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Scientific Basics of Inner Artistic Space


The painter will be proud to declare his work.

W. Kandinsky, Concerning the Spiritual in Art




Let's consider the history of art through the prism of the relationship of mental and realistic artistic forms. Initially, artists worked only with the external, visible form of an object. We can say that the first stage of the development of art was a realistic form of painting.
But since the appearance of the first abstraction, the external form of the object has passed into our consciousness. The second stage of art development has begun - a stage of work with inner artistic form, a stage of the artist's creation in the mental space.
For a long time, this inner artistic form has been a poorly conscious abstraction only. For more than a hundred years, artists could not even give clear titles to their abstract works.

A certain system of generalized artistic solutions was introduced by conceptualism. But this theory was based exclusively on the application of ideas, as well as on the use of laws from other fields of knowledge, therefore it has not resulted in significant changes in the development of inner artistic space. The modern theories of composition, constructs, patterns, and invariants are basically theories of perception; they are also just on the threshold of a new era – they barely recognize, they barely give a hint at the presence of unconscious inner artistic processes, but do not analyze them. So far, there has been virtually no scientific approach to the study of mental artistic space.

The theories of psychological art – Psy-Abstractionism and Psy Art (Psy-Abstractionism, 2012; Psy Art, 2013, 2015) were the first stage in the creation of inner artistic space. They were based more on a free, subjective approach to the study that is often determined by flashes of intuitive insight. In his article about Psy Art the German professor Dieter Ronte called this phenomenon Instant Art – art of moment (Psy Art. New Spaces for Art, 2014). Thanks to these studies the abstract works have gained greater understanding and specific titles. A new concept of abstract art and another system of abstraction classification appeared. The structure of the interaction of realistic and abstract artistic forms in our minds was changed. Two new artistic languages – Psy-Abstractionism and Psy-Reality – emerged. The use of psychological titles for these theories stipulated that both psychology and art often deal with similar phenomena of consciousness, but art tends more to creative processes. Many psychologists – L.S. Vygotsky, S.L. Rubinstein, S. Freud, C. Jung – have emphasized this relationship. With an understanding of the inner artistic form, certain common patterns came to appear which included both a certain system of work, automatism, and semantics. The opportunity arose to talk about moving to the second – scientific and artistic – stage of the study of our inner world and ultimately to the creation of the science of the inner artistic space. Such mental scientific spaces were established in many areas long ago. Quantum mechanics, higher mathematics, and the theory of relativity are almost completely separate mental-scientific spaces.

This new science got the name – Sciarsism, derived from Latin words Scientia – Science and Ars – Art. Sciarsism creates a scientific and artistic direction by the same name in painting with all its characteristics. The initial artistic stylistic characteristics of sciarsism are close to Psy Art, but enormous changes both in the mental structure of works and in their artistic realization can be seen at a later stage. Despite the transition to the scientific system of work with mental and artistic forms, for psychological directions in art, there is still a wide field of application, particularly in the study of new areas of the unconscious or where there's a will to work with creative processes based on the psyche. The basics of the theory of sciarsism will be stated in two parts. In the first part, in the context of classical artistic terms, a different vision of many classic definitions will be shown, and several new scientific concepts will be introduced as well. This is due to the fact that the sciarsistic theory overlaps to a large extent with the classical theory of art although it offers a different (mental) understanding of many terms. In the second part, the concepts stated in the first part will be generalized, also definitions will be given which do not fit into the standard perception scheme of artistic space and are entirely new.

Part 1. Transformation of Classical Concepts


The classical theory of composition and compositional thinking relates more to realistic art, to the work with the external artistic form of the object; there is only an indication of the presence of a certain unconscious psychological aspect in the artistic activity.

In mental space, you can move from the indication of the presence of the psychological aspect of artistic activity to work directly with the creative processes. The artist can be directly immersed in mental creative processes, guide and study them. Instead of the concept of “composition” in inner artistic space, it would be better to use the concept of creativity itself. This mental creativity includes artistic compositional structures that are close lyrische relates to realistic painting, compositional solutions of a mental nature and, most importantly, opens up enormous possibilities of artistic transformation and for the development of mental artistic space.


Beginning of Composition – Meter, Rhythm, Symmetry

The basic principles of realistic art are meter, rhythm, symmetry, the basis of realistic painting is a figure. In mental space these concepts gain another meaning associated with the composition of mental structures, as well as with the purpose and processes occurring in them.



The main elements of mental art are also figures. Squares are symbols of thoughts, triangles are symbols of intuition, circles are symbols of feelings and emotions. These figures are basic. The complexity of mental processes can be reflected by means of different combinations of such figures. For example, rhombs are already symbols of more complex, intuitive and logical states; black circles in squares indicate states for the control of dark feelings by means of thoughts, a stream of intuition can be reflected in form of lines directed by triangles. It must be noted that the introduction of basic figures is required to form initial semiotics, to start the process of movement in inner artistic space just as the emergence of numerals was necessary in mathematics. Note that the “equality” of figures in abstract painting has been violated for the first time since Kandinsky.



The mental space provides a new basis for metrics. The basic law of mental metrics is that it is stipulated by the nature of mental process. Let's look at different sides of the artistic representation of mental metrics, both by way of example of the basic phenomena: feelings, thoughts, intuition, and of the more complex phenomena of inner space. The metrics of feelings can be smooth, pulsed, explosive and depends on the nature of the feeling itself. A similar system of intuition is based on felt intuitive harmonics: blinking, streams, flashes, internal layout of intuitive guides.

The metrics of thought is based on finished figures - mostly squares. If the thought is clear, the square has smooth outlines, if the thought describes only approximately what is going on, the square or another figure can have rough outlines. If the figures are torn, the metrics is destructive, if they are obscure, the metrics is searching. For complex objects of consciousness the mental metrics acquires new qualitative characteristics. It can be completed for finished objects and not completed for objects that are in the process of formation. The metrics of consciousness phenomena can also be superficial and innermost. The metrics of history of objects, their relationships, and interrelations, as well as the basic tendencies of formation and development of the object is of interest.



The rhythm is an echo of the circle (system) in which an image is inscribed. Mental rhythm is a rhythm of inner spaces. It includes a rhythm of mental phenomena and their artistic realizations. The rhythm of inner artistic space is defined both by external factors, and mental components, down to the subjective mental handwriting of artists (as with original arrangements). The mental rhythm, along with its artistic manifestation, can be even or uneven, increasing, decreasing, pulsating, differring in different parts of mental structures and even multidimensional (merging in various dimensions of consciousness). An example of an artistic representation of mental rhythm can be, for example, the general artistic manifestations of feeling in all parts of a large mental process, such as a complex state.


Correlation of Meter and Rhythm

Feelings, intuition, thoughts, and other complex states have their own systems of relationships of meter and rhythm. The meter subordinates increasingly more simple and quiet structures – clear thoughts, stable feelings – their artistic plasticity is as if it repeats the specified intervals. This mental rhythm manifests rather in more variative structures – in complex feelings or states.



