- 5.3. Vision Theory of Genius

Это окончание невероятной информации про визионистская теория гениальности.

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литературного течения акмеизма выдвигали принцип "кларизмы" (от лат. clare - ясный), который понимался как проявление прекрасной ясности, подлинности и первозданности чувств, определенности и точности значения, строгости и вещественности слов, конкретности образов, простоты и прозрачности художественной формы. Сущность подобного кларистического мироощущения с предельной ясностью выразил Б. Пастернак:
В родстве со всем, что есть, уверясь
И знаясь с будущим в быту,
Нельзя не впасть к концу, как в ересь,
В неслыханную простоту.
В свою очередь чистота, ясность, прозрачность, очевидность образов, видение истинных значений и смыслов вещей является сущностной характеристикой феноменологического восприятия.
Идентификация понимается как любовное вживание в объекты окружающего мира, в героев произведений и видение мира их глазами, переживание их эмоций, проникновение в их смысловую сферу и наделение мира их уникальными смыслами. В.Б. Блок писал, что « «сопереживание» и «сотворчество», на наш взгляд, входят в художественное восприятие как его ведущие компоненты, они вызываются произведениями искусства как стимуляторы активности сложных психических процессов». По мнению А. Мелик-Пашаева, истинно творческое, художественное отношение человека к природе состоит в осознанном, непосредственном переживании своего сущностного единства с ней.
При этом художник "уходит от себя", размыкает свои психологические границы, приобщается к инобытию, иносознанию и в моменты творческого вдохновения становится самосознанием и голосом природы, выразителем ее жизни. «Когда рисуешь дерево, - писал Анри Матисс, - нужно чувствовать, как оно растет», а М. Сарьян утверждал: "Необходимо раствориться в природе и растворить ее в себе. Слиться с природой".

Остранение, понимается как сознательное дистанцирование от объектов, забывание, замирание и удивление миром, переживание и видение его впервые. «Ты прав, любимец муз!, -писал Батюшков, - От первых впечатлений, От первых, свежих чувств заемлет силу гений...». Художественное созерцание мира основывается на способности видеть его «как бы впервые», на умении воспринимать его во всей свежести, чистоте и первозданности. В свою очередь еще Новалис подчеркивал такую важнейшую характеристику творчества, как "Искусство делать предмет странным и в то же время узнаваемым и притягательным". В. Шкловский предложил особый приём «остранения», который понимается как сознательное создание «видения» предмета, а не его простое «узнавание». Именно таким даром воспринимать мир «впервые», обладал, по-мнению В. Шкловского, Л. Толстой: «Прием остранения у Л. Толстого состоит в том, что он не называет вещь ее именем, а описывает ее как в первый раз виденную, а случай — как в первый раз происшедший». М. Пришвин призывал воспринимать мир «своим собственным первым глазом», а Р.М. Рильке видеть окружающий мир, как первый человек на земле. «Но каким способом отличить видение? - Когда ты видишь, то нет больше привычных черт в мире. Все является новым. Все никогда не случалось прежде. Мир становится неправдоподобным!» - писал К. Кастанеда.

Самовыражение художника проявляется как воплощение, передача уникального поэтического видения, выражение всей полноты, богатства и глубины его внутреннего мира. При этом утверждение самой неповторимости, единственности и исключительности видения творца и есть способ его самовыражения. Самоосуществление, выражение величия души, внутреннего богатства и творческой мощи гения, проявляется не только путем материализации и овеществления внутреннего мира, но и в процессе самого видения, мысленной потенциации, «взрыхления» и культивации воспринимаемого мира. Кроме этого, достижение искренности, спонтанности и полной самоотдачи возможно и в напряженной внутренней активности восприятия, в живом потоке творческого видения.

Personification is understood as the empowerment and revitalization of objects of the external world, as allowing them to be themselves, to exist according to their own, not always understandable laws. This is an attempt to see them as they really are, to carefully help them to open up and help express themselves. “Singer! singer! ”- sadly called the steppe in the story of A. Chekhov, and the Chinese artist Shih-Tao noted:“ Mountains and rivers require me to speak for them. ”

Vincent Van Gogh, who found in himself a “frightening insight”, described the process of his creative work in such a way: “I saw that nature spoke to me, said something to me, and I, as it were, shorthand her speeches”.

