{"corpus":"steiner","locus":"GA 271/1918-05-06/p033","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"The painting and what is expressed in it is experienced inwardly where nerve and blood waves meet. The artistic process is conscious, but the impulses are unconscious. The visionary consciously immerses himself in what underlies the artistic imagination as an impulse, as an inner experience, which is not characterized in such an abstract way as it is done today, but so concretely that one can find every single phase in the configuration of one's own body. The ancients sensed correctly that, with regard to architecture, every form and every measure is present in one's own self-insertion into the external world. Ancient architecture originates from a different sensing of these proportions than Gothic architecture, but both originate from a sensing of one's own equilibrium with the conditions of the macrocosm. In this way, one recognizes how man, in his own construction, is an image of the macrocosm. That is why the body has been called the temple of the soul. There is much truth in such expressions. Thus we can say that basically the sources from which the artist draws, who is to be taken seriously and has a relationship to reality, are the same sources from which the seer draws, to whom only that which is to remain an impulse in its effect now appears in consciousness, while when the impulse remains in the subconscious, he brings up what is brought to view by the artist.","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":236,"url":"https://anthroposophy.ai/v1/steiner/en/ga/271/1918-05-06/p033","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/p033"},{"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/p033","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/p033","passage_number":33,"text":"Die Malerei und was da zum Ausdruck kommt, wird innerlich erlebt, wo Nerven- und Blutwelle sich begegnen. Der künstlerische Prozeß ist bewußt, aber die Impulse sind unbewußt. Das Seherische versenkt sich bewußt in das, was der künstlerischen Phantasie als Impuls zugrunde liegt, als inneres Erleben, das bloß nicht so abstrakt zu charakterisieren ist, wie es heute geschieht, sondern so konkret, daß man jede einzelne Phase wiederfindet in der Konfiguration des eigenen Leibes. Alte Zeiten haben richtig empfunden, daß mit Bezug auf die Architektur, jede Form, jedes Maß im eigenen Sich-Hineinstellen in die Außenwelt vorhanden ist. Die antike Architektur entstammt anderem Erfühlen dieser Maßverhältnisse als die gotische, aber beide entstammen einem Erfühlen der eigenen Gleichgewichtsverhältnisse mit den Verhältnissen des Makrokosmos. Da erkennt man, wie der Mensch in seinem eigenen Bau ein Abbild des Makrokosmos ist. Deshalb hat man den Leib den Tempel der Seele genannt. In solchen Ausdrücken liegt viel Wahrheit. So kann man sagen: Im Grunde sind die Quellen, aus denen der Künstler schöpft, welcher ernst zu nehmen ist und ein Verhältnis hat zur Wirklichkeit, dieselben Quellen, aus denen der Seher schöpft, dem nur das, was in seiner Wirkung Impuls bleiben soll, nun im Bewußtsein erscheint, während, wenn der Impuls im Unterbewußten bleibt, er das heraufholt, was vom Künstler zur Anschauung gebracht wird.","text_trust":"verbatim","quote_safe":true,"word_count":213,"url":"https://anthroposophy.ai/v1/steiner/de/ga/271/1918-05-06/p033"}],"english":["GA 271/1918-05-06/p033"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":213,"en_words":236,"ratio":1.11,"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/p033"],"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."}}