Most existing approaches treat symmetry as a simplification of structure, a correlation, and a proportion. The general law of mental symmetry is the symmetry law of artistic form, rhythm, metrics of inner structures and mental meanings - it is they that should be in correlations. Mental symmetry includes three factors: symmetry of the artistic form which is estimatedly close to the concept of symmetry in realistic painting, the symmetry of mental structures which is responsible for balancing the influences of elements of inner world, as well as symmetry of their interaction. For example, the artistic form of anger can be balanced with a contrary mental structure - clarity of consciousness - idea, analysis; their artistic and mental structures, as well as their interaction must be balanced. Otherwise, the structure will be unbalanced.

For complex, artistic objects, multidimensional symmetry can be distinguished. All objects of various degrees of openness should be in harmony, in symmetry, in different directions, with different bundles which the consciousness feel and sees as artistic objects in themselves.


Symmetry and Asymmetry

The mental symmetry or asymmetry presents a harmonious or shifted correlation of artistic solution and mental structure. For example, it can be a proportional or shifted correlation of depth of feelings, depth of thoughts and common artistic architecture of complex states.



Mental synthesis describes very diverse range of phenomena. At the simplest levels, it can be an artistic and mental transfer of certain harmonic interactions of basic elements of consciousness. The painting “Intuition and Emotions” shows several aspects of a similar interaction. The streams of cold intuition flow fast around the more heated and slow emotions. They almost do not interact with them and just make small pictures of them to use in the further work. The presented artistic solution contains both elements of adopted mental semiotics for intuition and emotions, and the artistic expression of their interaction.

More sophisticated systems of synthesis are used for large multilevel mental structures and processes. It may be noted that the mental synthesis must highlight and emphasize both artistic and mental algorithms of interaction of various phenomena of our inner space, as well as their relationships.


Sight and Image

In realistic art, sight relates to a sustainable conditioned reflex - tactility by sight. Mental inner artistic sight is rather an acquired sustainable conditioned reflex. The development of inner artistic sight is associated with the processing of mental structures in the unconscious, and reducing them to an automatic reflex.



In contrast to the function of vision in realistic painting, mental vision has pronounced psychological vectors of psychological orientation. Ordinary mental vision is a vision of current problems of a painting where the arrays of inner mental problem blocks already appear. Analytical mental vision is the deconstruction of an art work into aesthetic and mental components – mental construction, degree of definition of the art form – abstraction or already concretization, degree of generalization. Aesthetic mental vision is strengthening of feelings, accent, analytical, sensory perception of harmony, dominance of pleasure of vision. This artistic mental vision is a formation of inner harmonic artistic forms by means of basic figures and color solutions, more complex artistic structures, as well as laws of mental artistic composition. Compositional mental vision can be replaced by the concept of creative vision. This is a direct visual and mental balancing of the entire creative process on the whole.



Color plays a leading role in realistic painting. In the classical definition, color is a volume shell. It can be warm or cold; it can reflect a sharp or dull, attractive or repulsive form. Mental color is a system of relationships of coloristics and mental process. Color in inner space is not only associated with the construction of form, but also corresponds to the purpose of mental processes inside us.


Hierarchy of Color, Tone, Volume

Let's consider how important the internal awareness and organization of color, tone and volume hierarchy is. The main basic phenomena of inner space – intuition, feelings and emotions, even thoughts have certain dominant colors which are determined by the meaning of these phenomena for consciousness, as well as by aspects of the psychological perception of color in the outside world.

Intuition usually has blue-green, bluish shades. This is due to the fact that intuitive flows pass through the consciousness very fast and do not almost interact with it. Feelings often have  bright yellow or red shades. They are heating up the inner world, actively interacting with it. In realistic painting, bright joyful feelings are also often reflected with similar colors.

The dominant color of thought is white, pale yellow is a color of consciousness, clarity, discovery, a color of a new idea. In realistic art, they are also often used, for example, for the reflection of illumination - the emergence of light in the darkness.

These colors are the most typical ones, but with certain variations in mental processes all of the above-listed equivalents can alter. For example, the above colors of intuition mostly correspond to balanced creative processes, quiet meditation, but the color of intuitive insight can be completely different, colorless or white, silver. The colors of certain senses can also differ from basic colors, for example, melancholy can have smooth, greenish-hazy tones. There are also exceptions to the dominant hues of thoughts, for example, the color of heavy dark thoughts, ignorance is a dull gray.

For the more complex phenomena of the inner world, color mixing is typical. For example, if a feeling or an emotion is at the stage of intuitive definition, it may have mixed bluish and red tones. Complex states involving many inner phenomena can be multicolored with long scales of shades. Despite a certain fuzziness of the color issues in  mental space, this basic color semiotics is absolutely necessary for an unambiguous perception, definition and artistic reflection of mental processes.

In general, we can say that the law of the formation of mental color is determined by the awareness of the effects of certain phenomena of the inner world and associations of color effects with reality. For inner space, the law of dynamics of mental color is also typical which specifies that the color changes are often associated with common nature, properties and sequence of processes occurring inside us. The color dynamics can depend on the emergence history of the mental object, its evolution processes occurring in it or on its interaction with other objects.

Let's look at a concrete example of color changes associated with the emergence and establishment of a new mental object. The emergence of this object can start with intuitive insights having bluish-green tones, their awareness, and the formation of an idea may already have a white or bright yellow color solution, the pleasure of contemplation of the created object – birth of feelings and positive emotions – acceptably acquires a bright yellowish and red scale. A special mental phenomenon is the absence of color, colorlessness of the mental object. Thought and the intuition sometimes move with great speed, they do not have enough time to be filled with something specific, to acquire awareness and a color solution. As a result, they have barely colored or grey tones. The color of thought and intuition in such structures makes no matter. Only the speed of awareness matters.

A similar colorlessness of the mental object occurs with large, complex, intuitive and thought constructions. In such constructions, the main thing is the power of the idea, its constructional solution, the harmony of the overall structure, the possibility of creative development. A certain loss of color, absorption of another one occurs. The main colors of similar mental structures are light shining, shades of colorlessness possibly filled with brilliant light and absolutely devoid of bright heavy tones. The mental tone should be considered separately.

The change of the basic tone of an idea, thought or intuitive solution can also occur in accordance with the change of mental meanings of the object of consciousness. This could be a movement of the object, its development, and transformation. For example, if the intuition passes into a feeling, the cool greenish-blue tones might turn into warmer reddish-yellow shades. Vague thoughts, or difficulties of understanding, can transform pure shades of color into duller ones. Often the process of shade change occurs barely noticeably – due to nearly elusive intuitive links in consciousness.

In general, we can point out the following. The theory of color vision in realistic painting is very much an applied one, there are only minor psychological changes of color which we can go much further, in mental space however, color is much more significant.

