Your browser does not support scripts; to use all features enable it


  What is Space?


Methodological Reasoning DIA Comprehending of the (Recti)linear Space and Time, understood AS SOMETHING OUTSIDE OF 'US'

(Recti)linear Creative Framework for the Orientation in Time AND Space

VERSUS

Dialectical Creative Framework for Orientation in the Eternity of Times DIA Infinity of Spaces

Dialectical Creative Framework for Orientation in the Eternity of Times DIA Infinity of Spaces

In agreement with the dialectical interactive approach, the mega-dialect space (spirit, mind DIA reason, matter) was also completely revised and redefined. In other words, space CEASED TO BE (in)seen only as a (external) physical (material) room, and as a converged and fused mindual expanse [simple(st) mind], understood in the sense of some kind of converging, coalescing and fusing of mind AND spirit [simpler Mind: "a Mind Simply for the Conveying and Distributing (of the created) Knowledge]". Recall, in the concept of simple (simplest) mind, the dialect - mind dia REASON, tries completely to undergo the dialect - spirit by continually suffocating (stifling) and subordinating it, READ, "About the Conflict inside of the Simple(st) Mind", and in such a merged (fused) form is the driver ("guide") in the (dialect) future. On the other hand, in the dialectical creative framework for the orientation in eternity of times DIA infinity of spaces, to the "physical" space (the dialect - matter) was added the set free ("released") dialect - spirit and a mindual medium (the dialect - mind dia reason) as well. In this dialectical context, the dialect - spirit was used in the metaphysical and figurative sense to refer to the unknown, inner and non-physical expanses of the mega-dialect space understood in the sense of time in space, which are unpredictable, invisible and unperceivable by the five basic senses [of the physical worlds understood in terms of the space in time].


As an end-result of this dissolution, separation and disunion of the fused mind-spirit, the spatial MEDIUM - MIND was also unleashed in pursuit of uncreative and barren goals and illusions, and presented as a pair of dialects of "thesis - antithesis", externally uttered and understood as the mind DIA reason. In this dialectical context of the understanding of the mega-dialect space, the first dialect (mind) speaks (associates) about the (sympathetical, compassionate and benevolent partnership's) mindual foresight, farsightedness and circumspection (prudence) within this created medium of space, based on the human senses

  • the sixth and seventh sense in the first place; spiritual perceptiveness understood in the sense of getting a deeper intuitive and sensitive insight:
    [presentiment ⇢ (preliminary) sentience and sensing ⇢ unconsciously getting an idea DIA having а clue about it (unconscious conceiving and coming into being an idea) ⇢ (pre) cognizance understood in terms of subconsciously conceiving and making sense of this idea ⇢ becoming subconsciously aware of it ⇢ concepting of this idea to the set of related (emotively emotional) ideas],

while the second dialect (reason), the same dialectical content reinterprets more in the sense of appropriateness, reasonableness, intelligibility and acquired wisdom [recall, in the Sanscrit and Vedic scriptures Uma was goddess of wisdom] of the gone times (space in time) through a rational and reasonable partnership with the dialect - mind

  • sensory, intelligent, rational, reasonable, mental perception:
    [an instinctive hunch and feeling ⇢ (Preliminary) Sensating, Clairvoyancing and Discerning ⇢ subconsciously emerging of the contours of blurred thoughts ⇢ (pre) cognition (still within the boundaries of subconsciousness) ⇢ being aware (conscious) of it ("finding out") ⇢ the quickly conscious grasping of the encompassed time DIA space (realizing of its meaning, usefulness, and value) in order to comprehend (to grasp and to figure out) and understand in peace this set of (rational) ideas through logical reasoning and rational insight (a particular kind of seeming or appearance: mental outlines and images), and its translation into the related reflective dia reflexive set of thoughts understood in terms of (self-) consciously making sense of these still indistinct thought - patterns and spiritual experiences (formulation and conceptualisation of this Dialectical Content)],

and from this reason, it is much closer to the way of thinking, understanding and verifying it in terms of the five basic senses (dialect-matter in the past: HERE AND NOW).