Imaginative vision (from the Latin. Imaginatio - imagination) represents a transformative perception of reality, the mental creation of new polymodal images, dynamic pictures of reality and models of the world, as well as the free manipulation of them with the help of conscious mechanisms of their generation.
The imaginative vision manifests itself as a non-reflective, non-conceptual, transformative perception of the world, as an organization of uncertain signals of the external world in the form of new images, symbols, and archetypes of the collective unconscious. At the same time, it represents the creation of images of objects and phenomena that were previously not perceived by man, the vision of the invisible, abstract, incomprehensible, its representation in the form of symbols and new, non-existent in reality images. “It is precisely the force implanted in symbols,” wrote R. Gregory, who raised the idea above the purely biological limits in which thinking originated; this power is still not fully known. ”
The imaginative vision is directly related to the imagination, which is woven into the genetically primary perception of reality and is its core stream, source and essential criterion for the emergence of primitive consciousness and visual thinking, generated by the primary and the same for all comparison operations.
Imagination is manifested as the initial, pre-lingual manifestation of consciousness, the first free awareness of the variability of images of reality. The initial single ligament of perception and instinctive action, between which there is no gap, in the first act of freedom is gently translucent consciousness and splits into an independent journey, perception-imagination and instinct-intuition.
E.V. Ilyenkov noted that "the ability of imagination (or fantasy), which in its lower forms of development arises before and independently of art, constitutes the common ground on which artistic creativity, artistic fantasy, especially arises." At the same time, the specifically human perception of the surrounding world "appears where the ability of imagination appears, one of the elementary forms of fantasy." Even more sharply, this "hydrodistrict" of Goethe , who believed that fantasy, "revives human unity in its whole, which without it would have had to plunge into miserable insignificance", meant this.
At the same time, E.V. Ilyenkov believed that the emergence of the imagination was promoted by the emergence of the ability to see him "through the eyes of another person", through the eyes of all other people, as well as contemplation of "humanized", that is, processed, remade nature. S.L. Rubinstein also emphasized the development of imagination from the primary to the mature creative form. “In its lowest and primitive forms, imagination manifests itself in the involuntary transformation of images, which is accomplished under the influence of unconscious needs, drives, tendencies ... In higher forms of imagination, in creativity, images are consciously formed and transformed in accordance with the goals that conscious creative activity sets itself human. "
Thus, the imaginative vision manifests itself as a generating core of consciousness, as its cultural and creative, distinctively human component, as a universal ability that underlies the actively creative, transformative perception of the surrounding world. “Imagination is the eyes of the soul,” wrote J. Joubert, and S.A. Borchikov exclaimed: “Imagination is ineradicable. It remains to admire, following Kant and Heidegger, the central place of the imagination among the a priori transcendental abilities of man. ”
The imaginative vision is a holistic, dynamic, multi-level, and multifunctional formation, peculiarly manifested in various phenomenal worlds.
Thus, in the subject-effective world, it manifests itself as a product of design and operation in the internal plan of action, in the symbolic, as a poetic reflection of reality through the system of tropes, in the social, as empathy, vision of the world through the eyes of another, in the internal as fantasy and controlled visualization, and in the world of culture, as a creative, generating and transforming reality, internal action.
The system of qualitatively different levels of imaginative vision, the development of which follows the line of increasing degrees of freedom, includes such manifestations as:

1. Visualization - keen perception and creation, saturated with bright colors, sounds and smells, an image of reality. Visualization is manifested as the creation of a polymodal, lively, vivid picture of a conceivable reality and, emotionally rich, viewing it on the internal screen.

2. Vision and creation of new, transformed, combined and modified images of any kind of modality.
“Actually, every image,” S. L. Rubinstein, “is to some extent a reproduction - even if it is very distant, mediated, modified — and a transformation of the real one. These two tendencies of reproduction and transformation, the data are always in a certain unity, at the same time in their opposition diverge from each other. Imagine is to transform.

3. Mental, visual manipulation of images , models and worlds in order to create new qualities, meanings and possibilities.

