Imagination is the tool of our civilization. It needs to be in the house and be able to use it. Just don't underestimate his status.

Today we will debunk the myth. What is the value of a discourse that does not erase dust and dirt from familiar concepts that have become unlike themselves because of this, does not overestimate the accumulated rubbish and does not find a favorite mitten lost in the home mess?

So, general cleaning of myths in our head. Today we will knock out the next myth with a stick in the yard.

“Imagination.... What could be better and more worthy of a Human, especially an Intellectual and an Artist? Develop your imagination!

Do not develop imagination. Let's stop for a moment and get acquainted with a fresh and rare point of view, which is not shouted at every corner.

So. Here is what some philosophical, religious and mystical schools, as well as some psychotherapists, say.

Imagination has usurped power in our day and in our society. You, who count every penny, are economical people who care about profit.

Know - imagination consumes energy. It consumes too much energy.

Imagination consumes so much of your energy that Reality begins to seem to you, tired, something alien.

Reality as an alien experience

That is, the most monstrous thing that can happen to a person is happening - Reality begins to seem to him - alien experience.

This is how the alienation of Being from Man takes place.

Roughly speaking, a person dies. (And what else can be said about a person alienated from his Being?)

The most graphic metaphor for a Man who values ​​his imagination more than Reality is an opiate addict lying on a mat in a censer and dwelling in the worlds of his hallucination.

Gurdjieff and his students condemned in every possible way the primacy of the imagination, its privileged role in our culture and education.

They thought imagination was a waste of energy. And this despite the fact that today, as yesterday, reproaches are heard everywhere from ordinary teachers: “Your imagination is not developed.”

You can object - the Artist needs imagination. Ah, that's another myth.

Here is how the Taoist treatise on art, the Chuang Tzu treatise, looks at it:

Following and not following the Tao

Old marabou - become cow Mu,

And you, cow - old marabou

“Knowing that he will never create anything “from himself”, from “the upper layers of his individual consciousness”, the Master obediently renounces himself and follows the material.

The master knows that the environment in which he works has its own nature. She cannot be ignored. She cannot force her own will.

The master becomes an obedient servant and then - achieves perfect freedom of expression in the craft.

Life is the same Art. He who aspires to become the Perfect Artist of his Life must follow the same order. The order in which the Artist or Sculptor or other master of his craft achieves perfection in his craft.

And yet,

You have not developed - imagination

At times, people are only half "here", they seem to be "awake"

Imagination is the densest “second reality” that mankind has built for itself and in which it lives without escape. Basically, tormented, Do you think - rejoicing?

(Having left the animals the first reality - Reality, Being, humanity got lost in its own mental constructions, as in a bad dream).

The lessons of any mystics and Teachers (and by no means the mystical Fritz Perls, too) begin with the requirement for a person to wake up. So - turn off the imagination like a TV and look out the window.

To then wake up in reality and finally taste it.

And Lao Tzu himself spoke about this as poetically and accurately as possible, weighing on his scales - Imagination and Reality. Here, listen:

• “Learning is to add to the accumulated day by day.
• Comprehension of Tao is to take away from the accumulated day by day.
• Take away and take away again until you reach Non-Action.”

However, the imagination is the tool of our civilization. It needs to be in the house and be able to use it. Just do not overestimate his status.

Elena Nazarenko

Today we will debunk the myth. What is the value of a discourse that does not erase dust and dirt from familiar concepts that have become unlike themselves because of this, does not overestimate the accumulated rubbish and does not find a favorite mitten lost in the home mess?

So, general cleaning of myths in our head. Today we will knock out the next myth with a stick in the yard.

“Imagination.... What could be better and more worthy of a Man, especially an Intellectual and an Artist? Develop your imagination!

Do not develop imagination. Let's stop for a moment and get acquainted with a fresh and rare point of view, which is not shouted at every corner.

So. Here is what some philosophical, religious and mystical schools, as well as some psychotherapists, say.

Imagination has usurped power in our day and in our society. You, who count every penny, are economical people who care about profit.

Know - imagination consumes energy. It consumes too much energy.

Imagination consumes so much of your energy that Reality begins to seem to you, tired, something alien.

Reality as an alien experience

That is, the most monstrous thing that can happen to a person is happening - Reality begins to seem to him - alien experience.