  The Meaning of the Logos in the modern Age: Is it now Mind or Reason?

  • The difference between the dialects mind and reason is the best perceivable during learning a dialectical content (poem, song....) by rote versus learning it by heart. Although in everyday language these two phrases are often interpreted as synonyms, the first phrase is far more associated and connected with the dialect-reason in action, while the second one is much more close to the way in which the mind operates. Probably from the own experience is known that it is much easier to learn a poem by rote, reading it loudly. In other words, besides the sense of sight [accordingly, the sense of touch is used by the blind persons] is also used the sense of hearing (thy self) in order to imprint (engrave) easier and faster the heard words in the ("central") memory by the dialect-reason. Or more simply said, an audio content (which is smaller in size) can be stored and memorized more quickly (it will also be more quickly forgotten) while a visual content can deeper be impressed, and longer be kept in the (central) memory. It is no coincidence that for memorization of lots of the notions was used the technique of connecting and associating them with some visual objects, that is, the much more powerful abilities of the dialect-mind were included and combined with the dialect-reason. On the other hand, for the learning by heart of a poem, instead of the sense of hearing, the seventh (human) sense is used [emotively emotional sense DIA experiencing of this dialectical content in the sense of feeling it as a part of thyself] by dialect-mind. In the living reality of the artistic way of expression, the first (more superficial) approach is usually used by actors-performers [the main source of this way of expression (and inspiration) are the brain's abilities: the head] while the second one is applied by artists-performers, for example, poets [their main source of this way of the artistic expression and inspiration are the capabilities of the heart: soul].

  • Unfortunately, in modern contemporary (understanding of) art, it is very difficult to make a clear distinction between these two kinds of performers, as a further consequence of the supremacy of reason compared to the mind, whose a by-product is also vulgarisation of the artistic way of expression. As, an example, just observe what kind of art [scenes of destruction, killing, vulgarity, art without showing human (positive) feelings, emotions, compassion...] in these present-days makes people delighted, to laugh.... Keep in mind, in a healthy society the role of the art (in co-acting with the culture, philosophy, science) is exactly the nurturing and cultivation of human (positive) feelings, emotions, COMPASSION...., accordingly, cultivation dia evoking the two typical human senses: the sixth sense (the sense of presentiment: intuition) and the seventh sense [emotively emotional sense DIA the feeling of thyself]. Be aware that despite the fact that the (spatial) literacy rate was increasing during the passage of time, the use of skills and capabilities learned (such as reading, for example) decreased drastically. This clear trend and tendencies have been further enhanced in the Age of IT (by the use of the internet platform for communication). As a result of this modern contemporary approach to the art, culture, philosophy, science, the people less and less SELF-reading something [that is, using and continuing to develop (dia employing) the capabilities of the dialect mind] but rather they watch and listen to what others say.

  • By going back to the main topic under creative consideration, by watching dia listening to others, it is even more difficult to learn a poem by this external way of implementation of the “learning by rote” because it also needs to be overcome the spatial (dia related time) distance that separates thy medium-mind dia reason from the much more active medium-mind dia reason of another person. In short, as the gap between these two mediums of space (mind dia reason ) dia related time-medium (emotive emotional dia physical presence) is larger, as it is more difficult to learn a poem by rote (to memorize it). In an ideal case, the best option for accomplishing this task understood in terms of overcoming of these dialectical distances, is that another (external) person is someone whom thou liketh and loveth (thy parent, brother, sister, girlfriend, boyfriend.... idol) so thou hast a feeling you are not two persons but one (shared created medium). That's why it is easier to learn by heart a song compared to a poem (which is much more drained of feelings and emotions) because at singing there are required (at least) three human senses (of hearing, seeing, feeling) instead of just two of them, that is, there were more used faculties of the dialect-mind compared to the superficial abilities of the dialect-reason to remember and memorize it.

