5.3. Vision Theory of Genius

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

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

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

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

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

Table 12 Types of Creative Vision

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

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

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

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

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

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

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

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

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

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