This is how the alienation of Being from Man takes place.

Roughly speaking, a person dies. (And what else can be said about a person alienated from his Being?)

The most graphic metaphor for a Man who values ​​his imagination more than Reality is an opiate addict lying on a mat in a censer and dwelling in the worlds of his hallucination.

Gurdjieff and his students condemned in every possible way the primacy of the imagination, its privileged role in our culture and education.

They thought imagination was a waste of energy. And this despite the fact that today, as yesterday, reproaches are heard everywhere from ordinary teachers: “Your imagination is not developed.”

You can object - the Artist needs imagination. Ah, that's another myth.

Here is how the Taoist treatise on art, the Chuang Tzu treatise, looks at it:

Following and not following the Tao

Old marabou - become cow Mu,

And you, cow - old marabou

“Knowing that he will never create anything “from himself”, from “the upper layers of his individual consciousness”, the Master obediently renounces himself and follows the material.

The master knows that the environment in which he works has its own nature. She cannot be ignored. She cannot force her own will.

The master becomes an obedient servant and then - achieves perfect freedom of expression in the craft.

Life is the same Art. He who aspires to become the Perfect Artist of his Life must follow the same order. The order in which the Artist or Sculptor or other master of his craft achieves perfection in his craft.

And yet,

You have not developed - imagination

At times, people are only half "here", they seem to be "awake"

Imagination is the densest “second reality” that mankind has built for itself and in which it lives without escape. Basically, tormented, Do you think - rejoicing?

(Having left the animals the first reality - Reality, Being, humanity got lost in its own mental constructions, as in a bad dream).

The lessons of any mystics and Teachers (and by no means the mystical Fritz Perls, too) begin with the requirement for a person to wake up. So - turn off the imagination like a TV and look out the window.

To then wake up in reality and finally taste it.

And Lao Tzu himself spoke about this as poetically and accurately as possible, weighing on his scales - Imagination and Reality. Here, listen:

• “Learning is to add to the accumulated day by day.
• Comprehension of Tao is to take away from the accumulated day by day.
• Take away and take away again until you reach Non-Action.”

However, the imagination is the tool of our civilization. It needs to be in the house and be able to use it. Just do not overestimate his status.

