# Understanding Art

## GA 271 — 5 May 1918, Munich

### The Sources of Artistic Imagination and Supersensible Knowledge I

From time immemorial, people have felt the affinity between artistic imagination and supersensible knowledge, with what can be called seeing consciousness, or, if one is not misunderstood, which would be easy, seership. For the spiritual researcher of the present day, who, starting from the point of view of the present, attempts to penetrate into the spiritual world, this relationship between artistic creation and supersensible knowledge is much more significant than the other, often emphasized relationship between the visionary life, which is fundamentally based on pathological conditions, and that which is really only in the soul, without the help of the body, is vision.

Now we know that poets, artists in general, sometimes feel a very close relationship between the whole nature of their work, between their experience and vision. In particular, artists who seek their way into the supersensible regions through creative work, fairy-tale writers or other artists who seek to embody the supersensible, rightly tell of a truly living experience, of how they have their figures visibly before them, how they stand before them in action, making an objective, concrete impression when they deal with them. As long as such a confrontation with that which is poured into artistic creation does not take away the composure of the soul, as long as it does not turn into compulsive visions over which human will has no power and composure cannot dispose, one can still speak of a kind of borderline event between artistic vision and seership. In the field of spiritual scientific research alone, a very definite boundary can be seen – and that is the important thing – between artistic creation with its source, artistic imagination, on the one hand, and seeing with the eyes closed on the other. Those who are unable to recognize this clear boundary and make it fruitful for their own work will easily end up where many of my artist colleagues have been who were actually afraid of being limited in their work by allowing something of the visionary to enter their consciousness. There are people who are true artistic natures, but who consider it necessary for artistic creation to have impulses well up from the subconscious or unconscious of the soul, but who, like a fire, shy away from the fact that something of a supersensible reality, which confronts clear consciousness, may shine into their unconscious creativity.

In relation to their experience in artistic enjoyment, reception and comprehension, and in relation to the experience of the supersensible worlds through supersensible vision, there is now subjectively an enormous difference in this experience. In the soul in which it finds expression, artistic activity, reception and vision, leaves intact the directing of the personality through the senses to the external world with the help of outer perception and with the help of imagination, which then becomes memory. One need only recall the peculiar nature of all artistic creation and enjoyment, and one will say to oneself: Certainly, in artistic reception and also in artistic creation, there is perception and conception of the external world. It is not present in such a crude way as it is usually present in sensory revelations; there is something spiritual in the way of perceiving and creating, which freely intervenes and rules over perception and imagination and over what lives in the artist as memory and the content of memory. But one could not dispute the justification of naturalism and individualism if one did not know about the connection with perception. Likewise, one can be convinced that in the soul, hidden memories, subconscious things, what is in man as memory, participates in artistic creation and enjoyment. All this is absent in what, in the sense of modern spiritual research, is the content of truly supersensible knowledge. Here we are dealing with a complete detachment of the soul from sensory perception, and also from ordinary thinking and from that which, as memory, is connected with thinking. Yes, that is precisely the great difficulty in convincing contemporaries that there can be something like an inner experience that excludes perception and ordinary thinking and remembering. The natural scientist, in particular, will not admit that this could be the case. He will always claim: “You say that nothing flows into your seeing. I see that you are mistaken: you do not know how hidden content rests in memory and comes up in a sophisticated way. That is because those who object to it do not occupy themselves with the methods by which one attains the ability to see and which show that the impression of the spiritual world can be directly present where nothing is incorporated from reminiscences, from mysterious memories. The training consists precisely in finding the way to free the soul from outer impressions and ideas based on memories. This establishes a firm boundary between artistic creation and the production of supersensible knowledge, since the soul, the human ego in which supersensible knowledge lives, does not actually draw on the organization of the body, which does play a part when it comes to artistic creation.

But because of this state of affairs, the question arises all the more: What is the relationship between the impulses that arise from the subconscious depths of the soul and are woven into artistic creation and enjoyment, and what is born out of the pure spiritual world in the form of direct impressions from supersensible knowledge? — To answer this question, I would like to start from some experiences with art for the seer himself. These experiences with the arts in general are characteristic right from the start. It then becomes evident that anyone who has learned to live in the supersensible life, to gather supersensible knowledge, really is able to exclude for certain periods of time all sense impressions and the memories that follow on from them. These can be excluded, cast out of the soul. When someone who is immersed in supersensible vision also tries to clearly perceive all this when confronted with a work of art, what he is accustomed to perceiving when confronted with an external sensory phenomenon, a completely different experience arises. When confronted with a sensory phenomenon, the seer is always able to exclude sensory perceptions and memories, but not when confronted with a work of art. Even though everything that can be perceived or imagined is of course excluded, the seer is always left with important inner content that he can neither exclude nor wants to exclude. The work of art gives something that turns out to be related to his seership. This raises the question: what is the source of this relationship?