Volume in figurative painting is associated with reflection (highlighting) of the visible spatial  arrangement of the objects. The formation of mental volume includes two stages. Firstly, it is a reflection of the spatial volume that is similar to the real painting, and, secondly, it is a reflection of mental changes. The organization of inner artistic space may include the following features of change of the mental volume:

  • deep volumes that contain processes not fully understood by consciousness, unconscious processes;
  • hidden volumes that are associated with processes or objects of consciousness that we do not want to show;
  • volume changes caused by objects or phenomena of consciousness which are closed by other, more dominant forms or hidden inside them and appearing only partially.

The work “Shadow Thought” reflects such processes of the formation of artistic and mental depth. Any real great thought apart from superficial solutions contains also a so far absolutely not identifiable infinite depth of the unconscious space. The intuitive volumes in mental space are arranged in a special way – they are often highlighted by flashes of insight, their inner intuitive light also often emphasizes other volumes – from unconscious thoughts or complex states. The light of intuition gives contrast to the inner artistic volume. In mental artistic space, we can also separately talk about the origin of the concept of multidimensional volume. Briefly, we can say the following about it: the formation of inner volumes can also occur both in depth, and in different directions that are relative to different mental and spatial dimensions.



Multidimensionality is typical for inner artistic space.

This is not the direct physical multidimensionality inherent in real space, but rather a hidden multidimensionality, the multidimensionality perceived by consciousness which is formed like the multidimensionality in mathematics or quantum physics. This is a feeling of being able to work in many individual spaces determined by various factors and correlating among themselves. This is due to the quite possibly artistic manifestations of individual mental spaces – thoughts, intuition, emotional and sensory processes, complex states, not yet conscious areas that are marked by intuitive guides, as well as with the possibility of synergistic synthesis of such spaces, creation of dimensions of thoughts and feelings, sensuous intuition, mental time areas, and so on. Separately, we can notice that mental space is inherent in the so-called rotatable multidimensionality. The initial measurement, like in mathematics, – the point is missing. Any space: both thoughts, intuition, feelings, and anything else can become initial. And it can cause the complication and the formation of signs of new space.



Contrast is the opposite of forms and colors. The mental contrast is an opposite, often synergetic, of forms, color and mental solutions. This type of contrast is associated with the interaction of warm and cold feelings, torn and smooth thoughts, with the interaction of clarity and misunderstanding, harmony and chaos. Such phenomena can be infinitely many, and each of them should have a finished coloristic, forming and mental solution. It may be noted that artistic mental contrast is much more diverse, and can also have a stronger and more powerful artistic embodiment as well. For example, the contrast between good and evil can be simultaneously reflected with antagonistic forms, the opposite of color and completely unexpected (without parallel in reality) mental and artistic solution. And the mental solution can have an additional influence on color and form.



The color saturation in the realistic art alters from the spectrum to the achromatism. The mental saturation involves a similar range, and also has its own features beyond its borders.

Its distinctive features can be distinguished as follows:

  • mental predetermination;
  • detachment from color, colorlessness;
  • absence of color when operating with pure darkness or light;
  • great plasticity.


The saturation of internal color is mostly determined by the parameters of mental process, its strength, nature and speed. The great plasticity of the mental color can be expressed, for example, in a multilayered color overlay when working with complex mental objects that predetermine the work with lots of inner volumes. In realistic painting, color is often used to generate the superficial volume only.


Color Alteration

Mental color is able to deflect the colors from reality. Several such moments can be distinguished:

  • irreality;
  • fantasticality;
  • dissonance with the conventional spectral range;
  • formation of a new, non-wave, often not fully conscious color.

The irreality and the fantasticality of mental color are associated with the ability to deviate from the color palette correlating to the natural surroundings. The dissonance with the conventional spectral range is associated with the fact that the sequence attached to the spectrum, often repeated in realistic painting, is sometimes violated during work with mental colors. The formation of a new mental, non-wave color is still largely a hypothetical theme. But often there are states when it is as if you dive into a certain new, still not completely consciously recognizable color. This is most likely associated with a refraction of the sense of color itself, the sensation of color rather than with a change of the physical wave nature of color. Artistically, these new colors appear as sharply irrealistic, fantastical, contrasting and spectral hues.



Achromatism is a fluctuation of shades in a specified scale of color. Mental achromatism is associated with variations often observed in the inner space or play of any phenomena, such as feelings within the specified bounds of a mental object.


Color Formation

The basis of the realistic color formation is a spectrum. The basis of the inner color formation is a mental correlation of color with an inner phenomenon that often goes beyond the spectrum and can have colorless and dissonant elements with the spectral range solutions.


Pictorial Surface

When working with a realistic pictorial surface, the main issues are properties of the surface itself. The surface can be decorative and organize a plane, it can be transparent, it can create a sense of stages or reflect a certain relief.

The mental artistic surface must be correlated with inner sensations:

  • how deep the penetration of something is allowed, for example, feelings of the audience, inside our inner world;
  • this can be a peculiar mental decor – if there is a necessity to reflect just a short formula of inner process;
  • the stages of mental surface manifest most clearly when creating multilevel mental structures;
  • it is also necessary to view to what extent the complexity and the multidimensionality of the mental object should be reflected.

The main differences during the work with a mental surface are that the surface can be creatively more varied and should take into account the overlay of specific mental and artistic phenomena – multilevel arrangements of objects, internal structuring of mental processes, the multidimensionality of artistic space.


It should be noted that, while working with realistic painting, the main criterion is the human figure, whereas the main criterion of mental space is consciousness. Hence, the understanding of the pictorial surface changes completely. But during the concretization of abstract solutions, artistic forms can arise that are close to the figurative, where for the main criterion of consciousness there can be a reversion to a standard form – to a human figure.



The classical law of perspective says that objects become smaller and fuzzier and breaking up with increasing distance. In mental space, the law of changing perspective works as follows – those objects that attract appear closer and more detailed, other objects on the mental and visual level are perceived more indirectly. It may also be noted that from all kinds of perspectives of realistic artistic space – linear, reverse, air, multiple – it is the latter, because of its multidimensionality, that is the most suitable one for understanding the changing mental perspective.



The concept of perspective in inner space intersects with aspects of the mental perception of depth. In the traditional sense, depth is the ability to focus on the elective and to ignore the secondary. Such phenomenon is considered as one of the leading properties of the central nervous system. In our inner artistic space, the phenomenon plays a more significant role. If depth in realistic art is often associated with the spatial location of the object, the formation of an artistic image in the mental space is increasingly associated with the influence of objects that have a larger effect on it. Such objects will manifest with more detail, relief and bright color solutions; all other objects, even visually visible as the large ones, would be dissolved in a shroud of removal. Mental depth is the ability of consciousness to allocate the most influencing mental objects regardless of their inner spatial (visual) location. Most generally, we can say that the depth of mental artistic spaces is defined by the fact of how deep your thoughts, feelings, intuitive penetration are, how deeply your mental processes affect your consciousness.

The limits of the mental space depth estimation can vary very widely. The initial stage of the formation of the mental artistic spatial depth is the creation of a so-called working or in-process artistic depth that is determined by the duration and constructional features of mental processes occurring in the mind. The formation of similar artistic spaces is fundamental to mental artistic creativity.