4. Fantasy - vision and the free creation of new, unusual images that previously did not exist in reality, the construction of new virtual worlds that exist according to their own laws.

5. Productive imaginative vision is a conscious creative, transformation and modification of reality, recombination, reconstruction and synthesis of past experience, as well as the creation of new images, worlds and models of being in accordance with the laws of the spiritual, scientific, artistic and practical development of the world.
This type of vision is based on creative imagination, which, according to S.L. Rubinstein: "... is inextricably linked with our ability to change the world, effectively transform reality and create something new."
At the same time, artificially created imaginary worlds acquire the features and properties of true reality. “Everything that you can imagine is real,” said Pablo Picasso. In addition, many creators admitted that the conditional, possible, artistic worlds they had created had a stronger influence on them than the surrounding reality. Mr. Flaubert recalled his creative work: “Imaginary faces excite me, pursue, or rather, I myself transfer to them. When I described the poisoning of Emma Bovary, I actually felt the taste of arsenic in my mouth, I felt I was poisoned ... ”. Amid sorrows, worries and anxieties: Sometimes I get up with harmony again, I will pour over the fiction of tears, AS wrote. Pushkin. At the same time, the creator can maintain a clear vision of the process and the result of his creativity and from the position of the supreme observer, clearly aware of his qualitatively higher “secondary” experiences. So I. Turgenev wrote: “When I described the scene of the separation of my father and daughter in“ Eve ”, I was so moved that I cried ... I cannot tell you what a pleasure it was for me.” At the same time, images, characters and worlds created with the help of creative vision and imagination not only truly reflect reality, but also create its ideal, essential model, reveal the possible and become “more real than reality itself:“ Creative imagination, ”wrote N. Berdyaev represents the best than the surrounding reality, because creativity always rises above reality ”.
O. Balzac had a powerful imaginative vision based on the sharpness of perception, the power of memory, the depth of experiences and the power of creative imagination. He describes in this way the observations of the workers who followed him: “I felt their rags on my back, I myself walked in their torn shoes; their desires, their needs — everything was transmitted in my soul, or rather, I penetrated, into my soul with my soul. ”
At the same time, several keenly captured observations, subtly noticed facts allowed him to create vivid pictures of reality, to reconstruct independent life worlds. So, one day after meeting with two women, he caught a passing grimace on one of their faces. “All this, you can imagine, lasted only one moment, but that was enough ... But when I was leaving there, a whole drama passed in front of my eyes” .
The mental construction of new worlds, the reconstruction of the whole on the basis of a single fact, fleeting observation and precise detail, can manifest itself as a creative experiment and a game with reality. So F.M. Dostoevsky wrote: “I love, wandering through the streets, looking at other, very unfamiliar passersby, to study their faces and guess: who they are, how they live, what they do, and what especially interests them at that moment.”
Creative imaginative vision is a holistic education and includes everything mutually enriching each other, levels of perception of reality, ranging from bright visualization to the most free, productive, demiurgic creation of new worlds and realities.

Creative imaginative vision , being deep-essential, nuclear, generating component of superconsciousness, is constituted and reveals its deep essence, with the help of symmetric complementary pairs of first essence and ultimate universals: “interaction-whole” and “freedom-opportunity”.

Interaction: Combining perceptions and ideas, recombining visual experience, “forced comparison”, “linking unrelated in reality”, agglutination is the fundamental mechanism of creative imagination and imaginative vision.

The whole: Synthesis of ideas, reconstruction and extension of images to the whole and situations to the desired, typification, collection and idealization appear as productive mechanisms of imaginative vision. “Creative imagination always leads instinctively or consciously to integrity, consistency and harmony,” wrote M. Arnaudov. O. Balzac, Goethe , M. Gorky wrote about the collective character of the most vivid and lively characters of their works. L.N. Tolstoy wrote about the process of creating an image: "But it is necessary to take from someone his main characteristics and supplement the characteristics of other people whom he observed." "To draw a beautiful woman," said Rafael: ... I manage the famous ideal that exists in my soul.