Elena Nazarenko

Bring Buttercup? Geralt suggested when he heard that Regis would have to leave Toussaint for an indefinite period due to a violation of the vampire code. "He'll be glad to know you're alive." The herbalist hesitated, then shook his head. The offer of an old friend was more than tempting, but ... after Tesham Mutna, Regis's will was broken. He regained his composure enough to calmly look at Geralt himself and at the people around him, but before Dandelion he had some weakness and was afraid of his reaction. And the point was not that the bard's blood was objectively better than anyone else's, but rather the special sympathy of the vampire for the ridiculous, conceited, with probably a hundred flaws, but kind and still sweet Buttercup. - What is it? the witcher was surprised. - I thought that friendly support would be useful now. I'm sorry if I'm minding my own business. "You have nothing to apologize for, my friend," Emiel smiled softly in his own way. – On the contrary, I am grateful to you for your concern, and a little later, I think, I will use your advice. It's just not the time for that. Geralt shrugged, accepting the vague explanation. He understood little, but chose not to ask. After all, it was personal. As well as Regis' attitude towards Buttercup in general. *** The vampire waited for more than a month until he finally made his way to Novigrad. During this time, he believed, his will had strengthened enough to keep in check both the thirst for blood and other desires related to one famous bard. *** - Regis?... - Buttercup froze with his mouth open when he saw him on the threshold of his cabaret, when he was watching another rehearsal. “But… you…” “As you can see, my dear friend, I came to you with unexpected, but, I hope, pleasant news,” the vampire smiled slightly and tilted his head. He had time to imagine the minstrel's reaction, and it was exactly as expected, from the astonishment on his face to the cap with the feather. “I beg your pardon for not being able to announce my visit, but I'm afraid you wouldn't believe it if you got a letter from me. - Regis! Buttercup died and rushed to him, and almost burst into tears, hugging him tightly. Emiel carefully put his arm around him, lightly stroking his back, smiling softly. Warm and insanely emotional Buttercup... - You're alive! How… how is it? Why did you come just now? What happened to you? Does Geralt know that you are resurrected? "I'll tell you everything, but it's a long story," the vampire promised, seizing the moment to insert a word between the questions pouring from the bard's lips. “I'm afraid we can't do without a couple of evenings of mandrake tincture. - Then why are we standing? Buttercup finally released him and wiped away tears of joy. - Let's go upstairs! Curiosity is sure to kill me if I don't immediately hear at least part of this long story! “It can be impossible to refuse you, so I am at your complete disposal,” the herbalist laughed softly, allowing himself to be carried up the stairs to the bewildered looks of the dancers, whom the bard immediately stopped paying attention to. Dandelion's presence in itself gave a certain feeling, reminiscent of happiness or euphoria, especially after forced ... abstinence. The feeling stirred the carefully suppressed impulses so natural to a vampire. And Regis felt a pang of doubt—whether he had waited long enough before heading to Novigrad. *** - Why did you wait so long before visiting me? asked the bard cautiously, when on the third night Emiel's story came to an end, as did Buttercup's story of his own adventures. “Is…” he hesitated, but the mandrake tincture did a great job of loosening his already chatty tongue, “has something to do with the way you look at me?” Regis shuddered and looked away, which was getting too intense and possibly hot. He allowed himself to look at Buttercup, barely restraining his desires, comforting himself with the fact that the narcissistic bard would probably not notice anything. But Buttercup saw a look full of some strange heat directed at him. And under this look, even he, accustomed to attention, became embarrassed. If sober, the bard would no doubt pretend not to notice. I would not dare to ask directly, because out of the corner of my consciousness I still understood what answer all this could lead to. But alcohol did not allow to keep natural curiosity in check. Regis looked away, considering his answer. Buttercup bit his lips nervously in anticipation. “It is connected, but not only with what you have undoubtedly already thought about,” the herbalist finally said without looking up. “It is also my nature that is to blame. - Explain? – the minstrel raised his eyebrows in bewilderment, not quite understanding how vampirism and… ambiguous views relate to each other. Emily sighed miserably. He hoped to avoid this conversation, but he couldn't lie to Buttercup. And, perhaps, it was better for him to know the truth ... even if the friendship ended quickly. “You see, a special attachment to someone can give rise to a slightly increased thirst for blood in a vampire. The blood of the object of... ahem... lust, - the vampire picked up a fairly suitable word, - causes stronger feelings than, for example, I usually used to restrain. I've been waiting until I'm no longer a threat to you. After everything that had happened, I needed time to gain self-control. - And ... did you succeed? the poet asked, still a little nervous. “Did you manage to no longer want my blood?” "No," Regis replied, still not raising his head. “Not wanting is impossible. But I won't hurt you for anything. No way, believe me... - however, he did not expect Dandelion to have the courage to immediately believe him. The bard sighed as he moved closer. Maybe everyone claimed that he loves only himself, but such a scene could not but touch him. Regis was ready to suffer himself, if only he would not touch him with a finger. Hell, few people did something more significant for Buttercup! Perhaps Geralt, but it was completely different ... - I believe you, - touching the slightly trembling