The next stage is to define the so-called nearest unconscious. These may be artistic definitions of the closest, not fully conscious phenomena which are often connected with your process space by intuitive links. Such mental spaces can be reflected, for example, by dark abstract figures. Similar artistic solutions create the close depth of field of mental spaces. In our consciousness, the sensations of mental, intuitive or sensible processes going to infinity can also arise. Such processes are mostly rendered by black bitten figures: squares, triangles, and circles. This artistic image defines the mental structures of chasm, diving into infinity of consciousness, the creative work with mentally and artistically unconscious volumes of mind. Such solutions specify a distant – often infinite –  depth of inner space.

Mental artistic creativity also allows us to analyze these processes of infinite comprehension of consciousness. For example, such mental structure, as the bottom of the unconscious, can be found in the mind. This is a feeling that all the subtlety of our consciousness does not yet allow to move forward in any direction. The feeling of the limit of movement stretched in the darkness – the bottom of unconscious arises. The graphic work “Bottom of Unconscious” shows this structure. The infinity of mental depth has certain guides or vectors for study defined by the relevance of the mental phenomena studied. This can be an intrinsically infinite study of genius nature and inner beauty, or an approximation to understanding of ever unconscious frightening themes of consciousness: fear, death, madness and suffering.
The paintings “Unconscious Horror”, “Dark Trinity”, “Abstroskull” push these themes.



Mental relief reverse to the effect of a conflict of volume and plane turning into a mental conflict of volume (and in many cases it's already the conflict of mental multidimensionality) and plane.



Mental comfort means slight artistic changes of perspective that offer a visual comfort, are complemented by mental changes to impart to the work the already comfortable artistic and mental perception.



It is considered that time in the realistic painting combines several phases which synthesize time itself. Mental time has a similar perception, but it is much more flexible. The painting “Clock of feelings” shows that the temporal organization of processes inside us can be quite different. Time can accelerate and decelerate, grow and become smaller, go linearly and nonlinearly, intersect and go parallel; there is a time of thoughts, intuition and a generalizing time of feelings, there are labyrinths of time and even separation of time flow – its death. Naturally, it is not a matter of physical change of time, but rather a matter of change of feelings, time perception in our mind. Although it can hypothetically be seen that future developed psychological processes can well have an impact on the physical nature of time.

Time is important for the reflection of the history of mental processes. For example, the work “Formula of Feelings” shows that each sense occurs, develops, ages and disappears. The artistic organization of time process is emphasized by change of feelings in the face of the major character of the painting. The time processes inside us can also be emphasized by form and color. The painting “Comcreatis Abstracto” presents such solutions. The birth of thought is often initiated by an intuitive push – it is emphasized by triangles and color solutions, close to the color of intuition – bluish-blue tones, then the thought becomes clear and develops – the dominant forms are squares and bright yellow lights colors; when the thought is completed, the consciousness often enjoys the contemplation of its beauty – relevant artistic elements – circles and warm solid colors of feelings – arise. Thus, mental time is very flexible, it is emphasizes by form and color, and often mirrors mental processes.


Language of the Image

The theory of sciarsism has a sufficient autonomy to create its own mental and artistic language. It can be seen that the distinctive feature of this language is the free operation with any form of consciousness – abstract, mental, and realistic ones. The organization of these mental and artistic languages can begin with subjective awareness, construction and designation of phenomena of the inner world. With the multiple data verification of these phenomena, certain tracks appear in the consciousness, certain generally accepted solution – the basics of a new language are synthesized. Further, this all can be made accessible to others' perception. Other subjective assessments will contribute to the creation of a generally accepted philosophical and artistic language of consciousness. Despite the entire originality of the creative process, the mental language can and should be understood by everyone. The most suitable title for mental and artistic language is the sciarsistic language.



Similarity is mostly perceived as an analogy. In mental space, the elements of similarity are more varied and often associated with creative processes. Consciousness often copies elements of the inner world for memory or for use in the further work. The following examples of mental similarity can be given – in memory there is an aftertaste of feeling or emotion, a visual picture of the complex state, the salt of an ideas. These elements are often used in the construction of other forms. Among the features of mental and artistic copying, it should be noted that each phenomenon of consciousness produces copies suitable for its type of work. For example, intuition often makes small light pictures of emotions, feelings, and thoughts that are then used for the rapid intuitive creativity. Some mental and artistic renderings of similarity are reflected on in the above mentioned works- “Intuition and Emotions” and “Formula of Feelings”.



The nuance in its simplest perception is a transition. In mental space, there are quite a lot of nuances or transitions. The basis of such phenomena is constituted by small mental and artistic changes in the overall context of consciousness. The nuances may be called smooth changes in feelings, barely perceptible intuitive pushes, light invariance of logical constructions. In artistic terms, the nuances are reflected by minor changes in color, form, and small mental structures.



The plot in the conventional context is a chain of historical events. In mental space, the plot is the historical context of mental events – the history of rise of feelings, thoughts, intuition, complex states, stages of their formation, development and transformations of creative processes.



The story is a selection of the major, secondary, inlet and outlet angle for the painting, generalization. The mental plot mostly obeys the law of following the maximum emotional, sensual or ideological activity which is drawn to find more vibrant and dedicated mental structures and artistic solutions. The secondary forms and angles of work with the painting are defined by the similar correlation of mental and artistic forms. The above work “Comcreatis Abstracto” shows such a pronounced story line in the organization of creative processes.



Form implies proportions and aspect ratios. Mental forms are defined by mental proportions of thoughts, feelings, intuitive processes and other phenomena of the inner world. The accuracy and the beauty of form-giving in mental artistic space is defined both by artistic structures, and by the verified mental structure.


Meaning and Form

The concepts of meaning and form in classical realistic art are reduced to a well-known definition: every painting contains an “abstract How” and a “specific Who”; “the artist must see What and experience How...". These definitions go back to the founder of VKHUTEMAS – V. Favorsky.

In mental space, this formula is also true, but only to the point of transition of a particular image into an abstract one. When interacting with more complex artistic and mental processes, such as concretization of abstraction , this formula can change to an absolutely opposite one – the artist is already starting to work with the abstract “What” and the specific “How”. The graphic artwork “Abstract What and Specific How” shows the paradoxical organization of artistic space. Mental space breaks with figurative art's conventional understanding of the organization of artistic forms. This is due to the fact that meaning in realistic painting is associated with the composition, compositional thinking and contains only a reference to the psychological aspect. In mental painting, thanks to the disclosure of these psychological factors and direct invasion into the Domain of creativity, we can find a much broader, much more interesting and sometimes just paradoxical system if relationships of meaning and form. The very specificity, the very foundation of the mental artistic process allows the artist to do this.