One comes to this realization when one seeks to grasp what is active in man when he sees purely spiritually in supersensible knowledge. Then one comes to realize what inadequate ideas we have about ourselves and our relationship to the external world when we remain in ordinary consciousness. We believe that our thinking, feeling and willing are strictly separated from one another. Psychology does trace these activities back to one another, but not with the right skill. But the one who experiences the actual complexity of the soul life as it presents itself in seership knows that such a distinction between imagining, feeling and willing does not even exist, but in ordinary consciousness and life there is in every imagining a remnant of feeling and willing, in every feeling a remnant of imagining and willing, and in every willing there is also an imagining, even a perceiving in it; there remains in the willing a remnant of perception, which is hidden in it, subconscious. This must be borne in mind if one wishes to understand the process of seeing. For from what has been said, you will gather that in the act of seeing, the faculty of imagining and perceiving is silent, but the faculties of feeling and willing are not. However, it would not be a true vision if the person only developed feeling and willing, as in ordinary consciousness. On the contrary, when man passes over into the seer state, all volition as it is in ordinary life must be silenced. Man enters into the state of complete rest.

What is meant here by the term 'vision' does not imply the fidgety act of placing oneself in the spiritual world, as in dervishry, but the complete silencing of all that expresses itself as volition in ordinary life, as the power of emotional feeling. In that which a person allows to pass from volition into action, something of the emotional feeling still lives on. This feeling, also in relation to the revelation in the will, must remain silent. But the emotional feeling as such does not remain silent, and above all, the impulse of the will does not remain silent. Perception and imagination remain silent, but the impulses of emotional feeling and will are justified, only entering into a state of calm soul condition, and therefore developing their perceiving and imagining character differently than usual. If one were to dwell only in feeling, or in a false mystical inner living out of the will, then one would not enter into the spiritual world. But in the calm state of soul, what are otherwise emotional feelings and impulses of the will are lived out in a spiritual way. Feeling and volition are so lived out that they appear before the human soul as objective spiritual beings endowed with powerful thoughts, while the rest of perception and imagination, which otherwise remained unnoticed in feeling and volition, comes to revelation and becomes capable of placing itself in the spiritual world. Once one has realized this, that as a seer in feeling and willing one lives as otherwise one lives in thinking and perceiving — not in unclear thinking and feeling, not in nebulous mysticism, but as clearly as otherwise in thinking and perceiving — one can enter into a fruitful dialogue with art, although only by realizing how worthless such generalizations are, as they are expressed, for example, by the word art.

Art encompasses very different areas: architecture, sculpture, music, poetry, painting and more. One could say that if one wanted to establish the relationships between the different arts with the experience of the seer, then the diversity of the arts becomes much more meaningful to one than what philosophy would like to summarize under the name of art. By achieving the possibility of experiencing the world's thought content and spirit content with the help of thinking, emotional feeling and willing, one arrives at being able to establish a remarkable relationship with architecture.

I said that in this vision, ordinary perception and thinking cease, but a kind of completely different thinking arises that flows from feeling and willing, a thinking that is actually thinking in forms, that could directly, by thinking, represent forms of the distribution of power in space, proportions in space. This thinking feels akin to what is expressed in architecture and sculpture when they represent true artistic creations. One feels particularly at home with the thinking and perceiving in architecture and sculpture because the shadowy abstract thinking that the present so loves ceases, falls silent, and a representational thinking sets in that can but allow its content to pass over into spatial forms, into moving spatial forms, into stretching, over-arching, bending forms, in which the will flowing in the world is expressed. The seer is compelled not to grasp with the intellect what he wants to cognize from the spiritual world, as is done in the rest of science. One would recognize nothing spiritual there. One is mistaken if one believes that one recognizes in the spiritual, because one cannot penetrate into the spiritual world with ordinary thoughts. He who wants to penetrate into the spiritual world must have something as a thinker, which creates plastic or architectural, but living forms in himself. Through this one comes to the conclusion that the artist enters into an experience of forms in the subconscious. They strive upwards, fill his soul, are transformed into ordinary ideas, which can be partly calculated; they are transformed into that what is then artistically formed. The architect and the sculptor are intermediaries for what the seer experiences as perception and imagination in the spiritual world. What the seer grasps as form for his life of thinking and perceiving creeps into the architect's organization. Down in the depths of the soul, it rises in waves and becomes conscious. This is how the architect and sculptor create their forms. The only difference is that what underlies the architectonic and sculptural work as the essential form-giving element arises from subconscious impulses, and that the seer discovers these impulses as what he needs to grasp the great interrelations of the spiritual world. Just as one otherwise has imagination and perception, so the seer has to develop gifts that point to what permeates and trembles through the great structure of the world. And what he, as a seer, sees through and lives through, that lives in an unconscious way in the architect and sculptor, permeating his work as he creates it.

