Fixation in childhood on the state of "fear" deprives the matured visitor of the ability to move from fear to the state of "love". He likes to scare himself: watch horror films, go to cemeteries at night. Death and everything connected with it frightens the viewer.
Typical speech turns:
- Beauty will save the world!
- Out of sight, out of mind
- Fear has big eyes
|Archetype||Creation of culture - increasing the value of human life, the individual and the whole society, private and whole|
|Species role||In peacetime, the female educator
In time of peace, the day guard of the flock
|The most comfortable color||Green|
|Geometry of the greatest comfort||A circle|
|Place in a quartet||Outside of the information quartet, bright extrovert|
|Type of intelligence||Figurative|
Features of the psyche
Sigmund Freud, in his works on the "hysterical personality", without knowing it, described the manifestations of a stressful visual vector. As a psychiatrist, Freud started from the observation of pathological conditions, therefore, a healthy visual eye does not fall under his description. Today, at the training "System-vector psychology" for the first time, the entire spectrum of manifestations of this type of character, including the norm, is determined.
In the primitive flock, the spectator acted as the day's guard of the flock. The special sensitivity of the visual receptors made it possible for him, better than anyone else, to notice the slightest changes in the environment in time - no one except the eye could see a spotted leopard in the shade of the trees.
The spectator is very observant, notices the smallest details, nothing is hidden from his curious, inquisitive gaze. In addition to color, the viewer is also the best at consciously differentiating odors: while enjoying pleasant scents, he enjoys using expensive perfumes and cosmetics. Likewise, it is sensitive to unpleasant odors.
The viewer has the highest learning ability in the world: since it is through the eyes that we receive 80-90% of all information, the visual vector has a great potential for the development of imaginative intelligence.
In addition to acute vision, the visual eye also has one more property necessary for fulfilling his specific role - a large emotional amplitude. In order to instantly warn the flock of the noticed danger, the spectator had to experience a strong fright. The whole flock in a matter of seconds caught the pheromones of fear emanating from him and jumped off in time.
To this day, the visual vector has the greatest emotional amplitude. They say about him that he "makes an elephant out of a fly," meaning a strong emotional experience in any situation. However, we see that the ability to make an elephant out of a fly is given to him by nature precisely to fulfill a given species role.
The entire emotional amplitude of the visual vector fluctuates within two peak states between fear and love.
Fear is a primitive, primary, root state. This is a state of "in oneself", fear - for oneself, for one's life. In further development, the state of fear passes from the inside out, and fear for others becomes love for others. Almost everything that is considered to be fears and phobias relates to the visual vector. To eliminate fears from your life, you need to learn how to develop and implement the visual vector.
The biggest visual fear is the fear of the dark: there is no danger in it. In childhood, the visual vector can be transferred from a state of fear to a state of love through reading books that foster empathy. Empathy for the protagonists helps to channel emotions in the right direction. Along with sensuality, intelligence develops.
In no case should you frighten visual children by reading them scary tales - this fixes the children in fear and significantly inhibits development. For the same reason, it is better for visual children not to attend the funeral - it traumatizes them, drives them into stress, giving rise to a lot of unpleasant experiences.
Fixation in childhood on the state of "fear" deprives the matured visitor of the ability to move from fear to the state of "love". The viewer fixed on fear is easy to see. He loves to scare himself: he watches horror films, goes to cemeteries at night, reads eerie stories about the other world.
Death and everything connected with it frightens the viewer. And the hysterical spectator in a bad, unrealized state even reaches for death, is filled with fear: he walks to the cemetery at night, surrounds himself with various paraphernalia associated with death. Thus, he creates for himself a kind of substitution: if I am a source of fear for myself, then as if I am not afraid of anything else!
Coming out of archetypal fear for one's life, its sublimation implies the transition of a state of fear for oneself into the ability to empathize with others. The ability of the visual vector to empathize and love has four successive levels of development: inanimate, vegetable, animal, and human. The maximum sublimation of the properties of the visual vector is love for a person.
Spectators were the weakest members of the pack, and they remain to this day. They have the weakest immune systems. The spectator gets colds more often than others, with seasonal viral epidemics he always gets sick first. For visual people, we say "neither live nor die." They are not capable of killing, they feel sorry for everyone: birds, and fish, and elephants, and spiders. Even microbes in their own body cannot be killed. The visual vector is the only vector, the essence of which is anti-killing.
The spectator himself unconsciously feels and realizes that among all the others he will always be the first in line to perish as unable to defend himself. There are two poles of states: in a state of fear, he fears for his life, and in a state of love - as an emotion directed from oneself to the outside - creates a prerequisite for the development of an understanding of the value of life, both his own and any particular private life. Through the state of Love, the visual measure affirms the importance and inviolability of Life itself for the whole. And this is the main thing for which you need to know how to develop the visual vector.
The elder brother in the quartet of information - the sound engineer - is tormented in the search for the meaning of human life. For a developed visual eye, the answer to this question is simple: the meaning of his life is in love.