  • Well, now thou art ready to understand why it is often seen and reinterpreted in thy medium-mind dia reason, what thou liketh to see (the desired inner "reality" that thou would like to externalize) instead of seeing what is really going on in the external reality. For example, probably, everyone of you (the writer of this creative article, too) experienced that it is often seen what thou wouldst liketh to be expressed in words, and not what was actually written: the well-known issues of externalization of the time in space (NOW AND THERE) into space in time (NOW AND HERE). Besides, sometimes, no matter how many times this external(ized) dialectical content has been read, it will not be perceived what was written but every time what is wanted to be said. It can go so far that the only way to realize it is to re-read it after a (longer period of) time. In other words, because human beings are not computers, which can simply be turned off-on in order to be deleted the memorized dialectical content in the “central” memory by dialect-reason, it takes time to be done it. But in this case, the key question is, what is the real cause of this (effect)? In short, the much stronger (INNER) emotive-emotional presence of thy desired creative content with deep roots in the dialect-mind simply overwrites each time the (physical presence of the) reread external content by the dialect-reason, and for this reason, each external content is a much more dialectically remote, seen from the perspective of the required time DIA space for the overcoming of this dialectical distance. This also explains why it is so hard to perceive a mis-coded (trivial) error while doing computer programming, that is, as more it trivial is, as it is harder to perceive it (a nightmare that every programmer experiences). Apart from the previously explained way to solve it, there is also a much faster way to detect this type of error (oversight-lapses). Simply, ask a fellow-programmer to do it (another outside mind dia reason) instead of the afore-mentioned highly time-consuming (dia space: spirit, mind dia reason, matter) way and approach (the ineffective use of the own mind dia reason).

  • To sum up all aforementioned, as more human senses are used as it is easier to learn a dialectical content by heart (by imprinting it into the heart and soul) as well as it will deeper be impressed in the medium-mind dia reason. On the other hand, it is much faster to revoke a freshly memorized dialectical content within the “central” memory of the dialect-reason than the same content saved in the memory of the dialect-mind for a long time ago because in this way is overpassed and avoided the re-reading of this dialectical content (depending on the bandwidth of these used media) from this long-run memory by the dialect-mind into the “central” memory by the dialect-reason. Probably it also has already been experienced by thee that it is sometimes infeasible to call back by dialect-reason a saved dialectical content in the long-term memory by dialect-mind, even though it is "on the top of the tongue” as well as I hope, it also can be felt what is the main cause of it. In other words, the great efforts are required to push back this spiritually encoded and compressed memory from the subconscious levels of the dialect-mind, by decoding and decompressing it in the physical sense (the dialect-matter) in order to put it back into the “central” memory by dialect-reason. This kind of the speech deficiency could be a result of sudden strong emotions, or simply thou art speechless and without right words to express what is seen: not believing what thy eyes see, either in the positive or negative meaning of this notion. In some cases, some areas of the dialect-mind are damaged to such a degree, for example, as a consequence of the experienced trauma, that а saved dialectical content is unrecoverable forever, or there is а need for a special treatment of it understood in terms of repair of this kind of the “hard disk”.

  • To shorten this long story, the dialect-mind is rooted much deeper in the insufficiently explored vastness of sub-consciousness while the seat of the dialect-reason is in the area of consciousness. Consequently, in the course of learning a dialectical content by heart (by impressing and memorizing it into the heart and soul: emphasizing the abilities of the dialect-mind) are incorporated into a much higher degree the abilities of the dialect-spirit understood in terms of the emotive-emotional presence of this dialectical content in thy mind dia reason, whereas the learning of a dialectical content by rote, loudly reading it (emphasizing the capabilities of the dialect-reason) is spiced and flavored in a substantial proportion by the dialect-matter understood in terms of physical presence of it. In other words, this medium of space, understood in terms of the dialectical interplay of mind dia reason, is a kind of interface, mediator, and interpreter between the more concrete (external) worlds of the dialect-matter and more abstract (inner) worlds of the dialect – spirit. In some (extreme) cases, a deeply engraved dialectical content in the memory of the time DIA space (unconsciousness), as a result of deep spiritual experiencing, penetrating and transferring it into its memorance and remembrance dia expressed by very strong experienced feelings and emotions, can be revived by the means of а retrospective recollection of it. These left impressions and imprints of the dialectics in time [the future, the emotive emotional dia physical presence, PAST] DIA space under normal circumstances are out of range and reach ("unconsciousness") of the dialects-mind of a living soul (dia its revival), but not in cases where the dialectic mind dia reason co-acts in а yoke with very rich repertoire and ways of manifesting the dialect-spirit, using this time also two typical human senses: the sense of the presentiment (intuition) and the emotive emotional sense dia the sense of feeling of self.