In a different way, those who have had supernatural experiences and are seeking a connection to poetic and musical creativity can identify with his experiences. The seer gradually comes to feel his inner self quite differently than the ordinary consciousness, which presents and perceives the sensual world around us: He feels within himself in his feeling and willing.

Those who can practise self-observation know that one is only in one's self in feeling and willing. But the seer raises feeling and willing out of himself, and in that feeling and willing provide him with perceptions and perceptions, he comes away from himself in his feeling and willing. But something else occurs. He finds himself again. With the clear consciousness of having stepped out of his body, of perceiving nothing with the help of his body, he finds himself again in the outer world, intuitively passing into what he has perceived in moving forms and shaping into images. He carries his self into the outer world. By doing so, he learns, as it were, to say to himself: Through truly inner experience from experience, I can recognize that I have stepped out of my body, which has always been the mediator of my relationship to the outer world, but I have found myself again by immersing myself in the spiritual world. By becoming an inner experience, the seer finds that he is compelled to receive his will and feeling from the spiritual world again, to receive himself again out of the supersensible world. He must do this by once more receiving a feeling and a will — but a transformed feeling and will that does not take the body for help — a feeling that is intimately related to the experience of music, so related in fact that one could say: It is even more musical than the comprehension of music itself. It is such a feeling that it is as if one's soul were pouring out into sounds, becoming a melody, a vibration, in the presence of a symphony or another work of music.

With poetry, it is the case that one is in one's volition. That is what the poetry wants, which one learns to perceive as true poetry precisely in this way, by finding one's volition there. Feeling in music, volition in true poetry.

In a peculiar situation, in a particularly significant situation, is the relationship between seers and painters. The matter is such that neither the one nor the other occurs, but something else, something even more characteristic. In the presence of real painting the seer has the feeling — and he could be a painter himself, for we shall hear that artistic creation and supersensible insight can exist side by side — the painter comes to meet him from some indefinite region of the world, brings a world of line and color and he approaches the painter from the opposite direction and is obliged to transpose what the painter brings with him, what he has transferred from the external world into his art, as imaginations into what he experiences in the spiritual world. The colors the seer experiences are different from those of the painter, and yet they are the same. They do not interfere with each other. If you want to get an idea of this, take a look at the sensual-moral part of Goethe's theory of colors about the moral effect of colors. It contains the most elementary description, It describes with inner instinct what emotional effects are awakened in the soul by individual colors. It is through this feeling that the seer comes out of the spiritual world, through this feeling that one really experiences every day in the higher world.

One should not think that the seer speaks in the same way as a painter speaks of colors when describing the colored aura. He experiences the feeling that one otherwise experiences with yellow and red, but it is a spiritual experience and should not be confused with physical visions. The worst misunderstanding arises on this point. For the seer, the experience is similar to painting in that one can speak of an encounter with something similar that comes from the opposite direction, where understanding is possible because the same thing comes in from the outside that is created from within. I always assume that it is a matter of artistic creation, with which communication is possible if, before that, not naturalism but art is there. The seer is compelled to imagine what he experiences, to illustrate it, roughly speaking. This happens when he expresses in colors and forms what he experiences: there he encounters the painter. And again, if you were to ask the painter, how do we relate to one another? the painter would have to answer: Something lives in me! As I went through the world with my ordinary eye and saw color and form, and artistically transformed them, I experienced something within me that had previously surged in the depths of my soul; it has come to consciousness and become art. The seer would say to the painter: What lives in the depths of your soul lives in things. By going through the things, you live with the soul in the spirit of things. But in order to retain the strength for painting and to consciously experience what you experienced by going through the things outside, so that what comes to the senses is not extinguished in you, you have to keep the impulses that create painting alive in the subconscious. The point is that the unconscious impulses now rise to consciousness. The seer says: “I walked through the same world, but paid attention to what lives in you. I looked at what arose in your subconscious and brought what was unconscious to your consciousness.