hands of the herbalist, the minstrel said quietly, trying to catch his eye. "Even if you... can't help it," he breathed. The vampire looked up, still filled with a strange feeling that Buttercup could now recognize as desire. When Regis touched his cheek with the back of his hand, the bard flinched involuntarily. "Don't tempt," the vampire said with a soft half-smile. - You are afraid. “Just a little bit,” Buttercup tried to put on a brave face. In fact, he was already ashamed of his own cowardice. Regis wouldn't eat it… probably… But Buttercup wasn't used to such looks at all, if only because he was usually bestowed with "lust," as Emiel put it, only by pretty and not-so-pretty women. Not that the poet was shocked by the fact itself, but never before had he seen passion for himself in the eyes of a man. And even more so a vampire. Regis gently ran his fingertips along his neck, causing the minstrel to close his eyes even though he didn't pull away. “But you better do something before I get completely scared.” Emiel chuckled. Yeah, Buttercup is more likely to scare himself. And this is not at all good for their ... friendly relations, right? The vampire leaned closer and pressed his lips to his, kissing him softly and tenderly. The bard exhaled and even tried to timidly answer. Reality turned out to be kinder and more pleasant than he expected, and from this fear quickly gave way to curiosity. Buttercup stretched himself, gently hugging Regis, to which he did not hesitate to gently press him to him, still not fully believing in the consent of the minstrel. But Buttercup dispelled his doubts when, breaking away for a few seconds and as if thinking, he kissed him himself, with the same cautious interest. Regis's kisses moved to his cheek, to his ear, to his neck... and the bard shuddered again, tensing in his arms. - What? The vampire lifted his head to catch the minstrel's gaze, caressing his neck with his fingertips, quenching his thirst with an effort of will. - It would be better if you bit me after all ... - Julian muttered, diligently averting his eyes. - Dandelion ... - You know, I have a very vivid imagination ... - the poet shivered. “I am sure that what I unwittingly imagine is much worse than reality. And you still want my blood, and... maybe it's better that way? “It hurts,” the vampire tried to sober both him and himself. It was difficult to hold back even without the bard ready to give in. “And I promised I wouldn’t hurt you.” "I understand," Buttercup bit his lower lip, meeting Regis's eyes full of pleading and uncertainty. But I really don't want to be afraid of you. And I can't do anything about it. The vampire's self-control was slowly fading under that gaze. What stopped him was that Buttercup didn't know what he was asking for. However, he could have imagined something even more terrifying, this is generally characteristic of people, especially a sensitive bard... The thirst became more and more distinct... Regis leaned towards the minstrel's neck, kissed it, slowly ran his tongue over it, fighting the temptation. Dandelion completely froze, either trustingly, or frightened ... There was no longer any way to resist thirst. Even knowing what this could lead to for him, Emiel could not refuse the poet's request, albeit stupid, but so ... tempting. The vampire slowly and carefully sank his fangs into the minstrel's neck. The sweet blood he longed for so much immediately tried to turn his head. It's so hard to resist... But he promised he wouldn't do any harm. Buttercup clutched at the vampire's shoulders, opening his mouth to scream, but something unknown held him back. As if at that moment, along with the intoxicating weakness that swept through the body, the bard lost his voice. If not for this weakness, Dandelion would certainly have twitched, instinctively trying to get away from the pain, and hurt himself. “How ... prudently” - the poet came to mind, despite his position. And yes, it was painful and a little frightening, but compared to what the bard could have imagined, not so scary… Regis slowly pulled back, licking blood from the wounds from his fangs. Who would have known what it cost him to try quite a bit ... But he wanted a lot more. Only now the vampire clearly understood how it would end. How it could end now, if his will was even a little weaker. From the sack he always carried, he quickly took out everything he needed to bandage the bard's neck. Buttercup groaned softly, coming to his senses, but said nothing. He could not find suitable words, despite his unusually chatty language ... When the dressing was finished, their eyes met again. "I'm sorry…" the vampire said in a voice full of regret. “Regis…” Buttercup finally died and reached out for him, but he had already turned into fog. - Regis! the vampire dissolved, flying out the window, leaving the bard in disarray. *** - Have you already had our resurrected friend? Geralt asked. Once again visiting Novigrad, he did not miss the opportunity to look at Buttercup. “Yes,” it seemed to Geralt that the bard looked down awkwardly. – Not so long ago... - Buttercup... - the witcher frowned suspiciously. - You're not telling me something. "Well... since you brought up the subject yourself, I wanted to ask you to find Regis and make sure he's all right," the poet sighed. - So... - the witcher's gaze became even heavier, and Geralt crossed his arms over his chest. - What happened here? “Regis bit me,” Julian said quickly, very carefully without looking up. - What? – the witcher already opened his mouth. He couldn't imagine that Regis, who had been successfully holding on for an incredible number of years by human standards, suddenly broke down because of ... however, it was a damn Buttercup, with whom everything always went wrong! “I forced him myself,” the bard lowered his head even lower. “And the circumstances… I won’t tell you the circumstances!” he suddenly announced nervously, it seems, even a little embarrassed, although in this world the bard did not seem to be particularly embarrassed before. - I don't care about your circumstances! Geralt