Freedom: The imaginative vision genetically arose along with the liberation of man from the captivity of immediate perceptions, with the ability to create new, other images of familiar objects, with the appearance of a new look at the surrounding reality. In its highest form, it manifests itself as an extremely free manipulation of the images of reality, a complete and conscious separation and liberation from the usual reality and the creation of a new, previously non-existent.
J.P. Sartre regarded imagination as a means of removing and detaching consciousness from the world, as an act of gaining freedom by the consciousness, consisting in denying the given and laying down the nonexistent and the unreal. Active, free and spontaneous imagination creates its object, and does not receive it from reality. "The act of imagination is a magical act: it is witchcraft that makes a thing appear that is desirable."

Opportunity: Imaginative vision is manifested as a potentiating, generating and multiplying opportunities perception of reality. K.A. Svasyan accurately noted: "The difference between fantasy and reality is that there is only one reality, while fantasy knows an infinite number of them."
Imaginative vision not only creates new images, models and previously non-existent worlds, but also rushes into the object, revealing its new properties, functions and capabilities. So R. Arnheim wrote that imagination is not only the creation of something that never exists in nature. Rather, it manifests itself as the disclosure of the contents of ordinary objects and the creation of a new concept about an old object. In art, imginative vision manifests itself as the creation of a special, self-developing, blooming reality. Nature is saturated with fresh colors and sounds, new qualities and abilities are revealed in the characters, and their life scenarios draw unexpected trajectories. According to A. Thibode: "The creator of the novel enlivens the possible, and does not reproduce the real."
At the same time, there are deep internal relationships between the members of the ligaments of the first essences and, as interaction leads to the construction of the whole, liberty opens new possibilities. The last interdependence was well expressed by D. Paolinetti: “Restrictions exist only in our consciousness. But if we use our imagination, our possibilities become endless. ”
At the heart of the individual imaginative vision is a personal, subjective and biased view of things. So, another T. Ribot wrote that “all forms of creative imagination embody affective elements”, and LS Vygotsky spoke of the law of double expression, in which feeling flows into imagination, and imagination induces feeling. “The writer's imagination,” wrote A. Morua, is born out of real feeling. The imaginative vision is not shown as the formation of a cast of reality, but as the free realization of its unique vision, as the formation of a new, sometimes bizarre, but responsive to the inner spirit, image. According to V. Hugo: “Our fantasies are the most like us. Each dream is drawn according to its nature. "
V. Shakespeare in several lines revealed the deep relationship between affectively saturated fantasy, general emotional attitude of the personality and the nature of reality created by it: “Insane, lovers, poets - All of the fantasies are created by some ... Yes, fervent fantasy so often / Plays: is it waiting for joy “She seems to have that harbinger of joy.” On the contrary, sometimes with fear at night / A dark bush will seem like a bear to her. ”
M. Arnaudov believed that the basis of creating fabulous images lay: "Secret dreams of happiness, the need for such an order that would not suppress all noble feelings, delight before the majestic and beautiful ...".
The creative productivity of imaginative vision manifests itself as the creation of unusual, unique images of reality, and its effectiveness is understood as the free realization of a system of generating mechanisms and techniques. At the same time, creative imaginative vision is distinguished by extraordinary brightness, integrity and accuracy of images, their plasticity and controllability, as well as awareness and consistency of methods of their generation and manipulation.

