By O. Tokarchuk

To date, in the scientific and linguistic environment, the concept of "Image" does not have a single definition. Different sources generally define the concept of "Image" ambiguously:

• Appearance of someone, something.

• Likeness, a copy of someone or something.

• Form is reproduced in consciousness, memory or created by imagination.

• An internal reflection of an external object reproduced in the mind (philosophy).

• Concrete-sensual form of reality reflection, as the inner feeling of a person, the experience of an observer, a witness (art in general).

• Type, generalised character (literature).

• Character (acting).

• The result of displaying a prototype (mathematics, computer science).

• Icon, Face (Christianity).

We define the concept of Image mono-semantic as a combination of external form with its inherent content, which, in its integrity, makes an Impression.

Each Image carries its inner idea, sensual content in a specific external form.

The form can be: cosmic, natural, mineral, organic, or artistic. It can be an idea manifested in a poetic text, an embodied literary idea; an emotion realised in matter, whether it is an artistic canvas, sculpture or an architectural work; as well as a musical composition... that is full of feelings. Every cloud in the sky, a whirlwind of sand carries its idea, which can be available for our understanding; the dance of bees in a beehive, the running of ants around an anthill, or the aerobatics of a flock of starlings, the gaze of a horse, the dance «pas» of a ballerina; a full of magic pause in an actor's monologue. We are especially impressed by the individual, personal manifestation.

Content is an idea, meaning, concept, sense, or emotion.

Any integral, laconic form, devoid of unnecessary redundancy, carries its inner meaning. An Image, in our understanding, is a formatted matter filled with relevant content.

Non-formatted (formless) matter with an uncertain content does not make an impression and is only capable of influencing the observer in a certain way. This influence is not an impression in the complete sense. It can only generate restlessness and emotional agitation.

The combination of an idea and its embodied implementation, or let's say a material code filled with the appropriate meaning, is the key to our impression. Our impression is that the most reliable criterion for the presence of an Image in the field of our observation.

An impression is an imprint of an Image in our perception - an indescribable, emotional, meaningful, sensual message that breaks into our soul, changing and renewing it. Here we are talking not about mental interpretations, but about the fact that the presence of an Impression enables the interpretation of the Image and inevitably triggers the "mechanism" of developing an attitude towards the Image.

The real memory is the Imagery memory - the memory of impressions we once had. The memory that is full of impressions is a priceless treasure unique to each individual. Understanding, realising, and registering his/her impressions, a person gains the experience of impressions, the most valuable and precious of a truly creative individual. We claim that imagery thinking, logic operates only with the impressions obtained from embodied, manifested, realised Images.

Humans are «hunters» for impressions. Impressions are the only thing that people are genuinely passionate about.

Processing the impressions, developing an attitude towards the Image that impressed is the spiritual work inherent only to a human. A worked-out, conscious impression is a source of inspiration and passion for the generation of one's own creative ideas. The attitude towards the Image that impressed arises together with the birth of anticipation and the idea of ​​a new creation.

A particular understanding and feeling of the impression from an Image and attitude towards it is a unique human ability, a sign of a mature creative personality.

Let's note that the conversation about an Image itself, its perfection and special qualities is one big analytical conversation; the conversation about the impression of an Image and the talk about an attitude toward the Image that impressed us are two fundamentally different conversations. We can, for example, share our Impressions from the Images and clarify our Attitude towards the Images. As such, we have three different discourses, which should be considered separately and not replaced by one another.

In the Ukrainian language and transcription, concepts such as Imagery, Imagery perception, Imagery thinking, reflection, and Image transformation (Metamorphose) share a common root — Image.

Fundamental provisions of the special Theory of Imagery of human behaviour. Imagery behaviour. Three hypostases of a creative person. Disidentification. Behavioural Image.

The fundamental principle of the Theory of Imagery of human behaviour states that human behaviour is the product of the activity of a creator. Creator is the Person (lat. persona), or, in other concepts, the soul. We are talking about such a quality of instantaneous current behaviour, which reaches the level of an art. One should not confuse understanding with replacing the concepts of person and personality. (lat. personalitas).

Man-creator, Person (soul) with his will brings guidance and order to the flow of thoughts, to awareness, and to work with experiences and emotions, controls intellect, consciousness, body movements, and articulated language/sound. We emphasise that it is not the mind or emotions that govern the behaviour of a creator, but rather the active soul, the Person. Only the Person stands above the mind and above the emotional state; they manage both mental and behavioural processes.