growled. “Did you even understand what you did?” You knew he had problems with it before! What if everything starts again? What the hell, Buttercup?! - Understood ... - in a voice full of despair, as if confessing the most terrible, the poet answered, completely drooping. - The next morning, when I sobered up. Please, Geralt, believe me, I am aware of what I did. And that I am a frivolous, irresponsible, selfish coward. I'm just asking you to make sure Regis is okay and then you can come back and yell at me again. Okay? The witcher wanted to add something else, but the minstrel took on such a pitiful look that Geralt's head only popped up: "They don't beat the lying down." Cursing, he headed for the exit: - Don't be my friend, Buttercup... - I know... - the poet interrupted him. - Thanks. The Witcher just nodded. There was no time for him to sit up again. *** Finding Regis turned out to be too easy - obviously, because he himself decided to show himself to Geralt, although the witcher did not expect to complete the task so quickly. Looked like a vampire, I must say, a little better Dandelion. Also depressed and looking away with the most guilty look. - How are you? Geralt asked cautiously, carefully looking at his friend. Buttercup told me something that worries me. - I am pleased with your concern, my friend, - Emiel smiled forcedly. But I'm not dangerous, don't worry. At least not for you. The Witcher breathed a sigh of relief. It seems that Regis managed to avoid the worst consequences. But it was hard to say that the vampire himself was happy about it. - What happened to you there? the witcher asked quietly. Buttercup does not look like himself, and you seem to have done something terrible, although he is quite alive and well. “I’m afraid you won’t like my frankness, Geralt,” the herbalist shook his head, sighing. “Please let me not initiate you. Don't take this as distrust, it just might take you a while to think it over. And I wouldn't want to lose your company right now, if that's the case. "As you wish," the witcher agreed meekly. But can I ask you something else? "Of course," Regis nodded graciously. You said you weren't dangerous to me. And for someone else? - Professional curiosity? The vampire chuckled slightly. “Only for a very specific other. And I'm not sure I should approach him even when the danger is over. “Hmm…” Geralt sighed thoughtfully. “You know, Buttercup, of course, is still that fool ... But he worries about few people as deeply and genuinely as he does about you now. Whatever stupidity he has done, whatever he is, in his own words, “a frivolous, irresponsible and selfish coward”, you should talk to him when, as you said, the danger has passed. Emiel suddenly smiled, covering his eyes with his palm, hearing such a colorful characterization that even the witcher, who had heard everything about his friend, could not help remembering. Buttercup, sweet and kind Buttercup blamed only himself for what happened. And he suffered not from disgust or fear of Regis's vampire essence or his special affection, but from the way he behaved, how he tried to overcome his own living fantasy at his, Regis's expense. Although the vampire, frankly, it's not that he didn't like it. Thanks, Geralt. I think I'll take your advice a little later. The Witcher breathed a sigh of relief. Judging by the smile of the vampire, almost happy, everything will be fine soon. And there is nothing to worry about. “Regis,” Geralt chuckled slyly. - And what about you and I have a conversation for the umpteenth time converges on Buttercup? "It's all the complex biochemical reactions, my friend, that people call feelings and emotions," Emiel replied in the tone of a scientist. The witcher just chuckled in response. It wouldn't have taken him long to realize the vampire's frankness, but he didn't want to embarrass his friend at all. *** - Buttercup, - a familiar quiet and soft voice touched the ears of the bard dozing over the account book of his cabaret. The poet blinked in confusion, waking up, raised his head and focused his eyes in the right direction. And having done this, he gasped and threw himself on the neck of his midnight guest: - Regis! "You're starting to get into the habit of meeting me like that," the vampire smiled softly. "Forgive me," Buttercup blurted out, hopefully catching Emil's gaze. “Because I’m such an idiot, and for asking me, and… all at once.” I didn't think at all what it could turn out for you. About no one but himself, as always ... - the minstrel almost sobbed, averting his eyes. “Well, well,” Regis hurried to reassure him, hugging him. - Everything worked out. - So, did it work out at all? the bard said carefully. “Mmmm… I won’t say that my thirst for blood has intensified in general,” the vampire explained, looking away. - What can not be said about your blood specifically. But I wouldn't have come if I wasn't able to control myself. “I'm sorry…” Buttercup buried his forehead in the herbalist's shoulder. The poet could not even remember when he was so ashamed. He didn't want to put Regis' will to the test just to be around. "I'm an idiot." - And you me, - quietly answered the vampire. “I doubted you would want to see me again after what happened. - Why? The bard raised his head in surprise. “It's my fault, not yours. And... it wasn't that terrible, - Buttercup bit his lower lip. “It’s not that I’m eager to repeat it, but even if it happens again, it won’t discourage me from seeing you.” After all, it was I who awakened such a… desire in you,” the bard shrugged awkwardly. “It will be fair if I bear any responsibility for this. Regis smiled softly and affectionately, meeting Dandelion's eyes and touching his cheek with his palm, happily noting that this time the bard did not flinch at all, only the corners of his lips turned up in an answering smile. “My desire is not only about your blood,” Emiel reminded. - I think that this is not as scary as it seems to me, - the minstrel answered almost serenely. “So it turns out, my dear,” Regis decided not to add “friend” this time, “that I enjoy dispelling your fears.

