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The following text is the property and production of Henning Mittendorf. Copyright information appears at the end.
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I am sure, once all will be scientific psychology.

Wolfgang Pauli

Only the ignorant and inexperienced will trust his eyes that are special eyes for self-preservation and not organs for pure knowledge. Man is submitted to the deceptions, to be able to exist ... To be able to bear the enormous incomprehensible current of the world we must make stand restrictedly the unrepeatable, the overwhelmingly extensive and incomprehensible. Our senses invent the same, the eyes see firm and divided off, coagulated figures.

Gustav Schenk

Art is magic, freed from the lie, to be truth.

Theodor W. Adorno

1 The Transphenomenal Reality

(Man in the following means woman too.)
Man can not leave his neural system as well as his structure of perception and participation so that he is not able to perceive, to recognize as well as to understand the actual objective reality. The real is trasphänomenal, and "outside" there is for man only incomprehensible matter as well as energy.

2 The Phenomenal Reality

The phenomena taken for true and the perceived phenomenal reality are designed models. With them man makes viable and sensible his life in the transphenomenal reality by orientation at the own, by self-organization.

The phenomenal reality has a nature which is complementary, uniting contrasts, namely at the same time subjective as well as social: The subjective aspect of the perceived reality means the individually experienced real. At first this is primarily the magic by which the single man apparently overcomes in a wonderful way with strength of his own automatically out of the nothingness, i.e. unconscious, and to be more precise with the help of esthetic processes, his blindness. Sensations caused by experiences activate when certain "critical condition values" of the self are reached with the help of the human perception and participation structures order keys being patterns of attraction and reaction, primarily with the innate archetypes, automatically passable judging soul experiences, cognitions, with which shapes are perceived as well as created at the same time, always anew. Symbol designs are in this process the fundamental categories of the soul that spontaneously appeal to the shape formation of the perceiving men connecting pragmatically the incomprehensible transphenomenal reality with the phenomenal world. The human perception and participation structure therefore is a organ of survival, but no one of recognition, in which the material causes, body conditions and sensory perceptions, play an important role, but are not able to explain alone the appearing of the phenomena, of the reality samples, on the mental level. The order keys forming the shape and with that the esthetic events causing them have - taken exactly - a quality which is complementary, i.e. uniting contrasts. It is at the same time individual and social because it makes the event and phenomenon subjective and inter-subjective, unique and comparable, unconventional and coordinated, independent and dependent at the same time. As an addition to the esthetic unconscious shape formation man produces the ability due to his "need for higher meaning and purpose" to find consciously, i.e. by thinking and reflection, a comprehensive deeper reason, meaning, for his conduct inclusive his shaping in the context of the world reality. It is found if the discovered specifications and explanation system capably for connection decodes as well as explains the human behavior inclusive the shaping and offers orientation. The social aspect of the reality being aware means the socially experienced real, i.e. the phenomenal real being perceived as well as coordinated, i.e. rationalized and conventionalized, commonly and more or less consciously through participation when living together. This is the magic, by which the cognitive, depending on mental experience, separation of the individual people from each other, namely their blindness with respect to the spiritual experiences of the other, is overcome seemingly in a wonderful way. By the relation and participation network between the members of the community on the basis of their innate equal-type physical and spiritual equipment there come into existence through a common exertion perception and learning processes causing in a wonderful way out of nothingness more comprehensive common knowledge for them as well as for the community as a whole they as single never would come to. The individual experiences, reality pictures, are coordinated by non-language interaction and language communication in a special way, namely jointly selected, appreciated, confirmed and fastened that it seems to the men as if the commonly being aware phenomena represent objective reality. But in fact it is the permanently and commonly designed reality, a dynamic reality model designed constantly jointly, which has the purpose, to find the way in life, to live together in a viable way, to survive, but that has not the meaning, to recognize. The forms of expression found are given result of the current questions of the people to the reality under more or less conscious ignoring of the not manageable, unknown, indefinite, and they are never depiction of absolute reality, of objective certainty, truth, correctness, of given objects.

