Imagine That!

The usefulness of imagination in the creative process.
by Dennis Arbour

   For both TRV students and non TRV'ers, take just a moment and consider the ability to see in your mind either a vague image or a sharp and crisp vision. For those of us who are practicing TRV on a constant basis, this becomes a moment of great importance and judgment-creating the difference of whether we are on the target or lost in a world of "make believe." Imagine that!

   For years as an artist I have had to depend on this inner vision to parcel things together to present it as a painting, wondering time upon end as to the real nature of this thing we call "imagination." It seems a completely internal ability that we can instantly create anything we could visualize, but we could create almost anything and it usually has nothing in common with true life or even true reality. The art we usually make is mostly a shadow of this imagining that we can do, and many an artist who knows themselves would testify that we are always short of the mark in making an image that is like the imagining.

   In TRV we have great pause to consider because of the imagination, because it can be an ally or a "pain in the analysis"... where we judge our data and piece it together to come to a conclusion. Sessions have a tendency to be straight forward and "on the money," or the imagination jumps in and either tries to give an answer or at least paint a picture-as an analogy of the true target and answer-or has no answer at all and acclimates by "pretending" an answer.

   But the imagination is important, as it is indeed part of our psyche and is a readily available tool that can at least construct some type of reasoning that runs a parallel in analogies. Imagination has a tendency to be a great pretender to "vision"-something else that would take some time to explain-because "vision" and "imagination" perform separate functions with different outcomes. "Vision" is unmistakable because it has a tendency to be a composite of other feelings and tactile influences. If balanced, they are as useful as being at the target, as they are the balance of all perceptions in equal amounts to perceive the whole of the target essence. It creates "vision".

   "Imagination", it seems, is like getting messages secondhand and sometimes mumbled at best, but it tries to "fill in the blanks" of missing information to create a consistent cognitive flow of events and things to be understood. It's kind of like making up a story to fill in the gap between perception and emptiness and the next point of perception.

   Art is very much like that if not equipped with such tools as TRV, because the act of producing imagination as a visual is usually based on the lack of true information and also the delivery in "vision" of a pure translation of the idea. That means that imaginings are built on "holes" filled in and that "vision" is lacking from an imbalance of perception.

   I have often wondered how much of art is imaginings and how much is vision, as art and the creative process are intrinsically linked to the right brain function where intuition lives! Oddly, if one looks at art closely, one would find that the "imagination" seems to be able to "paint" a perfect analogy or parallel of a thought or idea in many styles, according to the artist. Many times in TRV sessions we find great and even concise information that qualifies closely to the answer, but is in a zone that is suspicious enough for us to declare it as an imagining. We all seem to know the struggle with deciding between imagination and true data, and it is done in our sessions as well as later in our analysis.

   But, like in a TRV session, in art I have found that after painting and completing a work, then setting it aside and later reviewing it, I wonder which part of me painted it... sometimes even who painted it. I really know the answer, but I would have you guess.

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