Sublimation psychology: Essence Coding Theory and Sympho-electronic music as tools for deep psychotherapy in art-humanitarian practice

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Аннотация: The article addresses the need for a new direction of psychology known as “sublimation psychology”, prerequisites for the creation of which have emerged in the scientific discoveries of the last decades in the fields of psychoneuroendocrinology, psychoneurology and psychogenetics. In the context of developing sublimation psychology, we have investigated the various properties and characteristics of “Sympho-Electronic Music” (SEM) – a new musical genre, which has a strong essence impact potential. We analyze the advantages of using SEM in the deep-essence psychotherapy of art-humanitarian practice (AHP), based on the implementation of the major principles and fundamental medical and psychological aspects of Essence Coding Theory (ECT). Primarily, the article uses a complex methodological concept, in which the basal toolkit of holistic meta-heuristic ECT doctrine takes a central, key position. We show a fundamental difference of sublimation psychology from all other areas of psychology, expressed by its explicit focus on the scope of various ethical attributions and aesthetic competencies implemented in AHP. In the context of developing various aspects of AHP, we introduce new concepts, such as “essence code”, “essence psycho-neuroendocrine status”, “essence R-E neuroprocessing”, “essence genome-hormonal reception”, “essence transmutation”, “vital information system”, “ethical levels”, “passionary-evolutionary ethics”, “sublimation aesthetics”, “exo-psychological control”, “dormant genomic programs”, “matrix of essence standards”, “detector of essence errors”, “code of spiritual rank”, “aesthetic-sublimation insight”, “immortalization index”, “noematic theurgy” and others.We have identified reasons for which the psychotechnics of art-humanitarian practice should use music created with digital technology, and especially the music of the pioneering genre SEM, closely associated with such new musicological concepts as “timbre-keeping”, “emotive typology of timbre”, “class of organs”,“sympho-electronic organ”, “sonoristic analysis”, “sonoristic matrix”, “sonoristic bench mark”, “sacral acoustics”, “coding-numeric score”, “coding-numeric aesthetics”, etc.

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