It is precisely with such an understanding that something will confront the human soul as a great and significant problem that may not otherwise always be properly observed. When one becomes familiar with what has just been characterized through inner experience, something comes up that touches life deeply. This is the mystery of the incarnate, this wonderful human flesh color, which is actually a great clairvoyant problem. It reminds one so much that such clairvoyance, as I mean it, is actually not so completely alien and unknown to ordinary life; it is just not heeded. I would like to express the paradoxical but true sentence: every person is clairvoyant, but this is also denied in theory where it cannot be denied in practice. If it were denied in practice, it would destroy all life.

There are oddballs today who think: How come I have to deal with a complete stranger's ego? They want to remain completely within the realm of the naturalistic; they want to remain true naturalists, so they say to themselves: I have memorized the facial oval and other things, and because I have learned from various experiences that a person is hidden in such shapes, I conclude that there will be a human ego behind this nose shape. One finds such arguments today among “clever people”. But that does not correspond to the experience one comes to when one observes life from one's own participation in life. I do not conclude that there is an ego from the shape of the face and so on. I have the consciousness of an ego because the perception of what confronts one as a physical human being is based on something other than the perception of crystals or plants. It is not true that inanimate natural bodies make the same impression as a human being. It is different with animals. What stands before you as a sensual human object cancels itself out, makes itself ideationally transparent, and through real clairvoyance one sees its ego directly every time one stands before a human being. That is the real fact. This clairvoyance consists in nothing more than extending this way of facing the human being with one's own subject to the world, in order to see if there is anything else to see through in the way of the human being.

You cannot get real impressions from clairvoyance without considering what the other person's perception is based on, which is so different because it is based on clairvoyance of the other soul. In this clairvoyance, the complexion plays a special role. For the external observer, it is a finished product, but for the one who sees supernaturally, the experience of looking at the incarnate changes. For him, there is an intermediate state. It comes about by turning one's clairvoyance, which extends to the other areas of the world, to the human form in such a way that the incarnate, which is so calm, oscillates between opposites and the intermediate state. One perceives paleness and a blush that is as if it radiated warmth. In this, that one sees people blushing and turning pale, the middle state is within. Associated with this experience of being in motion is the fact that one knows one is also immersed in the outer being of the person, not only in his soul, in his ego. One plunges into what the person is through his soul in his body, through the incarnate. This is something that leads one to the relationship between artistic perception and supersensible knowledge. For that which becomes so mobile in the perception of the incarnate lies unconsciously in the artistic creation of the incarnate. The artist needs only to be subtly aware of this. Only by being able to experience this will an artist be able to place the fine, living vibration in the center of the incarnate parts.

In this way, painting shows how the sources of artistic imagination and supersensible knowledge collide. In ordinary life, they collide when one does not even notice it, in the realm of language. Nowadays, language is usually viewed in a very intellectual way, even scientifically; but the life of language is present in us in a threefold way. Anyone who approaches language with a seer's eye and has to express what they perceive in the spiritual world must first acquire a feeling for language that could be described as a sense of loss. When people talk to each other, and also when they engage in ordinary science, everything they say is a debasement of language below the level at which language should be. Language as a mere means of communication is debasement. One senses that language actually comes to life in its own essence where poetry flows through it, where what emerges from the human soul flows through language. This is where the spirit of language itself is at work. The poet actually discovers the level of language for the first time, perceiving ordinary language as a neglect of the higher level of language. It is easy to understand how a subtle poet like Morgenstern could come to the conclusion that there is actually a perceptible lower limit to speaking, which is very common, the limit that can be called chattering. He finds that chatter has its basis in ignorance of the meaning and value of the individual word, that the chatterer comes to distort the word from its fixed contours and make it unclear. Morgenstern senses that this is a deep secret of life that is being expressed. He says that language takes revenge on the unclear, on the vague. That is understandable, since he was able to bridge the gap between poetry and seeing, just as he finds their affinity with sound, image, architecture, and so on.