Dot, Spot, Line

The elementary molecules of the classical painting have their meanings. The dot is static, the spot is an area, the line is movement. Similarly, mental space has its initial elements and its meanings. The square is the symbol of thought because it is a symbol of logic, in order to build it, logical evaluations are required; the circle represents feelings and emotions, they are associated with even graceful smoothened forms, the triangle corresponds to intuition because it moves somewhere and has a definition – any tasks set, still different from the clear logical definition. All these are elements of initial semiotics, basic artistic language. Unlike the generally accepted approaches to mental artistic space, the infinite development of a similar system of signs is possible. This is due to the possibility of understanding the new mental and artistic techniques. Just as in mathematics, numbers and signs of simple operations appeared at first, then more complex notation – integrals, limits, functions – appeared, in mental space, more complex mental symbols gradually arise. The paintings “Triple Cross”, “Evolution of Mind”, and “Triple Eight” show different variations of mental and artistic solutions of such signs. The "Triple Cross" is a symbol of the multidimensionality of consciousness, its space can be accessed in parallel by intuition, thoughts, feelings and complex states. Inscribed into each other, the bitten triangle, circle and square are a kind of triple figure - a symbol of the creative development and pursuit of consciousness beauty. The Triple Eight is a symbol of the infinity of cognitive processes. Many paintings contain black figures – squares, triangles, and circles. These are symbols of chasms in the completely unconscious area of consciousness. If these are bitten figures, it is already the beginning of the study of similar areas. The artworks “Expanding Square”, “Dark Dominant”, and “Bitten Figures” allow one to get an idea of similar processes. Further on, no doubt, more complex signs with more complex mental and artistic meanings will be created.


System of Evaluation

This system of evaluation in figurative painting dates back to Hildebrand's cross - we understand and judge other vectors only in relation to the vertical and the horizon. The system of mental evaluation of inner artistic space is more complicated. It includes several factors:

  • the spatial orientation of the mental object - not necessarily horizontal and vertical;
  • the direction of the mental process;
  • a system of multilateral evaluation – multilateral spatial cross;
  • hidden evaluations;
  • internal perspective;
  • multidimensionality.

Each of the listed systems of evaluation, in turn, is multifunctional. Thus, a structure similar to the cross can be used for the complex multilateral study of a complex mental process, for the evaluation of intuitive insight and even for the study of sharp emotional intrusions into the unconscious. The artworks “Dark abstract cross”, “Cross of the Forerunner”, “Cross of Beast” show similar instruments for mental and artistic studies of inner spaces.



The metaphor in the conventional sense is an allegory applied both in literature, and in art.

Mental art is metaphorical in its nature, for example, many abstract paintings use an allegory of reality to highlight some features of the artistic form or mental solution.



In most of approaches, the likeness is based on the formation of similarity by means of active selectivity. The mental likeness, in addition to the similarity of artistic solutions, often uses the likeness of mental structures. This can be an active selection based on basic mental and artistic elements of consciousness, or on the use of more branched and complex forms.



The sensation of the mass of inner artistic space is defined by two aspects: firstly, by strength, saturation of the mental structure and the corresponding artistic solution, and secondly, by strength or depth of the still unconscious space associated with this solution, if you will, by virtue of the darkness of the unconscious.



Mental balance is a balance of mental objects and their artistic form. For example, the balance of feelings and awareness of them – circles can artistically be a balanced square, a balance of idea – a balance of concise formula of thought – can be emphasized by balancing the artistic and mental structures on both sides of the mental equal sign.


Part 2. New Art Theory


Mental Creativity

In realistic painting, for centuries it has been a common belief that the main element is composition. The most important thing in mental artistic space however is creativity. Existing art theories therefore mostly use the concept of composition and compositional thinking for creative work and only admit the presence of some, so far completely imprecise factors relative to the unconscious in the creative processes. The very concept of composition in realistic art is the integrity of contradictions where integrity is a complex category containing both form, and sense, and when determining the sense, there is often a reference to the possibility of using a certain unconscious evaluation. Modern psychological research  into artistic creativity also shows that images demonstrate not only conscious affirmations, but also unconscious ones. P. Rousseau remarked: “The composition exists from the moment when things begin to be depicted not for their own sake, but for their appearance transmitting sounds they evoke in our soul.” Rephrasing Rousseau, it can be said that creativity doesn’t begin when you copy the external form of the object, but when the work with the inner space starts – the pure sound of the soul begins. The theory of sciarsism allows us to move from the recognition of the existence of unconscious creative processes to working directly with present, still unconscious mental space, to direct intervention in the artistic creative processes and, ultimately, to the creation of new models of creativity. Mental artistic creativity is primarily a discovery of new dimensions inside ourselves.


Stages of Creativity

The creative processes taking place in our mind have several stages which are determined by the degree and quality of the philosophical and artistic awareness of inner mental space:

  • initial, often intuitive, understanding of unconscious space;
  • research stage of creativity related to the analysis and synthesis of already conscious mental space;
  • stage of transition of conscious research processes into automated ones;
  • stage of usual creativity;
  • stage of multilevel dialectical generalization of large amount of mental processes;
  • multidimensional creative processes;
  • mixed forms of creativity;
  • complex systems of creativity in the unconscious.

In the assessment of various forms of creativity, the word “stage” is used as these forms have a certain hierarchy according to the complexity.

The initial, often intuitive, stage of creativity is associated with the initiation of recognition of still unconscious space - a kind of mental darkness, and it does not mean that there is nothing at all, on the contrary, we are facing an infinity, but its main characteristic is a complete uncertainty of objects. The first thing that starts working in the darkness is intuition, the very vague pre-intuition. Its flashes, like twinkling stars, pierce the unconscious darkness. Its motion obeys only one law - the law of uncommonness. In places where the intuition percieves something unusual, it puts tiny intuitive landmarks. The artwork “Intuitive Landmark” gives a certain general concept of intuitive structures inside the mind and intuitive landmarks, in particular. The lower part of "Landmark" is intuitive and sensual, it indicates where. The upper part is intuitive and logical, it indicates what to place. The intuitive landmark is a very weak structure. Initially, it flickers in darkness, as if it is becoming clear, and may disappear at all. But most of the landmarks remain. It is the process of investigation of surrounding space. The connections between landmarks appear. The preliminary piercing of space by intuitive, logical and sensible structures occurs, the analysis and synthesis of information is going on. Gradually, there occurs a certain common understanding that this place could bear something new. At this stage of creativity, a large, fairly complicated, in many ways still not fully studied mental object is born - often this is a certain large intuitive landmark. The sketch “Large Intuitive Landmark” represents its general appearance. The research phase of creativity is related to the processing of mental objects with varying degrees of certainty and the search for the laws of its interaction and work. This type of creativity is almost always tied to a specific mental volume, submitted for consideration. At this stage, we use laws of external and internal space, laws of time, harmony; as it will be shown below, mental constructors are actively at work.The sketch “Abstract Constructor” shows a similar structure. The result is a conscious mental object. According to visualizing or artistic and philosophical language, this object can be represented both in the abstract, and in mental and realistic, as well as in mixed form. Depending on the features of creativity, the object can be more or less defined by intuitive, mental, sensory or mixed structures. For such complex structures of mental and artistic organization of objects the following terms are selected: intuinoid, ideanoid, sensoid and consoid, respectively. Consoids are close to the complex states by mental space. These titles are neologisms and they are provided in accordance with the nature of processes taking place mainly in the mental object.