Allowing a person to navigate the situation and solve problems without the direct intervention of practical actions. It helps him in many ways in those cases of life when practical actions are either impossible, or difficult, or simply inappropriate. For example, when modeling abstract processes and objects.

A kind of creative imagination is fantasy. Imagination is one of the forms of mental reflection of the world. The most traditional point of view is the definition of imagination as a process (A. V. Petrovsky and M. G. Yaroshevsky, V. G. Kazakov and L. L. Kondratieva and others). According to M. V. Gamezo and I. A. Domashenko: “Imagination is a mental process, consisting in the creation of new images (representations) by processing the material of perceptions and representations obtained in previous experience.” Domestic authors also consider this phenomenon as an ability (V. T. Kudryavtsev, L. S. Vygotsky) and as a specific activity (L. D. Stolyarenko, B. M. Teplov). Taking into account the complex functional structure, L. S. Vygotsky considered it appropriate to use the concept of a psychological system.

According to E. V. Ilyenkov, the traditional understanding of the imagination reflects only its derivative function. The main one - allows you to see what is, what lies before your eyes, that is, the main function of the imagination is the transformation of an optical phenomenon on the surface of the retina into an image of an external thing.

Classification of imagination processes

According to the results:

• Reproductive imagination (recreating reality as it is)
• Productive (creative) imagination:
  • with relative novelty of images;
  • with absolute novelty.

Degree of focus:

• active (voluntary) - includes recreating and creative imagination;
• passive (involuntary) - includes unintentional and unpredictable imagination.

By type of images:

• concrete;
• abstract.

According to the methods of imagination:

• agglutination - the connection of objects that are not connected in reality;
• hyperbolization - an increase or decrease in an object and its parts;
• schematization - highlighting differences and identifying similarities;
• typification - highlighting the essential, recurring in homogeneous phenomena.

According to the degree of willpower:

• deliberate;
• unintentional.

Wallace's four-stage model of the creative process

Main article: Creativity as a process

• Preparation stage, information gathering. Ends with a feeling of inability to solve the problem.
• stage of incubation. key stage. The person does not consciously deal with the problem.
• Insight (enlightenment).
• Verification of the solution.

Imagination mechanisms

• agglutination - the creation of a new image from parts of other images;
• hyperbolization - an increase or decrease in an object and its parts;
• schematization - smoothing out differences between objects and revealing their similarities;
• accentuation - emphasizing the features of objects;
• typification - highlighting the repetitive and essential in homogeneous phenomena.

There are conditions conducive to finding a creative solution: observation, ease of combination, sensitivity to the manifestation of problems.

Guilford used the term "divergent thinking" instead of "imagination". It means the generation of new ideas for the purpose of human self-expression. Characteristics of divergent thinking:

• fluency;
• flexibility;
• originality;
• accuracy.

Development of imagination in children

Through creativity, the child develops thinking. This is facilitated by perseverance and expressed interests. The starting point for the development of the imagination should be directed activity, that is, the inclusion of children's fantasies in specific practical problems.

The development of imagination is facilitated by:

• situations of incompleteness;
• resolution and even encouragement of many issues;
• stimulation of independence, independent development;
• positive attention to the child from adults.

The development of imagination is hindered by:

• disapproval of the imagination;
• rigid sex-role stereotypes;
• separation of play and learning;
• willingness to change point of view;
• deference to authorities.

