...". In addition, observing water flows, he found 64 terms describing the movements of water: gyre, circulation, circling, reflection, immersion, uplifting, etc.
This unique vision of reality was inherent in Van Gogh, who had the unique ability to see and depict the turbulence of the light flux. So his paintings of the period of Saint-Remy were often filled with all sorts of whirlwinds and spirals. This kind of vision refers to the understanding of the deep essence of reality as a turbulent process (A. N. Kolmogorov, José Aragon) or as a system of torsion interactions. With extraordinary accuracy described the experience of precategorical vision Paul Valery:
“I stood still, unable to tear myself away; I leaned against the parapet, as if drawn by some vice. The glamor of her gaze held me, with all the power of thirst, chained to the splendor of the light scale, whose wealth I could not exhaust. But I felt how the seeds behind my back, rushing incessantly to a host of blind men, always led to their vital life goals. It seemed to me that this crowd was not composed of individuals, each having their own history, their own special god, their own treasures and flaws, their own thoughts and their own destiny; I imagined it - unaccountably, in the twilight of my body, invisible to my eyes - some kind of avalanche of particles completely identical and identically absorbed by some abyss, and I heard how they monotonously rush along the bridge in a deaf, hurried stream. ”
“Objects lose designations and even names; whereas, in its most ordinary state, the world around us can be usefully replaced by a world of symbols ... Our knowledge evaporates, like a dream, and we are suddenly transferred to some completely unknown country, to the very bosom of pure reality. It is as if in a completely unknown country we listened to unfamiliar speech, finding in it only striking sounds of consonance, rhythms, timbres and intonations - we experience the same thing when objects suddenly lose every common human meaning and our soul is absorbed by the world of sight. ”
According to Castaneda, ancient magicians possessed a similar perception of the world. “For example, they perceived energy as it flows in the Universe - energy free from the constraints of social influence and syntax; clean, vibrating energy. They called it an act of vision. ” Mages saw a man as in the form of energy penetrating the whole universe, like a luminous cocoon with a shining dot inside, and arms and legs like luminous tentacles, prominences,
breaking out in different directions ..
In 1872, C. Monet painted the picture "Impression. Sunrise" in which he dared to convey his momentary intimate and personal impression, the individual experience of what he saw. In the foreground, he depicted pink-orange and light-purple air, and conveyed the silhouettes of objects with several vigorous spots and strokes. At the same time, he dared to violate not only all existing canons, rules and techniques of painting, but also the internal, imposed and fixed perception installations.
A courageous decision to take a new look at the world, say your own word and just be yourself, allowed Claude Monet to stand on a par with such geniuses as innovators like Giotto, who introduced the third dimension and depth of space into painting, as well as Leonardo , who first created the "picture" as a microcosm and an independent whole organism.
In fact, the picture of C. Monet gave an impetus to the powerful and variegated modernist and postmodernist movement, in the flow of which contemporary art continues to dwell. The Impressionists first gained the freedom of artistic vision and opened up the possibility of free creation of fundamentally new points of view on reality.
The basis of any direction in painting and, in general, in art has always been a new, special artistic vision of the world, a change in the method, technique of vision and, directly connected with it, means of expression and technique of image. So G. Martsinsky writes: “Impressionism is a completely definite way to see things; the impressionist has a completely specific technique of vision, and his painting technique is only comprehensible when clarity is reached with regard to his visual technique. ”

Impressionistic vision is a subjective, pure and fresh perception of things in their authenticity and naturalness, fluidity and variability, in all the richness of a unique moment. It manifests itself as “secondary immediacy”, as “new spontaneity”, as a return to naturalness through liberation from all conventions, canons, categorizations and such stereotypes of perception as “colors of memory” or canons of spatial relationships.