Developed to the state of Love, the visual person directs all his rich emotional amplitude outward: he is able to subtly feel the emotional state of another person, knows how to truly compassion and empathize. A developed visual person understands the psychology of communication through his emotional sensitivity - he is able to penetrate the emotional state of another person, to share it. Empathizing with another person, a realized visual person relieves his stress by the amplitude of his emotionality. In fact, he absorbs someone else's little emotion with his huge one.
For example, a skinny girlfriend with a masochistic script was beaten by her husband. She comes to a visual friend to cry, talks about her troubles and misfortunes with dry eyes. The visual girlfriend sobs for her in three streams, empathizes with her and thereby evens out the emotional state of the interlocutor. The spectator is a born "psychotherapist", he is very interested in the psychology of relationships.
Earthly love as it is is possible only in the visual vector. In the relationship between a man and a woman, a developed visual eye is able to experience the deepest, most sincere, disinterested and genuine feeling of love for another.
At the same time, the viewer who has not finally gone out into the state of "outside", into the state of love for others, also feels the need to fill the emotional amplitude. And in this case, instead of great and all-consuming love, he will experience frequent and fleeting love. Such spectators can literally fall in love for five minutes with an actor, a neighbor, even with a passenger sitting opposite in a tram. All of its content will be directed "in itself."
Instead of love and compassion for others, he will demand attention and empathy for himself. Instead of a subtle sensation of the emotions of others, he will notice changes in their appearance, and, of course, it will be extremely important for him how he himself looks, he will strive to attract attention with a catchy, demonstrative appearance, in extreme cases up to exhibitionism. The emphasis on external or internal beauty will directly depend on the degree of development of the viewer. The desire to be naked in a developed eye is expressed in sincerity (bare the soul), in an underdeveloped person - in direct exposure of the body.
The spectator, unable to realize himself in love and compassion, is filled with fears and often throws tantrums - this is how emotions that have not found a better use break out. Emotional blackmail can become one of the ways of an unrealized viewer to attract attention, in a particularly difficult case, up to a suicide attempt. In this case, it is very important to distinguish visual manipulation of the feelings of others from a real attempt at suicide in the sound vector in severe depression.
Due to the huge emotional amplitude, the visual person is very impressionable, everything that happens around him causes a storm of emotions in him. Any incident will not leave him indifferent, will cause sympathy for the participants in the events. The viewer, being inwardly in a state of love, is able to sincerely cry out of sympathy for the heroes of novels, feature films, thereby causing sincere bewilderment on the part of those around him: "Well, what are you, this is just a film, a fiction, what is there to cry about!" The manifestation of empathy may turn out to be alien and incomprehensible even to spectators, more precisely, to those of them whose emotionality and sensuality are not sufficiently developed to go out - from a state of fear for themselves into a feeling of love and compassion for others.
In a viewer with a high degree of fear, impressionability becomes anxiety, creating a feeling of internal discomfort and tension. Such a spectator is just as easily introduced into hypnosis, it lends itself well to suggestion. It is the spectator who becomes the victim of fortune-tellers, charlatans.
The other side of visual hypnotizability is the highest self-hypnosis. The spectator creates images for himself and believes in them so much that for him they become reality. It is for the visual that all kinds of autogenic training are effective, only for the visual they give good results, for them all kinds of placebo effects work best.
The spectator is a dreamer. Having believed himself, he is able to present his fiction to others as an absolute reality. Fiction is sometimes more accurate than any truth, any art. Only the training "System-vector psychology" allows you to reveal the visual vector and improve its properties, no matter what state they are in, and therefore change the state of a person.
In conclusion, we note that, although the article was written about the male visual observer, visual men did not exist in the primitive flock: they all died at birth or became victims of ritual cannibalism. Such compassionate and gentle boys did not carry a useful function at that time, could not be warriors and hunters, and therefore they were thrown off as unnecessary ballast. They did not have a specific role.
The anal-visual man first acquired his right to survival with the filing of the skin-visual queen. He worked "wondrous stones" for her. Last but not least, the dermal-visual man acquired the cultural right to survival. The rejection of cannibalism is the beginning of culture as we know it.
In this sense, the visual man is very behind in development from the visual woman, who, millennia earlier than him, began to develop her sensuality and emotionality and brought her to today's highest level. The roots of transvestism, transsexualism and some forms of homosexuality lie in the lack of a masculine visual script. To this day, society perceives skin-visual men as girls. However, this is not the case, there are no "women in a male body." Visual men have yet to develop to the point where they can complete the rise of the human cultural platform to the maximum.
The way we see the world today, the nuances and differences that make up our perception of the world, are dictated to us by the visual part of humanity. Ahead of the cognition of our world is exactly the visual, which creates the observed reality of the surrounding world. But there is also a downside to fiction - illusion, fantasy, mirage.
“The pleasure from contemplation in the visual vector is called BEAUTIFUL. Further, it depends on the development and direction of the visual vector."
“The implementation of the visual vector in modern society is BEAUTIFUL, not in painting, not in art, but in Love for a person. Sensual, empathetic and classically in love with people, the human eye calls human qualities beauty."
Detailed information about the peculiarities of the psyche of people with different vectors, scenarios of their relationships with others can be found already at the free online lectures "System Vector Psychology" by Yuri Burlan. Register here.