A human who treats his/her behaviour not only as a specific one, but creatively, we call an Actor - a man of action. The Person in our consideration (concept) is triune, comprising three internal hypostases: Director, Actor, and Dramaturge.

Imagery behaviour is a magical combination of external and internal human resources: mental, emotional, physical, linguistic, as opposed to everyday, rational or automatic, reflexive behaviour, which is the creation of a master whose name is Person/Soul. The body is an instrument for acting art. It should be noted that the body is not a mindless, dead instrument, but a living creation endowed with will, feelings/emotions, memory, and undoubtedly an intelligence of its own.

The creative nature of the Person is manifested through the Imagery behaviour. From the point of view of the Theory of Imagery, the personality of a person is formed by the actions of the Soul/Person in the living matter of the body.

Soul/Person — «Subject», Body — living instrument, Imagery behaviour — object/creative act/artwork.

So, we propose to consider the phenomenon of Imagery of human behaviour through the prism of three conventional internal Hypostases of a creative Person: Actor, Dramaturge, and Director.

The actor is actually an active hypostasis, the operational manager of all available bodily processes. Its function is direct operation of physical means of expression, such as body plasticity, facial expressions, gesture, voice, melodiousness of speech, intonation, tension and emotionality. The actor (hypostasis) operates with a living instrument, which is the body.

The dramaturge is a researcher and keeper of the experience of the impressions, the worked out ones and the others that are not. His function is the meaningful and sensual filling of behaviour. His kingdom is memory.

The director is the responsible creator, system manager, administrator and author of behaviour. This hypostasis, like the other two in general, can have different levels of development. If the inner director is mature, then the behaviour is expressive and responsible. A director always sees more than an actor or a dramaturge. He has a general view of the behaviour as a whole. He forms creative tasks and reads the results. He is the first to receive the Impressions.

To a certain extent, it can be assumed that the integrity and inseparability of the Human Personality (lat. individuitas) is manifested in the joint, coordinated actions of the Soul and the body precisely in these three hypostases (Actor, Dramaturge and Director).

Their well-established joint work allows them to maintain the behaviour at the level of Imagery, the quality of which reaches the level of an artwork.

Skillfully arranged interaction of the three Hypostases of a creative person allows him/her to see his/her behaviour, to operate on it, read the contents and receive the Impressions, in other words, have well-tuned attention, for observation and for action at the same time. Figuratively speaking, we need to have the right «optics». An essential characteristic of an «optical device», or «lens», is the focal length. In our discourse, this is distance, namely, Disidentification of the observer from his behaviour. The conditional distance at which I see myself, my behaviour «in focus» - in whole and in detail at the same time. For example, we hear the entire orchestra as a whole, and each instrument separately.

A person has the ability to change the degree of Identification - Disidentification, and depending on the direction of this change, behaviour can be either emotionally «hot» or «cold» - detached. But there is also a norm — an interval where there is no dissolution, identification of the author with his behaviour and where the connections between the author and the created Behavioural Images are not lost. The range of the norm allows for emotional involvement in one's behaviour, while also enabling the demonstration of emotional intelligence — the ability to observe and operate with one's behaviour in the moment. Drifting within the range of «norm» allows the actor to develop a unique skill intrinsic only to Imagery behaviour – the one we call the phenomenon of energy induction. The one that increases the energy level of the human in the process of maintaining and transforming the Behavioural Image.

In the process of research, the concept of Behavioural Image (BI) was born. Behavioural Image is a key concept of the Theory of Imagery of human behaviour.

Behavioural Image (BI) is a unit of behaviour that has all the characteristics of behaviour as a whole. It was found that one of the main key characteristics of Behavioural Image is its ability to make an Impression. The presence of an Impression is the only indisputable criterion for the existence of the Imagery behaviour.

The structure of Imagery behaviour consists not only of Behavioural Images, but also of their Transformations. As a mathematical or philosophical view of the universe can be structured by understanding the concepts of «system» and «process», so Imagery behaviour in general can be understood as consisting of Behavioural Images and their Transformations.

Speaking about the transformation of one Behavioural Image (BI) into another, it should be noted that BI is a «living organism» that has certain ranges of retention without changing its qualities/characteristics. A critical change in the range of retention leads to a change in the Image of behaviour, and as a result, the change in the impression of the Behavioural Image. The transformation of Behavioural Image is also able to impress, be expressive and significant. Transformations have an important place in the understanding of the concept of Imagery behaviour.