  • Moreover, the above-mentioned ability of the mind to overwrite a dialectical content in the “central” memory (to be seen what the mind wants to see) may be very useful in the course of a creative journey, that is, to be perceived imaginatively sensual "phonetic-picturesque" patterns: transferred impressions of the inner imprinted traces of a dialectical content in time DIA space (presented in a spiritual painting). Although, this could be seen as some kind of "accidental" counter-example of the above-mentioned mistake of overwriting and overlapping (and "speech defect" caused also by the dialect-mind), which can (theoretically) be seen in the form of an image by dialect-reason, this is not yet a process that can be controlled, understood in the sense that a contemporary human being has this ability. Regardless of this, it seems that the primordial human beings [inherited it from the mythical angels (sporadically also in the genetic sense as well)?] possessed this capability of using the dialect-mind (dia reason) like an interface, mediator, and interpreter between and among consciousness, sub-consciousness and these beyond understanding areas of unconsciousness, for this kind of (multi-way) communication on dialectically long distances of time DIA space. Unfortunately, this ability of the primordial mind dia appropriate reason has been becoming more and more sporadic over the passing of time AND space until it completely disappears, as an ultimate result of the extinction of the human(e) seed, in particular, in the genetic sense, as well as in mindual and spiritual meaning of this notion. In other words, the genetic seed of the fused mind-spirit dia the initiated process of further and further vulgarization of this primordial mind dia reason, as well as the subordination, suffocation and suppression of the dialect-spirit until complete disappearance of spiritual abilities, managed to occupy all available key-space DIA time in this earthly manifestation of the physical societal universe, where the physical societal universe is only a transitional phase and not the final stage of these initiated dia-processes. Summarizing all the aforementioned, the considered depth of the manifested abilities by the dialect-mind should be understood in the sense of primacy (giving priority) and not in terms of supremacy. In particular, the greater importance of the dialect-mind comes to the fore during the process of creation of new knowledge, or in every kind of human activities where creativity, feelings, compassion.... is to be shown. On the other hand, where the modern contemporary understanding of intelligence should be manifested, as well as in acting where is necessary to suppress the prick of conscience, the [superficial imprint of it into consciousness by] dialect-reason is much more convenient and appropriate for this [compared to the much deeper and longer-lasting imprinting of this content into the subconsciousness by dialect-mind] . But the real power of this medium of space, however, lies in a finely tuned dialectical interplay of the dialect-mind dia reason in co-acting with other dialects of this dialectical understanding of time DIA space.

When this dialectical content under creative consideration is out of the realm of time in space, it begins the process of reconsideration and reexamination of it over and over, understood in the sense of verifying whether it in accordance with the (living) reality (space in time) is, by reflecting it through the prism of the great pyramid of philosophy, science, culture, and art DIA a further successive carrying out of the previously-explained creative voyages through this dialectical understanding of time DIA space. In this way, in accordance with the developed dialectic interactive approach, as a result of this unleashing of the dialect - spirit has already been again initiated an additional dialectical interactive process of synthesising this dialectical interactively creative content (the conception of the emotively emotional DIA mental intellect) by the spiritually revived partakers, who use this dialectical creative framework for the orientation in time DIA space, as a counterpart to those (spiritually deadened partakers: creatively impotent), who use the rectilinear creative framework of the fused mind-spirit for the orientation in space and time (past ⇢ present ⇢ future).


Go to Top


OR

READ the Next Chapter of this Creative Article: Milestones of the Dialectical Creatively Interactive Way of Creating Knowledge