Transformative vision manifests itself as extremely free, canceling all laws of nature, game manipulation with images of objects, their free movement in space and time, their increase, nigilation, animation and transformation, injection of their analogues and different-quality manifestations, living in them, combining and splitting, everting and coagulation, their acceleration and deceleration.
Arbitrary, playful imagination, as a component of creative vision, can be directed in the direction opposite to Kant's synthesis, namely, in the splitting, fragmentation and fragmentation of images. Creative vision for a short time cancels all the laws of perception, it “puts out” the categories, and catches, manipulates and plays with pure sensations. So the shadows on the snow of the Impressionists, lose their familiar, known grayness and become lilac, blue, pale pink, sparkling, sounding, smelling freshness, slipping out of their hands and feeling like a "prickly" cold and invigorating drink.
Like all mental processes, the imagination and the imaginative vision it constitutes appears three times on the scene. Initially, as an unconscious, efficient process, and then, while maintaining qualitative certainty and implementation mechanisms, as a conscious, controlled, culturally-saturated dynamic education and, finally, as a conscious return to the naturalness of the primary processes, finding “secondary spontaneity” and conscious dissolution in the unconscious .
“But unlike the enchanted world of the primitive mind,” writes M. Arnaudov, “where the whim of associations eliminates every element of believability ... in the fiction of developed literary eras we meet artistic taste and a sense of truth ...”. “The imagination of a cultural person,” the author continues, “possesses not only the ability for a very spiritualized understanding of nature, but also the ability to return to the most naive spiritualization ...” In this case, the power is gained by the “secondary imagination”, in which the images are meaningful and subordinated to the main concept. At the same time, creative vision is a synthesizing and translucent flow, allowing to combine all levels of imagination into one productive, dynamic whole. Goethe stated: “I have repeatedly expressed the dissatisfaction that the teaching about lower and higher spiritual abilities caused in me and in my younger years. In the human spirit, as in the universe, there is nothing either up or down, everything requires equal rights with respect to a common center, the hidden existence of which is revealed just in harmonious relation to it of all parts ... ”
In its highest expression, creative imaginative vision allows you to superimpose, fantastic and real, to combine the accuracy of detail and visibility of the real with the most limitless and bold imagination, rallying, connecting the incompatible with the help of the artistic super-task and the dominant meaning.
At the same time, the images of creative fantasy acquire the power, in the case of the unmistakable intuitive seizure of the very essence of the transmitted content, the precise determination of the semantic center, which organizes and generates new sense-images.
Imagination and intuition arising at the time of the primary awareness of the single act “perception - instinctive action” and having gained independent existence, are again merged in the highest creative act.
Creative imaginative vision combines spontaneous and pure imagination, free flight of fancy, the flow of surprises and whirlwinds of accidents is highly active and manifests as instinct, guessing, “second vision”, clairvoyance, ability to discover and intuitively grasp.
Thus, intuitionists (B. Croce) and even some representatives of the exact sciences (M. Bunge) viewed fantasy as one of the types of sensual and intellectual intuition. So B. Croce understood intuition as contemplation and involuntary fantasy. According to him, “intuition is the creation of fantasy” and at the same time artistic and poetic images of fantasy are “the direct expression (expression) of intuition”. Creative imaginative vision freely combining interconnected processes of fantasy and intuition into a single generating stream is a characteristic feature and a distinctive quality of a genius. Goethe , who defined intuition as an exact fantasy, wrote: “I could, with my head down and eyes closed, imagine in the middle of the organ of sight a flower that never for a moment remained in its original form, but unfolded, and from inside appeared new flowers, from colored including green petals: these were not real flowers, but fantastic, but correct, as if fashioned by the sculptor’s hand. ” So Leon Doday wrote about his father Alphonse Doday “Observation from him, accompanied by the ability to guessing like Balzac’s. The look, the words of behavior, especially of the woman, were enough for him to build both the character and the circumstances caused by this character. ”
In its highest manifestation, imaginative creative vision has a stereoscopic and bifocal character, it manifests itself as an extremely spontaneous play of imagination, a free and audacious flight of fancy, and at the same time an acute, pure, "lucid" awareness of these "Dionysian" processes. “A poet and an artist,” wrote F. Schiller, “must possess two abilities: to rise above reality and remain within the limits of sensory perception. When both of these abilities come together, aesthetic art arises. ”
Imaginative vision is a powerful source of creative accomplishments of a genius in all spheres of life. At the same time, while maintaining its qualitative definiteness, it permeates all types of genius creativity, promotes their interpenetration, mutual enrichment and strengthening.
“It is in fantasy,” wrote K.A. Swasyan, - given a pledge to overcome the estrangement between the scientific method and artistic vision; in the combination of science and art, it plays the same role as the Kantian scheme in summing up the content under the form. Acting in the sensual, it produces art; grabbing the mind - philosophy and science ... ".

