{"corpus":"steiner","locus":"GA 271/1918-05-06/p004","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Those who create with artistic imagination will not, as is the case with ordinary sensory perception and reflection on what is perceived, comprehend the external sensory world and reproduce it within themselves: they will change it, idealize it, or whatever else one wants to call it. It does not depend on the direction. Whether one conceives realistically or idealistically, whether one is an impressionist or an expressionist, it does not matter, but in everything artistic there is a transformation of what is otherwise recreated by the human being from reality. But what remains alive in artistic creation is what can be called the perception of the external world. The artist adheres to the perception of the external world. What remains in this artistic creation is the image of the ideas that are based on external perception, and what is connected with it in the ability to remember, in the memory. In the artist, everything he has taken in during his life continues to have an effect in the subconscious, and the better that which settled in the soul as an experience continues to have an effect in the soul, the richer the artistic production will be as the personality is directed towards external sensory impressions, the ability to imagine and remember will live in artistic fantasy. This is not the case with the soul life in the vision-gifted personality that penetrates into the spiritual world through supersensible intuition. The essential point is that one can only penetrate into the spiritual world if one can silence both outer sense perception and the faculty of imagination, which runs into memory. Memory, the faculty of perceiving external sense impressions, must be completely silent during supersensible cognition. It is difficult enough to make our contemporaries understand that it is possible for the human soul to achieve such a degree of arousal of its dormant powers, that soul life can still be present in full vividness when the faculty of imagination and perception are suppressed. Therefore, the endeavor for supersensible knowledge, if it is methodically developed, must not be objected that one is dealing with the arbitrary vision only with something reminiscent of the memory, which surges up from the subconscious. The essential thing is that he who, as a spiritual researcher, wants to penetrate into the supersensible world, should learn the method that makes it possible to shut out the memory faculty so completely that his soul lives only in present impressions, into which nothing is mixed from reminiscences arising from the subconscious, so that the soul, with what it presents and experiences, stands in a world that it consciously attempts to penetrate, so that nothing remains unconscious.","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":444,"url":"https://anthroposophy.ai/v1/steiner/en/ga/271/1918-05-06/p004","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/p004"},{"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/p004","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/p004","passage_number":4,"text":"Wer in künstlerischer Phantasie schaffend ist, wird nicht, wie das im gewöhnlichen sinnlichen Wahrnehmen und Nachdenken über das Wahrgenommene der Fall ist, die äußere sinnliche Welt auffassen und in sich abbilden: Er wird sie verändern, idealisieren, oder wie man das sonst nennen will. Auf die Richtung kommt es nicht an. Ob man realistisch oder idealistisch auffaßt, ob man Impressionist oder Expressionist ist, darauf kommt es nicht an, aber in allem Künstlerischen lebt ein Umgestalten dessen, was sonst von dem Menschen aus der Wirklichkeit herein nachgebildet wird. Aber lebendig bleibt im künstlerischen Schaffen das, was man Wahrnehmen der Außenwelt nennen kann. Der Künstler hält sich an die Wahrnehmung der äußeren Welt. Vorhanden bleibt in diesem künstlerischen Schaffen das Bild der Vorstellungen, die sich anlehnen an die äußere Wahrnehmung, und das, was im Erinnerungsvermögen, im Gedächtnis damit zusammenhängt. Im Künstler wirkt alles, was er im Leben aufgenommen, im Unterbewußtsein nach, und je besser das, was in der Seele als Erlebnis sich absetzte, nachwirkt in der Seele, je reicher das ist, um so reicher wird das künstlerische Hervorbringen als Hinlenkung der Persönlichkeit auf die äußeren Sinneseindrücke, die Vorstellungs- und Erinnerungsfähigkeit, in der künstlerischen Phantasie leben. Das ist nicht der Fall bei dem, was im Sehertum lebt in derjenigen Persönlichkeit, die durch die übersinnliche Anschauung in die Geisteswelt eindringt. Das Wesentliche ist, daß man in die Geisteswelt nur eindringt, wenn man zum Schweigen bringen kann, sowohl äußere sinnliche Anschauung, wie das Vorstellen, das in Erinnerungsfähigkeit ausläuft. Erinnern, Gedächtnis, Wahrnehmungsfähigkeit für die äußeren Sinneseindrücke müssen bei der übersinnlichen Erkenntnis vollständig schweigen. Schwer ist es ja schon, unseren Zeitgenossen klarzumachen, so etwas sei möglich, daß die menschliche Seele in ihren schlummernden Kräften wirklich zu einer solchen Erkraftung es bringen kann, daß seelisches Leben in voller Lebhaftigkeit noch vorhanden ist, wenn Vorstellungs- und Wahrnehmungsvermögen unterdrückt sind. Deshalb darf auch dem Bestreben nach übersinnlicher Erkenntnis, wenn es methodisch entwickelt wird, nicht eingewendet werden, daß man es bei dem willkürlichen Sehertum nur mit Erinnerungsvermögenartigem zu tun habe, welches aus dem Unterbewußten heraufwogt. Das Wesentliche ist, daß der, welcher als Geistesforscher in die übersinnliche Welt eindringen will, die Methode kennen lernt, die möglich macht, das Erinnerungsvermögen so vollständig auszuschalten, daß seine Seele nur in gegenwärtigen Eindrücken lebt, in die sich nichts hineinmischt von Reminiszenzen, die aus dem Unterbewußten heraufkommen, so daß die Seele mit dem, was sie vorstellt und erlebt, in einer Welt steht, die sie bewußt zu durchdringen versucht, auf daß nichts unbewußt bleibe.","text_trust":"verbatim","quote_safe":true,"word_count":405,"url":"https://anthroposophy.ai/v1/steiner/de/ga/271/1918-05-06/p004"}],"english":["GA 271/1918-05-06/p004"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":405,"en_words":444,"ratio":1.1,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"]},"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/p004"],"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. See witness_completeness for how much of the original this witness holds."}}