AMORC - Practical Techniques for Everyday Living: Imagination

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Series: Two

IM AGINATION

TH E R 0S 1 C R U C I A N O R D ER A M O RC San José, California 95191, U.S.A.

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1177

Prinied In U.S.A

Imagination

Introduction Each of us has ideais, concepts o f what our life should be. T he se are goals to be attained. H ow ever, s o m e tim e s at first we reach too far, as grasping for a star. N everíheless, a tta in m e n t in life, no m atte r w hat our personal philosophy may be, is d e p e n d e n t upon the tools which we u se to b rin g it a b o u t. T h e r e a re c e rtain seem ingly com m onplace techniques which we cali tools. These are necessary for m astery in any undertaking. Failure to use these techniques correctly or fully may result in disappointm ent, that is, in not realizing an objective no m atter how well one may apply himself. It is the purpose o f this series o f booklets to provide each Rosicrucian th ro u g h o u t his studies with a series of useful techniques, not only helping him to derive the utm o st from his R osicru­ cian studies but, as well, from his everyday living. IM P E R A T O R

Before we a tte m p t an u n d e r s t a n d in g o f imagination, it is advisable that we distinguish it from certain of our oth er m ental processes. Imagination is not a form o f empirical perception. T he latter term is defined as becom ing objectively aware th ro u g h our sense faculties of externai things. F o r exam ple, as you read this you are using your receptor faculty of s/'#/7/to see these printed words. W hat you are experiencing has its origin outside o f your mind. T he ¡dea you have arises directly and immediately from outside im pressions visually experienced. T he sam e may be said o f your receptor faculties o f hearing, tasting, feeling, and smelling. They are all channels for allowing you to becom e aware o f the world outside o f you. M em ory also has its roots primarily in what you have experienced in íhe externai world through the m éd iu m of your objective perception, that is, your five sense faculties. For e x a m ­ ple, here is a Symbol, the triangle. V It is apparently a thing existing outside o f you. T h e visual im age f o rm s in y o u r c o n s c io u s n e s s immediately as you look at the triangle. Now turn your head away from this page for a m o m e n t. While looking away, recall the triangle which you saw. See it as clearly as possible in your m ind, but w ithout the use o f your eyes. Now try this.

C O PYRIG H T BY S U P R E M E G R A N D LO D G E , A M O R C , INC. OCTOBER, 1977 ALL RIGHTS R ES E R V ED

It was m o re difficult for you to recall from m e m o ry a m ental image of the triangle than to see it externally. This is because m em ory im pressions are not so intense as the sensations which are received directly through your recep­ tor senses. In o th er words, you can see som ething m uch m ore vividly than you can recollect it. Let us briefly cite a n o th e r exam ple in order to distinguish reasoning from imagination. In a very broad sense, we may say that o u r reasoning c om m only consists o f two m ethods: one is inductive; the oth er, deductive. T h e inductive m e th o d is proceeding from a particular idea to a general conclusión. We can use an analogy to better explain: A botanist finds that a plant flourishes in one kind o f soil and not in another. H ow ever, what is the general cause that underlies that particular experience? W hy is one soil better than the o th er for the plant? Simply, t h e r e is s o m e g e n e ra l p h e n o m e n o n th a t accounts for the particular instance that is experienced. T he deductive m e th o d o f reasoning is fundamentally going from a general experience to the particulars o f which it consists. Let us use a n o th e r analogy to explain this: A crim e has been com m itted. T h e pólice have separate pieces o f evidence concerning this crime. Each o f these particular pieces m u st be related and

integrated to establish what the primary particu­ lar is, that is, who the criminal is and perhaps what the m otive was. In ali these exam ples given, we have been dealing with reality, that is, so m ething that we objectively perceived. At least we th o u g h t it to be a reality and sought to eventually perceive it. But in imagination we are concerned with the non-existent; at least it has ne v e r existed to us as an externai thing or condition. Let us say that you think o f a future vehicle which has a device that draws its energy for p ro ­ pulsión from space. T h e source is infinite and economical. Now there is no such vehicle as yet, and let us fu rther p resu m e that you have never heard or seen anything resem bling the idea you have. The possibility of the imagined idea becom ing a reality can only be as a fu tu re event. Suppose, how ever, you imagine how the earliest h u m a n s lived in prehistoric tim es m any th o u sands o f years ago. H ere you are, th e n , imagining what seem s to be long o f the past. But if your conception, your imagined idea, were to becom e eventually a reality by m ea n s o f anthropological and archaeological research, it would th en be in the fu tu re to you. In o th er words, in relation to the present state o f your imagination, any proof that would substantiate your idea would m ake it a reality of the future. N evertheless, every imagined idea cannot be absolutely original in every respect. It m u st

always relate in so m e degree to what already is. It m ust have an extensión, an elaboration, or an alternative for so m e th in g that is now known. T o explain this, let us refer again to o u r analogy of a vehicle to be powered by an energy drawn from space. T he whole idea begins with the notion o f a vehicle; that is, a m eth o d o f tra n s p o rta ro n that will exceed anything “ now existing.” This latter phrase is the beginning point upon which the imagination relates itself. T h e m ind in imagination projects from som e e le m en t a thing or condition which is known to it, and such knowledge is of the present. T h e re are two general types o f imagination. T hese are spontaneous and determinative. Recall your personal experience with one or both of these as we explain them separately. Spon­ taneous imagination is an in stantaneous, intuitive impression that suggests an idea which relates itself to what we are perceíving or thinking at the m o m e n t. For fu rther analogy, you wish to cross the Street at night within lines indicating a pedestrian Crossing. T h e re is m uch oncom ing traffic and the Street is not well illuminated. T he oncom ing cars would not be able to see you until alm ost to the Crossing. T h e re is therefore a safety hazard. Suddenly, as you step onto the Crossing, th ere flashes into your m in d the idea that an electronic device could be created that would switch on an