The current reality model describes the world reality concerning its content as a human technical world order as action community of culture and nature following the principles of the self-organization.

3 The Magic of Reality

A reality system then is called magical according to modern science, if it represents a closed unscientific conventionalized and rationalized order of events and related to them human behaviors, i.e. if it is a system of scientifically unprovable effective supernatural events and corresponding purpose directed, functional, concepts and actions. Usually on this occasion are used sensory methods, as such of the analogy, the feel too and the touch. And depending on, whether they are directed to cause damage or blessing, they are "black magic" or "white magic". The permissiveness of every event or conduct as to a system is judged exclusively after its consistency and its faithfulness to the system, i.e. whether it matches, can be integrated or agrees with the unity of the magical system. If it doesn't correspond to the system, its values and concepts, rituals etc., then it comes from "the outside", the man gets a fright and it is being put under taboo, repressed or allowed only on a certain determined scale. In the result the magical conception of the world, reality, and the magical behavior confirm each other reciprocally within the magical system by a kind of circular feedback, so that the people can be sure that the magic is correct and works. Since only the magic and its rules are recognized seeming to negate life as well as reality, therefore they apparently are a confirmation of the magic.

If one assumes that a paradigm is an achievement providing a particular epoch with generally recognized models, namely with models of the reality, of the world and of the solving of problems, that the respectively current paradigm fixes what is "scientific", and that the evolution of human knowledge is based on a sequence of paradigms, then in the end every reality model becomes a magical system, though respectively on a different more or less more complex level.

The reality system of modern science is a black magic, if it exclusively subjects the world reality to the guiding principle of the rationality, strives to remove the irrationalism and believes to the scientific progress as the only release of the people, because it, inclusive its human catastrophe productions, has fatal consequences for the human world order.

Today's post-modern reality model recognizing the pragmatic self-organization as the guiding model of the world, namely as the modern life-effective creation community of culture and nature, on the other hand rather is a system of a white magic. It recognizes that it is designed by the people jointly and consciously, but on the basis of in the end more incomprehensible and more irrational self-organizing processes, so that the world reality itself correspondingly is a magical open self-organization having in principle also the chance for a positive development, if the people conduct responsibly in accordance with the system.

The shapes of the world reality in principle arise out of a feeling of inadequacy of life, but don't point back at the true desire, however, in the end always being also the discourse, the discussion, of the always mysterious unconsciousness, of the "lacanic category", as Julia Kristeva says, i.e. of the "real" having its being in that what slips away from the conscious person, that is unpredictable: of the unreal, unrealistic. This state, condition, is the magic of the reality, and to be more precise the magic of the self, i.e. of the body and soul totality, primarily the totality of the soul, yes the wonder of the mind, i.e. of the network of the souls' totalities, by which sense is constructed, dreamed, jointly within life undergone as incomprehensibility and absurdity. This state produces the "everyday myth" of the real by the different acts "of artificial shaping and sense assignment" of the consciousness continuum to replace the otherwise existing senselessness, as Leszek Kolakowski says, an useable magic, "well fabricated dreams". In the end the irrational still produces the rational, the soul is integral and paradoxical, absurd, at the same time, i.e. rationalistic and pre-, post- as well as irrational, and the one-sided rationality is a special case of the human mental multidimensionality, a "special form of madness", as Rolf Grimminger thinks. The people nevertheless are always also condemned primarily to the thinking as a counterbalance to the chaotic subconscious to convert bare biologically existing to a responsible lifestyle. Thinking makes it possible for the people, to understand themselves building on "weekday understanding", to develop in derivation of their own also a better understanding of the foreign and to produce general sense as a specific human natural means. The post-modern reality model follows the guiding model of the "enlightened rationality" thinking and being informed about itself. According to it there is not at stake the abolition of the rationality, but its information about its function in the context of the self, about its role for the life-effective expansion of reduced one-sided rationality to the enlightened multi-dimensional reason comprehending all functions of the soul.
The post-modern conception of the world in the end symbolizes the new old sensible ecological myth "everything is one - we are the world ": The world is a whole. Man is the world and reversed. The world arises within the man and the man in the world. Man becomes design of the world and the world design of man. And all common development needs in tendency poverty of force, i.e. creative peace, with and in everything. In this meaning the old new conception of the world engages all people. It is necessary to live in a way that any moment can return without causing horror and that one can say to any moment: Once again - so that the here and present gets the dignity of the timeless, "absolute".