This same affinity underlay the entire work of Goethe, who at one time in his life did not know whether he should become a poet or a sculptor. But the seer experiences what is the content of the spiritual experience for him outside of language. This is something that is difficult to explain because most people think in words, but the seer thinks without words and is then compelled to pour what is wordless in the experience into the already firmly formed language. He has to adapt to the formal relationships of language. He need not feel this as a constraint, for he will discover the secret of creating language. He can make himself understood by stripping away the conceptual aspect of language. It is therefore so important to understand that it is more important how the seer says it than what he says. What he says is conditioned by the ideas that each of us brings in from the outside. He is obliged, in order not to be regarded as a fool, to clothe what he has to say in viable sentences and chains of thought. For the highest realms of the spirit, it is important how the seer says something. The one who came up with the how of expression, who came up with the fact that the seer has to be careful, to say some things briefly, others more broadly, and others not at all, that he is obliged to formulate the sentence from one side in one way, then to add another from the other side. It is the way it is formulated that is important for the higher parts of the spiritual world. Therefore, in order to understand, it is important to listen less to the content, which is of course also important as a revelation of the spiritual world, and more to penetrate through the content to the way in which the content is expressed, in order to see whether the speaker is merely linking sentences and theories, or whether he is speaking from experience. Speaking from the spiritual world becomes visible in the way something is said, not so much in the content, if it is theoretical, but in the way it is expressed. In such communications from the forms of language, the artistic element of language can have an effect on what inspires the seer to rise to the level of the process of language creation, so that he recreates something of what was present when language emerged from the human organism.

What is the reason that what arises in the visionary consciousness is brought into the spirit world through artistic creation, but lives in the artistic imagination in an unconscious and subconscious way? — Artistic creation is, of course, conscious, but the impulses, the driving force, must remain in the unconscious so that artistic creation is uninhibited. Only he can understand what is at stake here who knows that the ordinary consciousness of man is, for certain reasons, destined for something other than for entering into the full world.

On the one hand, our ordinary consciousness proceeds from the observation of nature. But what it delivers to us does not arise from our concepts; they do not penetrate into the realm where, in space, matter haunts, as Dz Bois-Reymond says. And again: what lives in the soul cannot be fulfilled with reality. No matter how deeply mystical the experience, it always hovers over reality. Man comes to the full world neither by seeing nature nor by seeing into the soul. There is an abyss there that usually cannot be bridged. It is consciously bridged in the seeing consciousness, in artistic creation. There, self-knowledge must become something other than what is usually called that. Mystical insight finds that it has achieved enough when it is said: “I have experienced the God, my higher self, within.” Real self-knowledge aims to see how what one otherwise experiences in the mere point of the ego lives creatively in the organism. We are not merely conceiving and perceiving beings in that we have perception and perception; we also continually breathe out and in. While we are facing the world in waking consciousness, we are always breathing out and in, but ordinary consciousness is unaware of what is going on within us. Something wonderful is happening that can only be recognized by the seeing consciousness, when one looks not only at nebulousness, at the abstract I, but at how this I lives, forming in the concrete. The following then takes place.

When breathing out, the cerebral fluid passes into the medullar canal, into a long sack which has many stretchy, tearable points; it pushes downwards, pushing against the veins of the body. What is going on here I describe as an external process. Ordinary consciousness cannot penetrate it, but the soul experiences it subconsciously, this spreading out of what comes from the brain into the veins of the body, and when breathing in, the backflow of the venous blood into the veins of the back through the spinal canal, the penetration of the cerebral fluid into the brain, and what happens there as a play between nerves and sensory organs. Ordinary consciousness is shadowy here, knows nothing about it, but soul and spirit are involved. This process appears chaotic. What pulsates back and forth takes place in musical form in every human being. There is inner music in this process. And the creative element in music is to be raised up into the outer conscious form of the music by what the musician has become accustomed to experiencing as the music of his soul body. In it lives the tone, the subconscious life-giving power of the music in which the human soul weaves. Our psychology is still quite elementary; the things that shed light on the artist's life have yet to be explored in harmony with the faculty of vision. The human experience is a complex one. It is this subconscious knowledge of the soul that is the actual impulse of artistic imagination, in that the musical life plays out between the spinal cord and the brain, where the blood and cerebrospinal fluid rush in, so that the nerve is set into vibration, which rises up towards the brain. If this is brought into connection with the possibility of higher perception, then there is more inner music in it that is enjoyed than in the objective impulse from which the human soul is born, in that the human being enters into physical existence through birth or conception from the spiritual life. The soul enters into existence by learning to play on the instrument of the physical body.

And what happens when all this movement takes place, this vibration of the brain water that comes up? What takes place there in the interaction between nerves and senses? — When the nerve wave strikes the outer senses — not yet the sensory perception, mind you — when the nerve wave simply strikes in the waking state, there lives unconsciously and is drowned out by perception: poetry! Between the senses and the nervous system is a region where man unconsciously creates poetry. The nerve wave rolls into his senses - unconsciously it runs, one can determine this physiologically - this life runs in the senses and is poetry-producing: man lives creating poetry within himself. And the poetic creation is the bringing up of this unconscious life.