The automatic stage of artistic creativity is related to the law of the transition from the research phase of creativity, where processes are often controlled directly (“manually”), to an almost unconscious automation. These processes are related to generation, memorization and gradual work out up to the automation of its own laws in mind. As it will be shown below, one of the vivid mental elements of this stage of creativity is engines of consciousness. The usual creative area, associated mainly with the well-known automatic unconscious creative activity when working with realistic nature, is close to this stage. The generalizing stage of artistic creativity is related to the activation of multilevel processes developing in the mind in a dialectical spiral way, their classification and generalization. Large artistic and mental objects arise at this stage. In the abstract artistic form these can be objects of overabstraction, multilevel abstraction, generalizing metaabstraction type, it is also possible to express such objects in the realistic mental and artistic form, for example, as metareality. These titles are also neologisms, and they are given in accordance with the structural organization of objects. These solutions are represented in works “Overabstraction”, “Metaabstraction”, “Metareality”.

In multidimensional creative processes the generalizing dialectical spiral of artistic solutions can simultaneously develop across all of mental and artistic dimensions. The mixed phase of creativity is the most difficult one. The processes inherent in all stages can occur simultaneously at this stage. For example, work with large generalizing objects may be associated with the study of the main place of consciousness and distraction in a completely unconscious place, peculiar chasms in understanding. When giving these objects generalized artistic forms, The creation of specific semiotics and an own system of titles is also possible. A certain similarity of these processes is shown in the artwork “Dark Spots of Consciousness”. The organization of large, complex creative processes in a purely unconscious mental space is associated with the expansion of the system of initial creativity to a more complex global level.

A certain overlapping of the sciarsistic creative theory with existing creative theories, like estimates of Henri Poincare, may be noted, but in general this is a new theory of mental and artistic creativity based on the direct mental and artistic visualization of creative processes. A defining characteristic of this theory is the possibility of more direct and deeper insight into unconscious creative processes and the enhanced possibilities for new creative models.


Basic Laws of Sciarsistic Theory

The general laws of the formation of the sciarsistic artistic space can be distinguished as follows:

  • the main object of sciarsistic work is a mental, often unconscious, space;
  • this space is subject to the creative scientific and artistic transformations that can generate an infinity of new artistic forms;
  • all processes and objects of inner creative transformation are amenable to the law of transition from the subjective to the objective and, further, to scientific and artistic form of perception;
  • for scientific and artistic work within mental space it is necessary to create a new semiotics; the semiotic forms have a tendency to develop from the simple to the complex - from basic signs to complex symbols based on them;
  • the creative transformation of mental space has its own peculiarities of color formation, in particular, the law of predetermination of the color by form and meaning of mental process; it is also possible to form new mental colors;
  • basic artistic forms of mental space correspond to main processes occurring in them and tend to develop in line with the development of understanding of new mental processes, such as overabstract and metaabstract forms;
  • inner scientific and artistic space also tends to the organization of new mental and artistic forms for internal processes, such as mental engines and constructors;
  • the sense of time in inner space is very flexible and depends on mental processes;
  • basic artistic language of mental artistic space is the sciarsistic artistic language, it can include abstract artistic forms, mental and realistic, as well as mixed abstract and realistic ones; the artistic form is defined by the degree of mental and artistic understanding of the object;
  • inner artistic space has a systematic structure similar to the outside world, especially regarding work with mental and realistic artistic forms;
  • the basis of the organization of mental artistic space is the multidimensionality of artistic space itself and its objects;
  • creative processes form and develop directly during scientific and artistic work with the mental space;
  • basically, creative processes are endless, at the moment their several forms can be seen: elemental, research, automatic, habitual, dialectically synthesizing, multilevel, mixed, unconscious creativity;
  • these forms have a certain level-based nature of organization;
  • for the formation of scientific and artistic creativity, mental space uses a system of distant landmarks, these can be systems of infinite approximation to genius, beauty of the inner world;
  • scientific and artistic work with mental space is based on sciarsistic philosophy, the basic principles of which are focus on the formation of a harmonious and strong inner world, as well as creative harmonious transformation of the external world.


Circles of Sciarsism

In scientific and artistic work within mental space, it is important to mention such concepts as the circles of sciarsism. This term defines three large fields of mental and artistic forms. The first circle during the creation of artistic space uses phenomena both of the external world, and the internal mental space. The second circle is mainly based on the work with phenomena of mental space itself, including artistic and scientific research established specifically for this area. The third circle is the most complex and mysterious and is associated with the organization of work in totally unconscious space of mind. It is natural that the border between these circles is conditional enough. The introduction of these concepts is important for a more precise definition of meanings of mental processes.


Mental Engines

One of laws of creativity is the law of the gradual development of unconscious space, the law of transition from the research process of inner space to the automatic work with this space. This variant of the almost independent automatic work of consciousness is called “mental engine”. Let's consider the work of this mental instrument by way of example of the creation of new and complex states. The process of the creation of new states often transforms into an automatic stage resembling the work of the instrument which is already independent of us - the mental engine. This instrument starts working after a light, often intuitive, form of comparison, analysis and synthesis of complex states have been acquired rather enough. The stimulus to the activation is an intuitive willingness to establish new easy and interesting thing from the range of all complex feelings inside. It is automatism which allows to maintain the ease and not to lose interest.

Such engines of complex states correlate with circles of sciarsism. The below information allows us to classify the engines, as well as to describe the theory of circles of sciarsism in more detail. The first circle of the engines is initial. At this level, the new complex state is created mostly from usual and well-known complex conditions transferred from the outside world. This engine is called “mental motor”. The choice of this title is stipulated by the fact that the certain complex states do not require additional assessments and they are chosen mechanically. The painting “Mental Motor” provides an artistic assessments of what is doing on. The second circle is secondary or purely mental. This level is characterized by the creation of a new complex state mainly from states already established in the mind and not fully conscious material. The painting “Chess Balloon” gives an idea that this engine works with the ever-changing and confusing phenomena of the inner world that require additional systems of evaluation. The process resembles a chess game where the chess pieces represent complex states. The third level of the engine can be seen as motor of obscurity. It is a certain mental instrument working automatically, often on a purely intuitive level, predominantly already with unconscious states. The main stimulus for the work of such instrument is the attraction of obscurity overcoming all difficulties. It may be noted that, in addition to engines, many mental and artistic systems involve such areas during the work with the inner world.


Mental Constructors

To create large structures in the mind, specific solutions and approaches are often used, the most striking of which may be the formation of mental constructors. Mental constructors are a system of mental and artistic techniques based on an understanding of individual constructive elements and working practices with them that are further used to create more complex elements and structures. It should be noted that mental engines, unlike constructors, work mainly with automatic processes. The constructors also tend to a more conscious system of work - to a system of recognition of separate forms and constructive actions.