The impressionistic vision is aimed at capturing, “taking by surprise” every single moment, every transient moment of movement, directly grasping its own fleeting impressions and spontaneous internal reactions, to the experience of freshness, naturalness and beauty of everyday reality.
V.A. Lenyashin “To see impressionistically is to see instantly, simultaneously, with the eye and feeling at the same time, with all the tension of nature. This is a prototypical reality, a transition to another dimension, to the semantic space, where everything exists simultaneously, simultaneously. ”
It was vigilance, observation, a special manner of seeing and experiencing that were the basis of the impressionistic method. “The artist,” said H. Ortega y Gasset, “writes not the objects he sees, but the vision itself. Instead of a thing - an impression, that is, a set of sensations. ” In this case, the corporeality, the materiality of objects disappears, the contours blur, and the light environment, air, and space itself acquire visibility and density. The artist sees and depicts things not as he remembers them, knows and imagines, he rather gets rid of his own subjectivity and materiality of objects and dissolves in the stream of pure vision and experience. In this case, the transition of the way of vision, which builds a special new world, into the style, life position and worldview of the artist’s personality.
Overcoming the canons and conventions of classicism, realism and romanticism, the Impressionists were captured by their own principles and rules, condemning passivity, narrowness and instability to the perception of reality. However, the dam of habitual visibility and visibility was broken through and a raging and free stream of modernism rushed into it. Foreseeing the triumph of the modernist approach to reality, K. Malevich wrote: “When the habit of consciousness disappears in the pictures of nature, Madonn and shameless Venus, then we will only see a purely pictorial work.”

Post-impressionistic vision. Отдельно можно постимпрессионистское видение, которое было первой попыткой рефлексии и преодоления импрессионизма и представляло собой свободное, целостное, основанное на индивидуальных системах и техниках, восприятие мира, основанное на наложении на чистые зрительные впечатления обобщенных, философски осмысленных, стилизованных и развернутых во времени материальных форм.
Модернизм представлял собой принципиально новое, предельно свободное видение реальности, включающего совокупность самостоятельных художественных направлений. Так У. Эко писал, что каждое произведение модернистского искусства устанавливало свой закон, предлагало новую парадигму, новый способ видения мира.

Модернистское видение – проявляется как целостное многокомпонентное вне предметное и вне образное восприятие мира, как предельно оригинальное, новаторское, основанное на внутренней свободе, восприятие направленное на обновление художественных форм, с использованием новых изобразительных и выразительных средств. Модернистское видение отличается постоянным поиском новых способов восприятия действительности и включает избавление от линейной перспективы, эмоциональный накал, пластическую деформацию и примитивизацию форм, их намеренное насыщение яркими, чистыми, резкими цветами (фовизм); искажение, раздробление и деформация образа реального мира, подрыв и разрушение старых форм, раздробления и искажения зрительного образа, предельная динамизация (футуризм); иррациональное бессистемное восприятие, отрицание всех правил, канонов и стандартов искусства, хаотическое, алогическое и циничное наблюдение действительности (дадаизм); намеренное мысленное расщепление и дробление воспринимаемых объектов, в том числе и одушевленных, на разнообразные геометрические фигуры, пересекающиеся плоскости и линии (кубизм), напряженное, полное эмоционального накала восприятие и схватывание сущностей объектов, искажающее, но сохраняющее их формы (экспрессионизм); усмотрение и создание емких условных образов, символов вечных идей, идеалов и высших ценностей Красоты и Любви (символизм), усмотрение непредметной, абстрактной красоты, представленной в чистом виде вне природных форм (абстракционизм), схватывание метафизических, еще не осознанных форм здесь сведена к минимуму образность в живописи (супрематизм).

Модернистское видение, представляющее веер точек зрений и, соответственно, многочисленных направлений, свободно вписывается в поток творческого видения, проявляясь как ряд закономерных этапов его становления и развития. При этом каждое из направлений, не является девиацией, свободным капризом, а отражает определенную закономерность художественного восприятия. Так, еще Леонардо призывал искать предельно простые формы предметов и с них начинать последовательное построение сложных форм. Представитель постимпрессионизма Поль Сезанн призывал: "Трактуйте природу посредством цилиндра, шара, конуса, причем, все должно быть дано в перспективе, то есть каждая сторона предмета всякого плана должна быть направлена к центральной точке".
Проявлением искусства творческого видения является умение увидеть сущность, идею формы, квадрата или белого цвета, саму «белость», непривязанную к предметам. В то же время высшим мастерством, будет нахождение, исходных, предельно простых, чистых и вечных «праформ», самостоятельно существующих в самой природе. Это способность открыть для себя фундаментальную первичность многоцветных кристаллов, по-новому увидеть снежинку, мыльный пузырь, полый бамбук, пчелиные соты, дерево, горы, рябь на воде и песке, морскую звезду, радугу, магнит, спиралевидную ракушку.
С.М. Даниэль писал: «В самой природе более всего впечатляет то, что естест¬венным образом воспроизводит... человеческие творения. Именно то, в чем угадывается закономерность, как бы разумный замысел, как бы сознательная композиция, строитель¬ство по определенному плану, будь то узор на поверхности камня или фактура древесной коры, форма цветка, кристалла или морской раковины, не говоря уже о таких явлениях, как каждодневное природное представление восхода и заката солнца».