4 The Magical Artistic Reality

Today's artistic behavior is, like all human conduct, participation in the human technical world order obliged to the orientation at the self-organisation of the whole.
The artists primarily give highly imaginative self-determined impulses in the social artistic discourse by their work: Artistic work illustrates with its esthetic shape in detail what the artists and their partners regard as important. They in this respect interfere into reality models shaping directly or indirectly. To design their artistic behavior as effective as possible, the artists use more or less consciously the esthetic effect, particularly the creative magical strength of the shape quality of their work. They by it speak to the readiness of the perceiving person, to get to know a joyful emotional increase of experience and to design a life-effective reality. Artists are able at the same time to primarily cause three different things by their designs within the perceiving person. At first: Questioning of and shaking of positions as well as reality pictures. At second: Revelation of the uncertainty of the transphenomenal world reality lying behind it. And at third: Challenge of the creation power of the perceiving person, namely so long till within the person arise new unstable passable life-serving phenomenal reality models, by that the uncertainty of the world can become mastered or be borne in a better way.
The artists look in daring processes of intermixing and integration for creative symbolical art forms of new kind. They increasingly include the audience as well as new communication media. They want to use the freedom of the subjective for unfolding creativity, highly imaginative mental experiences, cognitions, to suggest in tendency boundless new positions and to make possible new life-serving reality pictures in the self-organizing social discourse.
The artists draw by the uniqueness of their works of art, by their dynamic forms of expression arranged individually, all attention of the perceiving man primarily magically, i.e. always automatically, on these alone and on their respective unique qualities. Artistic media in comparison with regular ones win an additional dimension, i.e. an artistic esthetic form of expression of their own, a right of their own as well as an intrinsic value, an information value of their own, due to which there remains for the perceiving observer no more place, to follow traditional conventions and to steer the attention one-sidedly on something else than themselves. The artists take the quality of ordinary communication offers away from the artistic work by increasing the value of it by an opening of its function.

Whether the esthetic function of an artistic design, however, can unfold its effect and find admission to somebody, depends in the end on the fact, whether and to which extend the appealed person actually is magically touched, moved, seized by them. Here too is valid: Neither the medium alone is the message, nor the message remains untouched by it. For everybody gets his "own idea". Which medium offer, what, finds access to the perceiving observer in the end depends on the fact, if and how he is concerned, fascinated, excited by the shape of the respective work - or not.

The social, particularly artistic, discourse secondarily on the other hand at the same time always works back on the arrangement of the artistic work: It is true that artistic work has identifiable unmistakable originators, but it, however, is not only the result of the complete definite conduct one can ascribe to them, but furthermore of the common plastic open creative actions of the community, of the social processes, namely the expression of reciprocal communication and participation not only including the artists but also the audience. Not the single artist produces the concrete artistic behavior and the single work in the end, but they arise in the relations' network of the respective social network and follow its ideational assignments.

Today as to the artists is at stake, as said already, to participate life-servingly in the self-organization of the world reality. On one side they shall show up and shake closed reality models, the black magic of which contains wrong, i.e. reality distorting, claims of absoluteness leading to human catastrophes' productions. On the other side they shall keep open the knowledge of the white magic of the world reality and replace the conducting principle of the linear rationality almost exclusively being valid at the moment by the one of the ecological logic. Their work shall be no "anti media", but media for life, "food". Since, however, that what has to be cannot be derived from the being, therefore they avoid, to assign concrete general new tasks to the art. And as everything, all phenomena, can become a challenge in the artistic network for creative work, therefore the art is a rich, common form of higher reciprocal human sociability.

