{"corpus":"steiner","locus":"GA 271/1918-05-06/p003","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"From time immemorial, people have sensed that there is a certain affinity or at least a relationship between the impulses of artistic imagination, artistic creation and enjoyment, and supersensible knowledge. Whoever encounters artistic individuals will realize that there is a widespread fear among creative artists that artistic work could be disturbed by approaching the conscious experience of the supersensible world, from which artistic imagination receives its impulses, as it is striven for in spiritual-scientific supersensible knowledge. On the other hand, it is well known that certain artistic natures, who approach their artistic production with what appears to shine from the supersensible world, experience something like vision within the activity of their creative imagination. Fairytale writers or other artistic individuals who want to deal more with the phenomena from the supersensible world shining into the world of the senses know how the figures appear before their eyes, but are entirely spiritual, so that they have the feeling that they are in contact with these artistic figures, or that these figures are in contact with each other. Insofar as full consciousness is present, through which one can always tear oneself away from what overcomes one in a visionary way, spiritual science can also speak of vision in such a case. It must be said that there are points of contact between artistic creation, artistic imagination and the seeing consciousness that is able to place itself in the spiritual world in a cognizant way. Nevertheless, especially in the face of a spiritual-scientific view such as the one meant here, one feels the need to emphasize that the artist should not allow his originality to be robbed by what is consciously taken in from the spiritual world. In such a view, one overlooks the essential relationship between artistic imagination and the visionary perception of the spiritual world. For what is meant here by this visionary perception is the kind that develops quite independently through mere soul activity, independently of the physical bodily tool. To what extent it is possible for the soul to place itself in the spiritual world free of the body, I cannot explain today. I would just like to say in advance that what arises in terms of kinship and relationships between genuine artistic creation and enjoyment and true, genuine seership is of more interest to anthroposophical spiritual researchers today than the relationship between seership and visionary states, or abnormal states, which, even if attempts are made to describe them as clairvoyance, are nevertheless only related to physical conditions and do not represent solely mental experiences. But to understand this real relationship between artistic imagination and visionary power, it is necessary to look at what, in the strictest sense of the word, separates the two, and that is a very significant one.","text_trust":"verbatim","quote_safe":true,"title":"The Sources of Artistic Imagination and Supersensible Knowledge II","site_heading":null,"date":"1918-05-06","location":null,"word_count":461,"url":"https://anthroposophy.ai/v1/steiner/en/ga/271/1918-05-06/p003","alignment_confidence":"high","alignment_reason":"beads:identity","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Understanding Art","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA271/English/SOL2024/19180506p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"edition_coverage":{"de":["original"],"en":["English"]},"available_versions":[{"lang":"de","edition":"original","edition_basis":null,"is_original":true,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/de/ga/271/1918-05-06/p003"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/271/1918-05-06/p003","paragraph_aligned":true}],"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.","evidence":null,"evidence_translation":null,"evidence_source":null},"paired_german":{"status":"paired","german":[{"locus":"GA 271/1918-05-06/p003","passage_number":3,"text":"Von alters her hat man empfunden, daß eine gewisse Verwandtschaft oder wenigstens Beziehung besteht zwischen den Impulsen der künstlerischen Phantasie, des künstlerischen Schaffens und Genießens und der übersinnlichen Erkenntnis. Wer künstlerischen Individualitäten gegenübertritt, dem ergibt sich, daß in weiten Kreisen des schaffenden Künstlertums eine Ängstlichkeit besteht, es könnte das künstlerische Schaffen gestört werden durch das Herankommen an jene bewußte Erfahrung der übersinnlichen Welt, aus welcher die künstlerische Phantasie ihre Impulse erhält, so wie es angestrebt wird in geisteswissenschaftlicher übersinnlicher Erkenntnis. Auf der anderen Seite ist ja auch in weitesten Kreisen bekannt, daß gewisse künstlerische Naturen, die mit ihrem künstlerischen Produzieren sich dem nähern, was ja wie hereinleuchtend erscheint aus der übersinnlichen Welt, innerhalb der Betätigung ihrer schaffenden Phantasie etwas erleben wie Sehertum. Märchendichter oder andere künstlerische Individuen, welche mehr behandeln wollen das aus der übersinnlichen Welt in die Sinnenwelt Hereinleuchtende, wissen, wie die Gestalten vor Augen erscheinen, aber durchaus geistig sind, so daß sie das Gefühl haben, sie verkehren mit diesen künstlerischen Gestalten, oder diese Gestalten verkehren untereinander. Insofern volles Bewußtsein vorhanden ist, durch das man sich jederzeit herausreißen kann aus dem, was da seherisch einen überkommt, kann auch Geisteswissenschaft in einem solchen Fall von Sehertum sprechen. Man muß sagen, es gibt Berührungspunkte zwischen künstlerischem Schaffen, künstlerischer Phantasie und dem schauenden Bewußtsein, das in die Geisteswelt sich erkennend zu versetzen vermag. Dennoch aber glaubt man, gerade einer solchen geisteswissenschaftlichen Anschauung gegenüber, wie die hier gemeinte, betonen zu müssen, daß der Künstler sich seine Ursprünglichkeit nicht rauben lassen soll durch das, was bewußt aus der Geisteswelt herein aufgenommen wird. Bei solcher Anschauung übersieht man das Wesentliche im Verhältnis zwischen künstlerischer Phantasie und seherischer Anschauung der Geisteswelt. Denn gemeint ist hier mit dieser seherischen Anschauung diejenige, die ganz unabhängig durch die bloße seelische Betätigung sich entwickelt, unabhängig vom physischen leiblichen Werkzeug. Inwiefern dies möglich ist, daß die Seele sich in die geistige Welt leibfrei hineinversetzt, kann ich heute nicht ausführen. Ich möchte nur vorausschicken, daß das, was sich an Verwandtschaft und Beziehungen ergibt zwischen echtem künstlerischem Schaffen und Genießen und dem wahren echten Sehertum, den anthroposophischen Gseistesforscher heute mehr interessiert als die Beziehung des Sehertums zu visionären Zuständen, zu abnormen Zuständen, die, wenn auch versucht wird, das als Hellsehen zu bezeichnen, doch nur mit leiblichen Zuständen zusammenhängen, nicht allein nur seelische Erfahrungen darstellen. Um aber diese wirkliche Verwandtschaft zwischen künstlerischer Phantasie und Sehertum einzusehen, ist es notwendig, einzugehen auf das, was im engsten Sinne des Wortes beide voneinander scheidet, und das ist ein sehr Erhebliches.","text_trust":"verbatim","quote_safe":true,"word_count":413,"url":"https://anthroposophy.ai/v1/steiner/de/ga/271/1918-05-06/p003"}],"english":["GA 271/1918-05-06/p003"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":413,"en_words":461,"ratio":1.12,"partial":false},"pairing_state":"proposed","verified":false},"witness_completeness":{"ratio":1.06,"band":"comparable","note":null,"word_count":6883,"original_word_count":6492,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Understanding Art","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA271/English/SOL2024/19180506p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 271/1918-05-06/p003"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. 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