Сюрреалистическое видение – направлено на вычерпывание возможностей реальности, на ее потенциацию и обогащение посредством противоречивого сочетания натуралистических образов, путем освобождения, динамизации, свободного перетекания и ничем неограниченной трансформации форм, при сохранении и подчеркивании их реальности, «вырисованности» и точности деталей. В процессе сюрреалистического видения происходит мысленное абсурдное совмещение иллюзии и реальности, сна и действительности, разума и бессмыслицы, нащупываются их границы в просветах между которыми просвечивается и усматривается новая реальность. Хуан Миро писал: "Я начинаю рисовать, и пока я рисую, картина сама начинает утверждать себя под моей кистью. Пока я работаю, некая форма становится знаком женщины или птицы. Первая стадия - свободная, бессознательная ... Вторая стадия - внимательно выверенная".
Творческое видение, находит в своем течении место для любой теории, включая, соотнося, и тем самым взаимобогащая, со всеми наличными и существующими теориями. Так, определенный интерес представляет введенный в структурализме феномен фокализации, который констатирует существование трех типов «видения в произведении: видение «с», видение «сзади» и видение «извне». Так, согласно Ж. Пуйону, первый тип видения характеризует видение самих персонажей произведения, второй –точку зрения автора, демиургу, третий - относится к среде обитания персонажей.

Постмодернистское видение – это открытое, безоценочное, принципиально релятивистское и плюральное, нигилирующее всевозможные конвенциальные авторитеты и тоталитарные «центризмы», в том числе и собственное –я, восприятие мира, это безличное погружение в порождающую текстовую среду действительности, в бессознательные языковые структуры и анонимные потоки либидо, восприятие и наслаждение принципиальной плюральностю и избыточностью мира, сознательное нагнетание таких разнообразных манипулятивных приемов видения, как: децентрация, фрагментаризация, рассеивание, распахивание, уничтожение жестких структур, смешение жанров, цитатность, эклектизм, центонность, полистилистика, многовариантность сценариев, глобализация, симуляция, гибридизация, креативизация, коллаж, произвольный монтаж, "вырезки" и "врезки", в склонности к парадоксам, в "открытости разбитого", акцентирование "разломов" и "краев", номадозация, маргинализация
В эстетическом отношении это предельно ироническое, насыщенное текстовым удовольствием, восприятие красоты ассонансов и асимметрии, полифонического мелодизма, раскрытие в вещах удивительного, парадоксального, непознаваемого, неопределенное, комического, карнавализация, пародизация и стилизация, постмодернистская чувствительность и поэтическое, художественное постижение бытия, построенного по законам языка.

Постпостмодернистское видение – субъективно окрашенное восприятие мира как гиперреальности, сознательное стирание границ между виртуальной реальностью, гипертекстом и действительностью, потенциальностью и истинностью, кажимостью и реальностью. Погружение во всемирную паутину Интернета, в новую голографическую, пресыщенную и принципиально-избыточную среду, ведет к искажению пространственно-временных и причинно-следственных законов восприятия, к особому аддиктологическому, трансентиментальному, лирическому, утопическому, «квазисоциальному», «мягкоэстетическому», «мерцающему», «скачущему» восприятию мира, которое осуществляется посредством полилога, сотворчества и приемов деконструкции и конструирования, самопрезентации и цитатности и «нового номадизма» -навигации. Постпостмодернистское видение характеризуется возросшей зависимостью от объектов гиперреальности и , в то же время, обретением удивительной, творческой возможности начинать восприятие, игру, саму жизнь заново.
«Эстетический эффект виртуальных новаций, - пишет Н. Маньковская , - связан со становлением новых форм художественного видения, сопряженных с полимодальностью и парадоксальностью восприятия, усилением проектного начала творчества, противоречивым сочетанием более высокой степени абстрагирования с натуралистичностью; многофокусированностью зрения; ориентацией на оптико-кинетические иллюзии «невозможных» артефактов как эстетическую норму».

Живой поток поэтического видения конституируется внутри творческого диалога с миром, путем последовательной и одновременной реализации многоуровневой динамической системы комлементарных пар универсальных механизмов творчества «идеализации –проблематизации», «децентрации – симплизации», «идентификации-остранения», «самовыражения -персонификации». При этом новые смыслы, идеи и образы самопорождаются и усматриваются в просветах между полюсами связки и генерируются сознательной активизацией противоположно направленных механизмов, их попеременным доминированием и наложением.