I have described this in the breathing process. During exhalation, we must bear in mind that the cerebral fluid in the body presses downwards in the forces that come from the body to meet it, and in the forces through which the human being places himself in the external world. We are constantly standing in a certain static position in the outer world, whether we are standing with legs apart, with arms bent, or whether we are crawling as a child, or whether we transform this static position of crawling into the static position of standing upright: we are in a state of inner equilibrium. The inner forces with which the waves that are exhaled meet us are based on what is formed in sculpture and architecture. The emotional feeling that lives in a person when they move but keep that movement still is expressed in the sculpture. This is an inner experience that is connected to the forms of the body. One recognizes this only when one is accustomed to developing perception and thinking into calm formal ideas. One learns that from the body do not come chaotic forces, but forms that show that the human being is integrated into the cosmos. By looking at more external forces, which the soul experiences subconsciously, one has more to do with plastic imagination. Between the two lies a strange unconscious realm that the soul has down in its depths. As the nerve impulse vibrates between body and brain, it is in contact with the warm blood, which is actually the cold, intellectual part of the human body. In such warmth and spirituality lie unconsciously the sources of artistic creation, which impulsates the painter as he brings his impressions, raised from the subconscious, onto the wall in colors. Man stands unconscious in the spiritual world, which is only opened up through seership.

It was not for nothing that in ancient times the body was seen as a temple for the soul. There was an indication of how architecture is related to the balance of the whole body and the whole cosmos.

Art should express what the artist is only able to put into his work because his soul experiences it in connection with the world, because his body is a microcosmic image of the whole macrocosm. If this is to be brought to consciousness, it can only be done through the gift of second sight. Why does the ordinary aesthetic, built on the model of natural science, prove so barren? The artist cannot do anything with this school aesthetic, which wants to bring the unconscious in human nature to consciousness in the same way as ordinary natural science. What lives in artistic creation brings the vision to consciousness, only the artist must not be afraid of the vision, as so many are. The two areas can live separately side by side in the human personality because they can be so distinct. It is possible for the soul to live outside the body in the spiritual world: then it can observe how that which otherwise remains in the subconscious is crystallized into artistic creation, but also how that which can be artistically experienced by the seer, separate from his seership. Only artistic fertilization can come from this experience and can only benefit the artist, just as artists can also fertilize the seer's vision. The seer who has artistic sense or taste will be saved from allowing spiritual science to be shot through with too much of the philistine. He will describe this spiritual world flexibly, will be able to shape the how of spiritual science, of which I spoke, more appropriately than someone who, without artistic sense, has appropriated entry into the spiritual world. There is no need, as there is for many artists, to develop a fear of seeing. I am speaking of the serious fear, not just the fear of being said to be an anthroposophist. I am speaking of the very common fear in principle that seeing would impair the immediacy of artistic creation. In reality, this impairment does not exist. But we live in an age in which, through the historical necessity of human development, the soul is pushed to transform into consciousness what was naively present in the subconscious. Only those who increasingly transform the unconscious into the free grasp of the conscious understand the times in which we live.

If this demand of the time is not met, humanity will enter a cultural cul-de-sac. Art cannot be recognized by ordinary science, which is why aesthetics is rejected by artists. But a science that seeks to understand is developing a seership that does not take the dew from the flowers of art. The seer is agile enough to grasp art. Therefore, anyone can grasp it as a fact of today's world that a bridge must be built between artistry and seership; they can emphasize this as a necessity, as Christian Morgenstern beautifully emphasized it in words that point to the need for a turnaround. He says: “He who only wants to immerse himself in what can be experienced today from the Divine-Spiritual through feeling, not penetrating through knowledge, is like the illiterate person who sleeps all his life with the primer under his pillow.”

Often one wants to sleep with the primer of world knowledge under one's pillow all one's life, so as not to have one's original elementary creativity weakened by visionary science. Whoever grasps the science of prophecy as it can be understood today, in keeping with the times, will understand that, in the spirit of Morgenstern, one must emerge from illiteracy and build bridges between artistry and seership, and that through this new light will fall on art and new warmth will come through art to seership. So that as the fruit of the right efforts in a healing future, a deeply meaningful impulse can work through visionary light and artistic warmth into the development of humanity in the future.