1. Spirituality. The imaginative vision manifests itself as a visual construction of an imaginary image of an ideal, a dream, a perfect future, as a representation of invisible spiritual entities acting as the ontological basis of faith. According to R. Gregory, "we not only believe what we see, but to a certain extent we see what we believe in." Even Ibn Arabi believed that the knowledge of higher entities is carried out with the help of imagination. At the same time, the knowable Universe appears as the Divine “imagination” projected in time and space and clothed in visual, sensibly comprehended images and forms. In the imagination, Ibn Arabi believed, spiritual entities take on appearance, and tangible material objects, on the contrary, are spiritualized.
Ya.E. Golosovker believed that the contemplation of something inaccessible to feeling is an activity of the imagination. “Contemplating, we guess with imagination the meaning of the contemplated. The process of guessing enters into the very movement of the logic of imagination along a semantic spiral. Guessing is the inner vision of the most imaginative logic: its vision. ”
According to E. Underhill: “The imaginative vision is a spontaneous and involuntary act of the force with which all people of art and people with imagination are endowed.” At the same time, the presented images are not hallucinations, but the vision of clear images that are accomplished consciously with the “inner eye”.
E. Underhill wrote that: “Genuine visions and voices are the means by which the“ seeing soul ”approaches the Absolute. They are an expression of the ontological insights of the soul and turn out to be sources of life-giving energy, mercy and boldness for it. They instill new forces, knowledge and aspirations into a person ... ”. The mechanisms for creating such images are identical to the means of artistic mastery of the world. “Thus, visions and voices for a mystic represent the same thing as paintings, poems and musical works for an artist, a poet and a musician ...”. Famous mystics, philosophers, writers and artists who were distinguished by their unusually developed imaginative vision include: St. Paul, St. Francis of Assisi, St. Ignatius Loyola, sv. Teresa, Chuang Tzu, Shankar, Hazrat Inayat Khan, Sri Aurbindo, Plotinus, Proclus, Meister Eckhart, Jacob Böhme, William Blake, Aldous Huxley, Nikolai Roerich, Emmanuel Swedenborg.
In this case, the vision and disclosure of the content of abstract concepts is carried out by visualizing them, symbolizing, metaphorizing, as well as experiencing images, scenes and dynamic pictures created with the help of fantasy. Thus, the capture of the meaning of freedom can be accomplished by visualizing such dynamic images and events as the circling of an eagle, E. Delacroix's painting Freedom on the Barricades, flying a hang glider, riding a motorboat and parachuting.

2. Science. M. Faraday, who has an unusually developed imaginative vision, said: "Science wins when its wings are unchained by imagination." Imagination in science manifests itself as building models of reality and manipulating them, as conducting thought experiments, hypothesizing, allogizing, presenting super-systems and subsystems of the causes and consequences of the movement of objects. "Every great success of science," said John Dewey, "has as its source the great audacity of the imagination." So well-known philosopher and sociologist G. Marcuse directly called "Imagination to power!". Albert Einstein always emphasized the visual nature of his thinking and argued that the elements of his thinking are not words, but "more or less clear images that can be" voluntarily " reproduce and combine. ”“ Imagination is more important than knowledge, ”he wrote.“ Knowledge is limited to everything that we now know and understand. While imagination embraces the whole world, and everything that we will ever know and understand. ”
In science, creativity is manifested as a process and art of problem solving, the effectiveness of which is determined not only by developed thinking, but also by the wealth of imagination. According to J. Bernal, “It is much more difficult to see a problem than to find a solution. For the first, imagination is required, and for the second, only skill. ”
Creative imagination in scientific knowledge allows you to reconstruct the whole and for individual facts to capture the meaning of new, complex structures. Using the mechanism of identification, a scientist can identify with a problem or a studied object and see it from the inside. So it is known that many inventors and physicists used this technique, and Charles Darwin, recalled that when creating his concept, he imagined himself to be an evolving creature. Through the mechanism and reception of simplification, scientists simplify, mentally clarify the object, discard everything superfluous and irrelevant, create its visual schemes, models. In the end, all the breakthroughs in science were based on the creation of new visual scientific metaphors. Among these great metaphors can be identified such as: "man-machine" (J.O. Lametry), "light waves" (H. Huygens), "stream of consciousness" (W. James), "planetary model of the atom" (E Rutherford), "holographic model of the brain" (K. Pribram), "superstring theory" (G. Veneziano).