The judgement of the quality of artistic work in the individual case finally can be usually carried out only with difficulty: The magical esthetic quality of the artistic work as a subjective question cannot be judged by rules and values which are valid generally. In this respect there is far-reaching freedom and only subjective conscious and unconscious artistic experiences are good for the judgement by the perceiving person, if need be.

The ideational quality of a work shows itself as soon as one judges it according to the fact, whether it satisfies today's general social demand to the art actually, yes as far it goes in front of it, should the occasion arise in the context of an artistic avant-garde. Decisive is, whether it manages to realise at the same time to the inside and to the outside imaginatively, sensorily and imaginatively the dynamic creative double-strategy of the self-organization, namely of variety and richness in unity and balance. Here always is at stake also the con-perception and recognition of the other, of the incomprehensible, the transcendental, in the things, with that of the whole, the unhurt and the holy. The artistic work then at the same time is fitting balancing snapshot, intermediate picture, as well as suitable dynamic regulation tool. But also the judgement of the ideational aspect of the artistic work isn't simple, because the artistic design is neither oriented as aim or purpose at the ethical responsibility, nor at the reform of the ethical responsibility by the esthetics. It actually is rather an area which in the interest of human freedom makes possible creative questioning and transgression of rigid social conventions by artistic means of almost every type. For in the end no general decision is possible between ethical responsibility and esthetic "irresponsibility" of distance and game, because in the context of the whole only both attitudes belong together complementarily and constitute commonly the human freedom. Its task is creative in the context of the growing self-organization of the world as action community of nature and culture, namely border crossing enlarging, with it breaking conventional bonds. It aims in this respect at a brighter more comprehensive richer viewpoint, not least to provide man with adequate life-serving relations to the ethical responsibility. The concrete artistic work in this respect has the chance to loosen perceptions, to show in new light pre-knowledge as well as feeling and thinking compulsions, to change the expectations of the people and to contribute to an expanded perception - also in the sense of recognition, knowledge. Also artistic works are life constituents, common "food", in the conjoint process of nature and culture, in the big great evolution process of world's life.

5 The Reality of Hope

At every time creative people, particularly the artists, have the task, to rescue in the living together the mysterious shape of reality from the abyss of the incomprehensible. According to today's knowledge here has to be taken into account that one cannot prove that the order is before or within the phenomena, but that rather everything indicates that it is contained and permanently designed in the human spirit, in the interconnected cognitions of the people. With that research shifts from the side of the failure of reality on that one of the success. The question, why the reality isn't recognized sometimes that does not lead on in the end changes to the fertile one, how reality takes place, how the reality picture is designed jointly, why it as a rule seems to be naturally so "right" and how the mechanisms of reality construction can become improved, to gain a more viable, yes happier, living together.

Sometimes an artist of today manages to find a shape according to the time. It in the end always illustrates the new old human myth, to be connected in a mysterious way with all orders and to be responsible for the whole. Then the bright face of the world shows itself in the social process and stimulates it what can't be assessed highly enough, because this development is necessary in an urgent way and still isn't completed at all.

Today's extension of the art, primarily within the mail art, gives hope for a strong impulse concerning the democratization and the life-serving development of the creative.

This view of the things is current at a time at which many people get still more sceptical about the behavior of their own species, the faith in the humane gets lost and the fear of chaos as well as numbness grows.

In this connection once again one has to remind that the art doesn't solve the puzzle of the world reality what is negligible. It is rather decisive that all creative people always can - only - put new questions, find new doors and point out to them without knowing absolute behavior rules (HeMi 18.07.04).

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