Imagination and reality

The world is perceived as an interpretation of data coming from the senses. As such, it is perceived as real, unlike most thoughts and images.

Imagination functions

• representation of reality in images, as well as the creation of the opportunity to use them when solving problems;
• regulation of emotional states;
• arbitrary regulation of cognitive processes and human states, in particular perception, attention, memory, speech, emotions;
• the formation of an internal plan of action - the ability to carry them out inside, manipulating images;
• planning and programming activities, drawing up programs, assessing their correctness, the implementation process.

Imagination and cognitive processes

Imagination is a cognitive process, the specificity of which is the processing of past experience.

The relationship between imagination and organic processes is most clearly manifested in the following phenomena: ideomotor act and psychosomatic illness. On the basis of the connection between the images of a person and his organic states, the theory and practice of psychotherapeutic influences are built. Imagination is inextricably linked with thinking. According to L. S. Vygotsky, a statement about the unity of these two processes is permissible.

Both thinking and imagination arise in a problem situation and are motivated by the needs of the individual. Both processes are based on leading reflection. Depending on the situation, the amount of time, the level of knowledge and its organization, the same task can be solved both with the help of imagination and with the help of thinking. The difference lies in the fact that the reflection of reality, carried out in the process of imagination, occurs in the form of vivid representations, while the anticipatory reflection in the processes of thinking occurs by operating with concepts that allow one to generalize and indirectly cognize the environment. The use of this or that process is dictated, first of all, by the situation: creative imagination works mainly at that stage of cognition, when the uncertainty of the situation is large enough. Thus, the imagination allows you to make decisions even with incomplete knowledge.

In its activity, the imagination uses traces of past perceptions, impressions, ideas, that is, traces of memory (engrams). The genetic relationship between memory and imagination is expressed in the unity of the analytical and synthetic processes that form their basis. The fundamental difference between memory and imagination is found in the different direction of the processes of active operation with images. Thus, the main tendency of memory is the restoration of a system of images as close as possible to the situation that took place in the experiment. Imagination, on the contrary, is characterized by the desire for the maximum possible transformation of the original figurative material.

Imagination is included in perception, affects the creation of images of perceived objects and, at the same time, itself depends on perception. According to Ilyenkov's ideas, the main function of the imagination is the transformation of an optical phenomenon, consisting in irritation of the surface of the retina by light waves, into an image of an external thing.

Imagination is closely related to the emotional sphere. This connection has a dual character: on the one hand, the image is able to evoke strong feelings, on the other hand, an emotion or feeling that has once arisen can cause active imagination. This system is considered in detail by L. S. Vygotsky in his work “Psychology of Art”. The main conclusions he comes to can be summarized as follows. According to the law of the reality of feelings, "all our fantastic and unreal experiences, in essence, proceed on a completely real emotional basis." Based on this, Vygotsky concludes that fantasy is the central expression of an emotional reaction. According to the law of unipolar waste of energy, nervous energy tends to be wasted at one pole - either in the center or on the periphery; any increase in energy expenditure on one pole immediately entails a weakening of it on the other. Thus, with the intensification and complication of fantasy as the central moment of an emotional reaction, its peripheral side (external manifestation) is delayed in time and weakens in intensity. Thus, the imagination allows you to get a variety of experiences and at the same time remain within the framework of socially acceptable behavior. Everyone gets the opportunity to work through excessive emotional stress, discharging it with the help of fantasies, and thus compensating for unmet needs.

see also

• The power of imagination

Notes

Literature

• // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• Imagination // Philosophical Encyclopedic Dictionary. Moscow: Infra-M, . - 576 p.
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Synonyms:

• Shub-Niggurath
• Richard Sharp

See what "Imagination" is in other dictionaries:

IMAGINATION- fantasy is the ability of human consciousness to create images that have no direct analogues in reality. Philosophy studies the creative productive V., which, starting from the available thing with its random signs and features ... Philosophical Encyclopedia

imagination- a mental process, expressed: 1) in the construction of the image, means and final result of the objective activity of the subject; 2) in creating a program of behavior when ... Great Psychological Encyclopedia

IMAGINATION- rules the world. Napoleon I The richness of associations does not always indicate the richness of the imagination. Karol Izhikovsky Many people confuse their imagination with their memory. Henry Wheeler Shaw We are all heroes of our novels. Mary McCarthy (see FICTION AND FANTASY) ... Consolidated encyclopedia of aphorisms

An inexperienced person probably believes that his personal imagination has nothing to do with reality. But this is not true. In fact, the human imagination directly interacts with reality and largely models the events that determine life and destiny.