3. Art. The imaginative vision in art manifests itself not just as an objective reflection of reality, as a pure and accurate perception of what is, but also as mental improvement, potentiation and enrichment of reality, creating vivid imaginary images and fantastic events that clearly and acutely manifest entities. “Fantasy,” wrote Goethe, “is much closer to nature than sensuality: the latter is in nature, the first hovers over it. Fantasy has grown out of nature, sensuality is in her power. ” F. Dostoevsky , one of the most prominent representatives of realism, said: "The fantastic is the essence of reality."
K. Paustovsky called imagination the life-giving beginning of art, “the eternal sun and god”, the golden land of poetry and prose, which is necessarily connected with memory, the laws of association and the phenomena of reality. “Imagination,” he wrote, “created the law of attraction, Bin Newton, the sad story of Tristan and Isolde, the splitting of the atom, the Admiralty building in Leningrad, Levitan's Golden Autumn, Marseillaise, radio, electric light, Prince Hamlet, the theory of relativity and the movie "Bambi".
The productive, engendering character of the imiginative vision was expressed in the famous Leonardo method, expressed in his address to the students: “Do not you find it burdensome to stop sometimes to look at spots on the wall, or on the ashes of fire, or on clouds, or on dirt, or to other places where, if you take a good look at them, you will find the most amazing inventions ... ".
About the same method of perception of reality spoke V. Shakespeare, who called to examine the clouds and extract from them the most bizarre forms, as well as .M. Vrubel, who, in his expressive contemplation of nature, saw a female figure born out of lilac, and beautiful sea princesses out of the shells.
“For a skillful eye,” wrote S. Daniel, “reality is completely devoid of“ voids, ”that is, that which could not serve as a stimulus for productive perception. And this does not mean that the reality here becomes a game of imagination; on the contrary, it appears in its entirety of expressiveness, in other words, it is much more real here than the selectively filled reality of the ordinary look. ”
The imaginative vision manifests itself as a universal, end-to-end way of perception, comprehension and awakening of reality, which manifests itself with equal force in all directions and genres of art, starting from realism, romanticism and ending with magical realism and fantasy.
“A realist, if he is an artist,” said Guy de Maupassant, “will strive not to show us a banal photograph of life, but to give its reproduction, more complete, more exciting, more convincing than reality itself.” “The imagination of Leo Tolstoy, considered S.L. Rubinstein - no less weak than the imagination of Edgar Allan Poe. It is just different. After all, the more realistic the work, the more powerful must be the imagination to make the picture described vivid and imaginative. After all, as you know, a powerful creative imagination is recognized not so much by the fact that a person can invent, invent, but by the way he is able to transform reality in accordance with the requirements of artistic design. ”
Creative imagination as a special way of seeing the world - is understood as the creation of new, additional to the directly perceived images, pictures that do not exist in reality, with the help of the universal method Als ob (As if). José Luis Borges engendered new unexpected worlds in his works with the simple question: “What if?”: “If Kafka wrote this story ...”, “Indeed, if the world is Someone’s dream, if there is Someone who now sees us in a dream "," and what if these two moments are essentially one? "," that if fictional characters can be readers or spectators, then we, in relation to them, readers or spectators, may also be fictitious ".
Extremely free, but at the same time conscious and value-rich realization of the imaginative vision is embodied in a special literary genre of fantasy.
At the same time, as a result of free fantasy and unchallenged rationality,
magical countries are created and conditional, delightful and wonderful worlds that exist on their own, not obeying science, laws. In the process of constructing these worlds, the material of myths, fairy tales, epos and traditions is widely attracted, mystical, magical and magical elements are freely used.
The artist’s most important task was getting rid of the shackles of everyday life and the despondency of everyday reality, overcoming the omnipotence of common sense and creating the Magic Country - “Neverland”. This country appears as a space of fairy-tale fulfillment of hopes, as a realized dream of the “inner child” and, even as a special World order in which the supernatural, wonderful and noble becomes law. In this universe of miraculous, populated by heroes and piercingly human creatures, filled with exciting adventures, intoxicating freedom, magical power and magic, everything becomes possible and achievable. At the same time, the nobility and height of the human spirit, the infinity of human capabilities, subtlety, charm, warmth and cordiality of experiences become the generative and unifying semantic center of fantasy.
Edward Dunseni, Abraham Merrit, Robert I. Howard, Clive S. Lewis, Robert Zhelazny, possessed such a holistic, fresh "fantasy" vision of the world, absorbing, synthesizing and reviving everything miraculous, existing in life and culture and translucent its ideal of human nobility. John R. R. Tolkien, George Martin, Robert Salvatore.
Д. Толкиен талантливый ученый, профессор лингвистики позволил себе выйти за рамки академической науки и окунуться в мир ничем неограниченной фантазии, погрузиться в волшебное видение реальности как неразрывного единства действительного возможного, которое открылось у него в молодости, во время болезни, в момент когда он находился между жизнью и смертью. С помощью воображения человек хочет подняться над узкими рамками своего существования, пережить изнутри все события человеческой истории, побыть всеми, побывать везде, прожить все свои возможные жизни. По этому поводу, К. Паустовский замечал: «А человек хочет знать, видеть и слышать все, хочет пережить все. И вот воображение дает ему то, что не успела или не может ему дать действительность. Воображение заполняет пустоты человеческой жизни».
Имагинативное видение реализуется с помощью глубинных, универсальных и инвариантных механизмов творчества, которые в различных мирах приобретают особое качественное своеобразие. Так в социальном мире они предстают в виде механизмов понимания и влияния, внутреннем – механизмов психической защиты, а в символическом ка риторические механизмы. По мнению С.Л. Рубинштейна: «Все средства выразительности (тропы, фигуры и т. п.), которыми пользуется литературное творчество, служат проявлением преобразующей деятельности воображения. Метафоры, олицетворения, гиперболы, антитезы, литоты - это все приемы, которыми так акцентуируется тот или иной аспект в образе, что весь он преобразуется».