The theory of sciarsistic mental constructors overlaps with J. Kelly's concept of constructors, but it is significantly different from it. The mental constructors work not only with short formulas of memory, but also with an infinite range of mental phenomena; they are free of a clear predestination both of elements, and methods of construction.


Description and Analysis of Structures and Constructions of Sciarsism

The following constructions of mental and artistic space can be distinguished:

  • overabstract and overreal forms (as well as mixed forms) that arise in course of the subsequent abstracting or concretization of the abstraction based on the initial solutions;
  • multilevel constructions, the structure of which is associated with multiple abstracting or concretization (often also in mixed form) and consolidation of these structures;
  • metalevel constructions associated with analysis, generalization and giving a new quality to multilevel formations;
  • dialectical sciarsistic forms including their own laws of development and formation of structure and all its elements;
  • multidimensional constructions associated with the formation of artistic space and development of dialectic spirals in different dimensions – thoughts, feelings, intuition, complex states, and other, purely sciarsistic, elements.

These mental structures, in conventional understanding, correspond to large complex states of consciousness being often in process of partial understanding. The presented methods allow better to estimate complex states and to visualize them artistically. It is possible to suggest a hypothesis that the certain natural evolution of complex states comes along with the mentioned above sequence. Sciarsism allows the use of a more creative approach to the assessment of these processes.


Development of the Theory of Catharsis

Sciarsism allows to consider such psychological phenomena often found in creativity as catharsis. In the classical definition, catharsis is a discharge of nervous energy.

Sciarsism identifies several types of catharsis:

  • contemplative catharsis where the contemplation of image beauty immediately gives you pleasure, a flush of feelings, and freies up curiosity;
  • mental catharsis in which a large role is played by a flush of positive energy resulting from an understanding of the beauty of mental structures;
  • mixed, contemplative and mental catharsis;
  • global catharsis in which there is a constant feeling of certain complete freedom in the comprehension of inner beauty, the ability to move and to find solutions in mental and artistic space in any direction.


Styles of Sciarsism

Sciarsism has a single artistic style - a sciarsistic one. This style is characterized by the simultaneous or preferential use of abstract, mental and realistic or mixed abstract and realistic artistic forms. The simultaneous use of abstract and mental and realistic forms has no inconsistency. All these are artistic forms created by our consciousness. The abstract mental and artistic forms of sciarsism have a deeper consciousness, a presence of a mental structure associated with artistic form, as well as generally more complex constructional features. The mental and realistic artistic forms are similar to the realistic painting, but have their own specifics. Artistically, they have a special vector - the vector of mental distortion of reality. They also include a mental structure associated with a realistic image. Often such forms have elements of abstraction as they are obtained by concretization of conscious abstract solutions and may also partially be in the process of further abstracting.

Thus, we can talk about the possibility of work both in the style of sciarsistic abstraction, and in the style of sciarsistic realism.

Additional types of the style may exist. If the artistic idea has a simple bright expressive form, we can talk about the work in the style of sciarsistic minimalism. The preferential work with any elements of consciousness may provide certain features that can be assigned to individual artistic styles, for example, the work basically with intuition and logic can create intuitive or logical styles of sciarsism. The general trend of appearance of a new style is determined by specifics of the work with the internal world, identification of new features in the development of mental and artistic space, or the expansion of existing styles.

The works “Abstract Approximation of New Feelings of Evil”, “Beasts of Mind”, “Abstract Mask” , “The Partially Bitten Striped Square”, “Logic of Feelings”, “Emotional Intuition…”, “Emotional Logic” and “Facets of Harmony” are examples of artworks in the sciarsism style.


Development of the Artistic Form of Sciarsism

The mental and artistic solutions of sciarsism will develop simultaneously with studies of internal space. Range of variation of such forms will stretch from simple solutions associated with basic, initial semiotics to the creation of enormous artistic worlds defined by their own laws. These are not fantasy worlds unusual for us, the major difference between such entities will be in use of an enormous range of mental and artistic solutions defined by new intuitive solutions, ideas, feelings, and complex states. As a specific area of development of sciarsistic artistic form, we can distinguish end areas. For example, the possibility of the creation of a sign system of artistic creativity, like formulas in science and calligraphy.


Philosophy of Sciarsism

Like any new trend in art, sciarsism has its philosophical principles. The philosophy of sciarsism is based on the following fundamental factors:

  • the basis of philosophy is creativity;
  • the way is the infinity of internal philosophical and artistic space;
  • the goal is the infinite approximation to genius;
  • the goal is the formation of strong harmonic creative inner world, the fundamental principle is the beauty inside us will save the world;
  • the goal is a deeper creative transformation in the external world;
  • formation of new spirituality based on a strong and harmonious inner world of a human.

These provisions are something average between the eastern and western philosophies. They are designated to soften and in some way to eliminate their shortcomings. In its simplest form, it can be summarized as follows: the detachment of eastern philosophies is often insufficient for creativity, in western philosophy it should be realized that to create beautiful things and to form a beautiful soul is not the same.


Influence of Sciarsism on the Development of Contemporary Art and General Cultural Space

Sciarsism can give a significant boost to the emergence of many new styles and trends in painting, as well as to the reassessment of current trends in art. The way of further development of contemporary art is in the transition from copying the nature and poorly conscious abstraction to the creation of infinite scientific and artistic mental space. We can state that this is a formula for the development of contemporary art. Just like the development of mathematics or physics which has been transferred from drawing of shapes in the sand or tossing stones with different masses to the formation of a huge mental space of higher mathematics, physics or quantum mechanics. The theory of sciarsism is the basic foundation for the entire further development of contemporary art.

The philosophy of sciarsism allows us to significantly change our approach to other areas of science and culture. It is possible to create music with an enhanced resonance with our inner world, with more shades of notes corresponding to a deeper mental musical palette. Literature can receive a much greater depth of penetration into the inner space of the human psyche, and establish new guidelines for the study of consciousness. The emergence of a new kind of fiction is possible, where fantasies will be associated with the emergence of new kinds of feelings, intuitive structures or complex states. Architecture can be transformed if the silence of box-type houses xan be broken by sciarsistic architectural changes. Science can come closer to art than ever before. As the system of semiotics created in sciarsism, even in its initial level, shall be able later to describe our inner space with signs and formulas as precise as those of higher mathematics or quantum mechanics, and the flexibility of transitions at splices between sign systems of science can be absolutely fantastic. Moreover, thanks to the scientific approach, art will be more able to visualize a lot of things in the analytical space of other sciences and to help with many solutions that require profound mental work and evaluation.


Major Findings

Sciarsism is a science of internal artistic space. This theory allows art to pass from the system of primary nature copying and partial mental assessments to the holistic systematic development of art in mental space as a separate science, in the direction in which many disciplines are developing. Furthermore, this science can exercise a significant influence on the creative development of the human inner world, and give new impulses for the transformation of the contemporary cultural space.