For example, the mood deteriorates from some thought and fantasy. Images of humiliation and failure rise up before the mind's eye. And, despite the fact that all this was invented by the person himself, the mood deteriorates seriously and the whole assessment of the events around changes. A person becomes irritable, reacts painfully to trifling remarks and a bad mood, like a snowball overgrown with new aggravating causes. An avalanche of negative experiences falls on a person, and now he is already buried under it and sees nothing but the bad. And life perceives as a chain of failures and disappointments. Here is the interaction of imagination and reality. But this is the easiest option, which I think almost everyone has experienced. And when a person has the skills to control his imagination, then it can create real situations in which dozens or even hundreds of people are involved. In this case, you can often hear about a combination of circumstances or about a black streak in life, etc. Few people look for the reason not in external intrigues, but in internal dramas that the imagination plays out in front of its only spectator - the person himself. But in most cases, the roots of many negative situations are in your imagination. Unfortunately, the human psyche is such that the negative, some horror stories are easily created by the imagination, but positive experiences: joy, kindness, happiness, if they arise, then only for a moment and immediately disappear, crushed by internal negativity. A person is so arranged that he is ready to imagine troubles, but for the mental modeling of positive emotions there is not enough strength or experience. Meanwhile, it is these skills that are the basis of internal and external harmony. However, most people believe that imaginary pictures are so far from reality that they are not worth attention.

In the first book of the series, you got acquainted with self-influence techniques that helped restore health and get rid of ailments. But these are only the first steps into the world of the ancient Tradition. Deeper penetration will help to reveal the inner power, activate the forces that will control situations and change them for the better. The main condition for such work is the consistent and systematic development of new horizons of knowledge. Let's continue our journey into the world of ancient Tradition. One of the basic concepts of the teaching is the use of the power of flowing water. This was covered in the first book in the series. But there I only touched on the concept of internal water. In this book and the next I will try to tell about it in more detail.

In corporal anatomy, a material body is studied, which can be touched, cut, analyzed… To perform actions that meet the criteria of academic science: the presence of an object of study, the repeatability of an experiment, etc. With the energy of the body, everything is much more complicated. You cannot feel it with your hands, you cannot determine it with instruments, since such instruments have not yet been created. Anyway, officially. But, despite the absence of a visible subject of research, people talk about human energy all the time. Now even orthodox science recognizes the presence of channels and meridians in the human body, through which a certain substance spreads inside the body, called “bonhan liquid” energy “Qi”, “life juice”, “internal water”, etc.

Esotericists, not limited by the official scientific doctrine, argue that a person is, first of all, spiritual (or psychic) ​​energy, and only then a material shell. One can endlessly argue about the truth of the views of materialists or esoteric idealists, but these discussions are meaningless, since neither one nor the other is able to prove to opponents the validity of their views.

In my opinion, the organic interaction of energy flows and bodily structures in a person ensures his inner balance. This position is based on the knowledge of the ancient Tradition and twenty years of personal experience in psychoenergetic self-regulation. You can agree or disagree with the point of view of esotericists on the human energy anatomy, but when you begin to master the techniques and methods of self-healing, you cannot do without the use of individual nodes or structures of internal energy.

In the first course of the psychoenergetic self-regulation system, you will get acquainted with the initial skills of energy management, the accumulation of subtle force and its use to maintain a high life status.

Gradually, from course to course, you will get acquainted with more complex levels of the internal energy of a person, but they will be available only when you have mastered the primary skills of energy field work. Classes of the first stage will help you master the energy channels of the arms, legs, the structure of the "healing center" and the "psychological stability disk". One of the important elements of work in the first stage program is the development of skills to create a positive imaginary reality. Deep relaxation, detachment from external stimuli, the creation of vivid mental images and the inner experiences that accompany them will become a powerful means of self-government and self-development, and will help you step to the heights of personal perfection.