4. Practical life. “Imagination is everything,” said Blaise Pascal, “Imagination rules the world,” stated Napoleon Bonaparte. Imagination as a vision of possible worlds has always been a powerful source and engine for the progressive development of mankind and each individual. In social and practical life, the vision of a perfect social structure and an ideal future is realized in the form of utopia. At the same time, it is important, - wrote K. Mannheim, - that, while remaining transcendent in relation to social reality, utopia partially or completely detonates this order of things. IN. Pigulevsky wrote that utopia is also called such a project, the implementation of which is in principle impossible. "But this impossible has a deep meaning for a person, because it opens a boundless horizon of new feelings, spiritual revelations and poetic creativity." In turn, K. Paustovsky argued: "This belief in the imaginary is the force that makes a person look for the imaginary in life, fight for his embodiment, go to the call of the imagination, ... finally, create the imaginary in reality." Imagination removes internal constraints, melts external barriers, instills in the heart of creative excitement and courage. “You see things and say“ Why? ”. But I dream about things that never happened, and say “Why not?”, Said George Bernard Shaw.
At the same time, the imaginative vision in practical life manifests itself as the creation of imaginary pictures and situations with the aim of awakening new abilities, inducing creative states that induce action.
According to Gaiwan Shakti, creative visualization is an effective way to use imagination to create and realize what you want. At the same time using the creative imagination creates the desired image. After that, this idea or picture focuses attention, in the process of which it is filled with positive energy and becomes a reality. At the same time, visualization is understood as a controlled imagination that develops in a special meditative state.
Meriley Zdenek proposed using guided imagination and vivid fantasies as a super-efficient device for stimulating creative activity.
William Fezler practiced the use of imagination in order to create images, heal, learn and gain power. His system is based on achieving complete relaxation of the body and the vision and the creation of some exceptionally pleasant scene, which activates all five sensations and helps a person to fully engage in the scene and empathize with it.

Продолжение:

Часть 1 5.3. Vision Theory of Genius
Часть 2 - 5.3. Vision Theory of Genius
Часть 3 - 5.3. Vision Theory of Genius
Часть 4 - 5.3. Vision Theory of Genius