The main finding can be summarized as follows. This theory may be appreciated or not, another theory may be created, but it will be only a choice between associative series - between Arab and Latin numerals; the scientific mental space of art must be created, the great void must become science, the great freedom, as per I. Kant, must come closer. The time is possibly ripe for the bud of inner art predicted by W. Kandinsky to blossom out and to blossom out as a sciarsistic flower…

S. Dozhd


Selected Chapters of the 3rd Part of the the Sciarsistic Theory

Labyrinths of Consciousness

Mental labyrinths are the feeling that there is no
way out of the entanglements of darkness and
a craving for their disentanglement...

Consciousness often arrives at the sensation of mental labyrinths for two reasons. First, the very process of awareness of the unconscious sometimes makes us walk along extremely twisted routes where we have a feeling of repetition of paths, a feeling of no exit - a sensation of being in a maze. Secondly, consciousness sometimes builds mental labyrinths on its own, since it has a craving for systematizing the incomprehensible, which is sometimes completely mystical and intersects associatively with the great labyrinths of antiquity, as well as possessing an even greater craving for finding ways within them. Such a complex state of consciousness can be called a mental generator of labyrinths.

There are several systems for the classification of labyrinths of consciousness.

According to the degree of organization, labyrinths are divided into:

  • system-based - subordinate to one determining system
  • multisystem - consisting of several systems
  • unsystematic or chaotic - these labyrinths are based on chance or frequently on complete chaos
  • multidimensional labyrinths
  • intersecting labyrinths
  • mixed labyrinths of consciousness

According to the degree of awareness, mental labyrinths can be divided as follows:

  • labyrinths of the unconscious, where all the elements are present, but they are incomprehensible; when moving within them, both the elements themselves and the laws of motion must be defined
  • labyrinths of consciousness
  • labyrinths of ready-made solutions, where the elements are understandable, there are many of them, but you need to understand the laws of their interaction and movement in them
  • Through the main transmitters in consciousness, one can distinguish labyrinths of thoughts, feelings, intuition and complex states.

According to the degree of immersion in consciousness, mental labyrinths can be divided into the simple (surface-level) and the deep. Simple labyrinths can appear when solving a particular, even minor task, for example. Deep labyrinths penetrate very deeply into consciousness and often cover large volumes of conscious and unconscious space. One type of deep labyrinth is a multidimensional labyrinth of consciousness.

According to the degree of artistic visualization and generalization, the labyrinths of consciousness can be divided into labyrinths of light and labyrinths of darkness.

In the first type of labyrinth, the light of the decisions of consciousness, the light of intuition, and thoughts penetrating the darkness get entangled. In the second type, the darkness itself plays the main role in the entanglement of consciousness, the absence of paths, and their repetition.

The deep labyrinths of light are often the farthest away that we can see in consciousness. These are the limits of our albeit very confusing but still present visualization of consciousness. A visualization of similar models is presented in the painting Labyrinths of Light: Awareness of Oneself Often Gives Rise to Paths That Deviate, Become Twisted, and Get Lost - These Are Labyrinths of Awareness, Labyrinths of Light...

From the artistic visualization point of view, mixed and intersecting labyrinths of consciousness are also very interesting. As for the intersecting systems, there, one system does not mix with another, but rather intersects with it. Such labyrinths consist of volumes or circles that diverge in different directions and intersect - labyrinths of intuition and thoughts, the unconscious and the very darkness of consciousness. Roads in such structures are moving from one system to another. Sometimes it seems that they are running through all possible options, of which there is still no way out, and this generates a feeling of even greater, almost overarching entanglement and hopelessness.

The classification of mental labyrinths by the type of creative activity of consciousness can be very original and extensive. The paradoxical connections of intersecting labyrinths of creativity can be endless. This leads to the substantiation of the hypothesis of the possibility of creating infinite labyrinths of consciousness in the mental space.

To find ways in and out of the labyrinths of consciousness, you must follow a few simple rules.

  1. When searching for solutions to labyrinths, it is necessary to generate beauty and harmony - this will necessarily result in understanding the intricate structures of labyrinths.
  2. Never submit completely to the system of entanglement of labyrinths; rather, follow it in order to study it - this may even be the most interesting part, but submitting to it almost always leads to the feeling that conquering it is impossible.
  3. If the feeling that you cannot conquer the labyrinth arises, do not enter and do not go further. Go back instead; there are many systems for refusing to fight and partial step-by-step disclosures of such intricate structures.

There is a definite difference when working with labyrinths of light and labyrinths of darkness.

The cause of labyrinths of light is often fascination with the infinite nature of beauty or the desire to find the limits of beauty.

The main rule for studying or searching for a way out of labyrinths of light (often these are labyrinths of beauty) is to adhere to calm, balanced, and natural beauty. You have to go from systems with unnatural harmony, systems that cause fatigue with beauty, a kind of strain from beauty, and return to the beauty and harmony that is calm and balanced, and thus, natural for you.

There is also a main rule for overcoming labyrinths of darkness - the power of the light of your creativity must always be at least a little stronger than the irresistible darkness. This rule is extremely important for scientists, philosophers, and thinkers, who often work with areas of knowledge that have not yet been fully brought to light and often face these dark labyrinths of consciousness. It is important to remember that the labyrinths of darkness are always merely very interesting, unusual and new systems of the work of consciousness that succumb to creative inquiries and solutions.

There are many creative techniques for overcoming labyrinths of consciousness. For example, there is a partial (step-by-step) entry into a strong, interesting, yet twisted light. There are pendular entrances - you are swinging on a pendulum, and you will get out regardless. It can also be a refusal to enter, shifting one’s focus toward relaxation - “Why do I need if everything is fine as is...”

To protect yourself against the negative influence of labyrinths of consciousness (both light and dark), the psychological threshold theory is also relevant. Everyone has her or his own threshold of permissible loads when working with complex things.

There are many types of such thresholds. The simplest of them all is, “It’s all just fun,” as long as it does not cause even a little bit of stress.

One of the most difficult types of psychological thresholds is being on thin ice. The levels of such psychological thresholds are increased by experience, struggle, and creative approaches.

It can also be noted that even for endless labyrinths, it is possible to search for ways out by paradoxically putting together the space of all the spaces of the exits themselves.

The artistic visualization of the labyrinths of consciousness and the ways out of them are presented in more detail in the painting Labyrinths of Consciousness.

Artistic processing of the labyrinths of consciousness can be infinite. For example, mental labyrinths can be inhabited by monsters - minotaurs with advanced mental processing. For example, the minotaur of faith is the minotaur of faith in the superiority of the labyrinth mentality over your consciousness. A similar monster of the labyrinths is given visual form in The Minotaur of Faith, an installation by artist/Sciarsist Evgeny Semenov (Russia). The painting Edward Bekkerman (USA) The Victory of Beauty in the Labyrinths of the Subconscious also shows these processes.

S. Dozhd