overhead warning light to alert oncom ing cars w hen a pedestrian enters the intersection. It is immaterial w h ether the idea in your imagination is practical o r not. T he point is that it is spon ta n e o u s —intuitively aroused by what you experienced. Determinative imagination is directly related to Creative effort. It is the intention to bring about a transition, a change, a transform ation in s o m e ­ thing. But the difference betw een determ inative and spon ta n e o u s imagination is that th e form er concerns that about which previous thought has first been given. Let us suppose for exam ple that you are a m erchant selling various types o f electrical Pro­ ducts. You acquire a new device that should sell well if its functions can be properly introduced to your custom ers. You wish to send them an a n n o u n c e m e n t about the equipm ent in the form o f a leaflet that will imm ediately attract attention. A photograph of the rather complex device alone in the leaflet would not be sufficient. In o ther words, what shall represent the functions o f this device in a dramatically interesting way in the leaflet? You mentally labor with the problem . S u d ­ denly, th ere flashes into consciousness an illuminating idea. In your imagination you have the idea of an eye-catching design for the cover o f the leaflet about the new product you wish to

introduce. This is an exam ple o f determinative imagination. Now we wish to give you a few simple exercises for s tim u la tin g a n d d e v e lo p in g y o u r imagination:

Exercise Number One: W e will b e g in w ith sp o n ta n e o u s imagination. Each day, on the way to work or shopping, becom e especially o bservant o f your surroundings. Realize what you s e e —such is good observation. We all see as we walk about, but very few o f such im pressions register consciously on our m ind. In o th er words, we do not recall seeing m uch o f what we actually visually experienced. T h e refo re, as you see so m e th in g while walking, co m p re h en d it as well; that is,know what you see. At least, it should have some m eaning to you. T h e n ask yourself: Could what I see be im proved? C ould it be m ade m o re efficient, m ore useful? Is th ere so m e th in g which could take its place and perhaps be m o re economical and practical? D o not dwell on these questions which you ask yourself. R ather, let a flow of intuitive ideas com e into your im agina­ tion. W hat you m entally visualize may not be an im p ro v e m e n t; or, on the other

hand, it may be excitingly surprising to you that no o n e ever th o u g h t o f it before. W e have used the word intuition s e v e r a l t i m e s . In t h e R o s i c r u c i a n m onographs which you receive, the subjec t o f in tu itio n is g o n e in to very thoroughly. This exercise which we have set forth is not d o n e necessarily to bring about an actual change at so m e future tim e in what you see. R ather, it is intended to develop an association of ideas intuitively and thereby develop Creative imagination. In continuing this e x e rc ise for se v era l days, you will ultimately bring forth in imagination, out o f such experiences, a fruitful idea. It will be so m e th in g that in som e way you can use to advantage in your personal life. At least it will m ake your im agina­ tion k eener w hen it is necessary to use it in a practical way.

Exercise Number Two: Now try so m e exercises in determina­ tive imagination. As we proceed with this subject, we will suggest certain words or phrases which represent contem porary problem s, that is, those things which confront m o d e rn m an. We will ask you

to think about the m eaning o f the word or phrase in regard to what m ight be a solution to the problem it represents. Dismiss from your m ind any ideas that you recollect reading or hearing about the subject which the word represents. We ask this because we wish your own imagination to com e into play with regard to it. If, as you dwell on the word or phrase, there flashes into consciousness an idea which both se em s rational and original, such then is an exam ple of d e t e r m i n a ti v e im a g in a tio n . In o t h e r words, it is the extending o f existing points o f knowledge about so m e th in g to a new state or condition, as an image in your mind. Let us be frank in adm itting that not everything we imagine is capable o f becom ing a reality; but m any of our great inventions and social advances have com e about through the process of d e te rm inative imagination. S om etim e, it will be to your advantage to go to your public library and look at biographies concerning the lives o f great inventors. T he librarían will assist you in obtaining such works to read either th ere or at h om e. We think you will see how m ost o f t h e m a rriv e d at th e ir c re a tio n s through the process of determ inative imagination.

EIGHT

Now he re are the words and phrases which we suggest you use in connection with this Exercise No. 2: U R B A N C O N G E S T IO N PE A C E T R A F F IC F U T U R E O F H U M A N IT Y You m ay wish to consider oth er problems in the sam e way during this e x e r­ cise.

In closing, we m u st distinguish betw een fantasy and Creative imagination. Fantasy is a free play o f imagination but w ithout the discipline of the m ind. In oth er words, in fantasy th ere is no concern as to w hether the subject o f the fantasy is consistent with natural law or its consequences. For exam ple, in fantasy one may conceive o f him self as being extrem ely wealthy and procuring anything he desires. Yet, in a fantasy o f this kind, the person m ay have no particular trade or skill, nor even the ambition to personally advance himself. Such a p e rs o n ’s m ental point o f d ep artu re obviously is not from any specific reality. In this fantasy th ere exists no possible bridge betw een the e lem ents o f his fan­ tasy and his in n a te capability o r p r e s e n t character.