Идеализация. Поэтическое восприятие действительности проявляется как видение и воплощение эстетического идеала, построение мира мечты и передача всей свежести мечтания. «Мечтание, писал К.Н. Батюшков, — душа поэтов и стихов». «Совершенное искусство – писал В. Соловьев, - в своей окончательной задаче должно воплотить абсолютный идеал не в одном воображении, а и в самом деле, - должно одухотворить, пресуществить нашу действительную жизнь».

Проблематизация в поэтическом видении проявляется в углублении и распахивании проблемы, превращении ее в тайну. Л.С. Выготский рассматривал противоречие как непременное свойство художественного воздействия и восприятия, которое дразнит, тормошит и направляет чувство читателя. Художественное видение изначально противоречиво, так как в нем сталкиваются и взаимопроникают друг другом обыденность и идеал, действительность и условность, реальность и фантастика, наслаждение и страдание, которые разрешающиеся в катарсисе. Проблематизация проявляется как напряженное столкновение между Бытием и Ничто, как таинственное взаимоотношение между макрокосмосом и микрокосмосом, слияние верха и низа противоположных полюсов смысловых сфер, наложение рождения и гибели, войны и мира. Данное сознательное и бессознательное нагнетание напряженности, проявляющиеся в выразительности и энергичности метафор-загадок, напряженных символов отражающих вселенскую схватку орла со змеей. В то же время это видение мира предельно иным, без звуков и красок, которые, по сути, есть волны, без самого языка, значений и смыслов, без другого, без самого себя. Данная поэтическая позиция проявляется в стремлении к крайнему неправдоподобию метафор у футуристов, выстраиванию «Поэтического космоса», путем создания шестиглазой сферы или размещения всевидящего глаза на изгибе ленты Мебиуса и выворачивания мира наизнанку с помощью метаметафор (К.А. Кедров), построения метареальности посредством метабол или троп-ризом (М. Эпштейн) и, наконец, в самом уничтожении метафор (Ф. Кафка) и попытке взглянуть на мир «без другого» (М. Турнье, Ж. Делез).

Децентрация проявляется в стереоскопическом, полифоническом, полимодальном, потенцирующем видении художественной реальности, в свободной генерации новых ярких образов и нестандартных ассоциаций, в смелом создании новых, свежих красок, палитр, звучаний и мелодий, в открытии новых, более тонких, острых и высших ощущений и переживаний.
Децентрация представляется как дерзновение, смелое изменение позиции, инверсия точки зрения. К.Д. Бальмонт так выражал свое мироощущение и позицию: «Я – внезапный излом, Я- играющий гром».

Симплизация выступает как эстетический идеал, направляющий видение художника, в акмеизме, супрематизме и, в особенности, в японском искусстве с его принципами ваби и саби, выражающими «скромную простоту», неподдельность, естественность и утонченность. «Одна из самых трудных вещей в мире, – говорил Кришнамурти, - это смотреть на что-либо просто». О этом же говорил Кавабата, считающей главной проблемой художественного творчества – проблему простоты, умение видеть и передавать вещими такими, каковы они есть на самом деле. Поэтическое видение предстает как утонченное созерцание залитой мягким светом действительности, улавливание нюансов, невидимых движений, переходов, деталей и нюансов. Таким видением обладал М. Басе: Первый снег под утро…Он едва–едва пригнул листики нарцисса», «Ни одной росинки им не уронить…Лед на хризантемах». Этот тип восприятия пронизывает и питает творчество восточных художников. Так у Энамоко Кикаку - «Падает первый снег. Я б насыпал его на поднос. Все бы глядел да глядел», у Бусона «Горный ручей Бежал все тише, все тише...Ледок на дне», у Сэй-Сенагона: «Лотосы в пруде, обрызганные пролетным дождем».
Принцип простоты, который является одним из фундаментальных и универсальных законов природы, проявляется на всех уровнях развития материи и действует во всех сферах человеческой активности. Так М. Волошин писал: «Принцип упрощения… единственная надежная руководящая нить, которой может довериться художник в современном хаосе устремлений и требований». Простота часто понимается как высший уровень развития художника, как "крайний предел опытности и последнее усилие гения" (Ж. Санд). Представители

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Часть 1 5.3. Vision Theory of Genius
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