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FUNDAMENTAL PSYCHOLOGY    ( FP )
Part I
      HYPER
physical MATERIALISM
            (The nature of PSYCHE)
      Chapter 6.
        SLEEP, DREAM, SLEEPLESSNESS
            6.2.  
The NATURE of routine phenomena

6.2.09.  SKILL and GESTALT
è     Distortions of astralum body SA (or AS) arise not only at information reception from the outside, externally passive (nevertheless active internally) formation of a reality image, but also in process of mastering of ways of an external activity, of influence upon this reality i.e. when SA works under management and strict control from the mentalum SM side. SA functions optimally from SM and from person S as a whole points of view, what is strictly determined by vital/physical conditions/circumstances, but is not optimum from the point of view of SA itself.
    Surplus of such distortions also is feeled subjectively as fatigue, and results objectively in blocking of contact channels between SM and SA, i.e. in drowse. Preacts, worked out by an individual in wakefulness (see section 3.5), are fastening in sleep. Whether it happened with you to see, how a sleeping puppy twitches his paws? He runs in dream. And sometimes also barks (physically, loudly).
    Correlation between a preact (an image of behaviour), and a skill is analogous to correlation between a perception image and a gestalt. A qualitative leap from separate actions to a united complex of conjoint efforts, from internal tensity and uncertainty to freedom/relaxedness and full control of a situation is characteristic of a skill formation too. So, ability to draw letters develops into handwriting, when a hand (a pencil) follows a thought itself, when one thinks already WHAT to write but not HOW to write. Concept of handwriting is typical for possession of practically any tool - musical, a key of radio operator (morse), a ball in sport, etc.
    For development of skill it is necessary to pass from performance of movements, elements of action, to performance of action. So from drawing sticks and hooks a schoolboy passes to writing of letters, then to a conjoint writing of their combinations covering 2-3 ones and more. One should correct his mistakes but not afraid them and/or to avoid the opportunity to make a mistake.     è


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