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 Dialectic Interactive Approach: The Methodological Creative Framework

Dialectics of Dialectics DIA Negations of Negations

The Unity and Exerting of Dialectical Tensions in Time DIA Space

DIA

The Four Primary DIA Proto Paradigmatic Presumptions of the Dialectic Interactive Approach

Dialectic Interactive Approach

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

In the ancient symbolism, the dialects fire [sun(lights)], water (cloud), air (wind) and earth (slided mud), through their dialectical interplay in time DIA space, intertwine, pervade and make consisting part of each of other. In the dialectic interactive approach, READ: "The Dialectic Interactive Approach", that is based on this pre-ancient revivified knowledge DIA wisdom, these four dialects also present its Primary DIA Proto dialectical paradigmatic methodological presumptions ("paradigmatic methodological presumptions "). Perceive that the dialectical interplay of these four SYMBOLICAL pre-ancient dialects take place within a PICTURESQUE geometrical rectangle (square), whose image was imprinted DIA impressed in the ground plan of Cheops' (Khufu’s) pyramid. In practical sense, a rectangle or square had been divided by diagonal cross (crosswise) in the four triangles, in which then were placed these four pre-ancient dialects. Different combinations of these four basic dialects in time DIA space, that is, depending on within which creative module of the dialectical framework for orientation in the eternity of times DIA infinity of spaces they were placed, will result with different presentation DIA interpretation of this dialectical creative content under consideration (creative upshot).


Pay also your attention that in the dialectical creative framework for orientation in the eternity of times DIA infinity of spaces, after it had been divided by diagonal cross in four triangles, were placed these four pre-ancient substances (dialects), and then this methodological construction (of reality) is divided by a cross in four rectangles (quadrats), as a kind of dialectical (inter)ground-layer for the "Fundamental DIA Simulative methodological (philosophical, cultural, artistic and scientific) presumptions DIA assumptions" of the dialectical interactive content under consideration that already by its definition makes dialectical tensions between and among them in time DIA space. In this way, it was refreshed and regenerated dialectical content of each of them, understood in terms of the generating of numerous and heterogeneous dialects in time DIA space [in different forms of manifestating], consisting in various proportions of each of them, where for example, their more dynamic properties, sun(light)s, cloud, wind, and slided mud were used in the first place as SYMBOLS of this dynamic phenomenon, and from this reason this dialectical (creatively) interactive content should be understood in this (symbolic) way (of thinking). READ: "Introduction into Dialectic Interactive Approach". In other words, it was used as some kind of linguistic "pictographic script" for an advanced way of the CREATIVELY INTERACTIVE communication in TIME [future, emotively emotional dia physical presence, past] DIA SPACE [spirit, mind dia reason, matter] during the process of creating knowledge.

  FOUR SIMULATIVE (MODELABLE) PRE-ANCIENT WAYS THAT LEADS TO DISCOVERY UNKNOWN IN TIME DIA SPACE:

Culture DIA Religion

The Background Simulative Methodological Assumptions of the Dialectic Interactive Approach

By the modern language, based on the left traces and imprints of this dialectical content in time DIA space these, four ways which lead to the discovery of unknown, might be uttered as the creatively interactive dialects of PHILOSOPHY, CULTURE, ART and SCIENCE (READ: "Culture DIA Religion") . Following the principles of this pre-ancient approach, some dialectical interactive content under consideration would be put into one of these four simulative modules (dialects), to which it was the closest by its creative content. After that, this creative dialectical- content would be considered in (terms of) time DIA space from these four (tri)angles DIA dialectically contradicted with each of them DIA with each other, driven by the creator’s intentionality DIA interactivity of these dialects, embracing DIA extraction in that way the related intertwined DIA pervaded (inter)dependency between and among them, to be brought into being the acquired (self-)awareness of this dialectical interactively creative content, that will be imprinted at the very end of this dialectical creative process as (interactively creative) drops of knowledge into her/his creative work. In dialectical interactive approach that is based on this pre-ancient revivified knowledge DIA wisdom these four dialects present and interpret its FUNDAMENTAL DIA SIMULATIVE methodological presumptions DIA assumptions ("the background simulative assumptions"). In practical sense, these four simulative dialects were placed in the (simulative) layer-modules of the dialectical creative framework for orientation in the eternity of times DIA infinity of spaces, separated DIA divided by cross (+) from each other.

Culture DIA Religion

Source: "Traces of Dialectics in Time DIA space – Methodology for Creating Knowledge, Jovanović, 2001"


In short, concluding this initiated dialectical process, on this way was re-implemented a much broader framework for the creative orientation in the eternity of times DIA infinity of spaces of worlds of dialectics, including also the potentially very useful ROLE of art, philosophy and culture, understood in terms of the implementation of them in creative purposes, instead of the solo-implementation of the existing scientific findings and (encyclopaedic) knowledge. This method is very useful, particularly when it deals with such strange, mysterious and unknowable dialectical contents, because the (well-known) cultural treasure of humanity provides the needed (too neglected) wisdom of gone times (dialect - past), as well as the afore mentioned abilities of HUMANS (of this already remote past) to retrospectively recollect the impressed and imprinted traces and patterns of thoughts in the memory of time DIA space. On the other hand, linguistic dialects of the art and philosophy provide the necessary ELASTICITY during the creative process of creating (new) knowledge, compared to the rigidity of scientific (methodologischen) Approach, which is also unavoidable in the course of creative pursuing such imaginative, vague and ghostly goals. Keep in mind, within these vast creative expanses, there are no SCIENTIFICALLY established points (written sources, archaeological findings and the like) for an easier orientation in this (inner) eternity of times DIA infinity of spaces of the worlds of dialectics.

  FOUR ULTIMATE DIA PROBABLE METHODOLOGICAL DIALECTS:

The Methodological Creative Framework

The Ultimate DIA Probable Methodological Presumptions of the Dialectic Interactive Approach


These four methodological dialects are directly based on the postulates of the dialectical creative framework for orientation in the eternity of times DIA infinity of spaces, allowing creative travelling within it until were reached ultimate boundaries of time in space DIA space in time, understood in terms of travelling BEHIND and BEYOND the spotted challenge in time DIA space that is under creative consideration. READ, "Dialectic Interactive Approach: Dialectical Comprehending the Time DIA Space". These ultimate methodological presumptions are from decisive significance in terms of determining the (ultimate) destiny of the successful prevailing the spotted challenge in time DIA space, and from this reason they are also called the probable presumptions, that is, they determine what will be the ultimate outcome of the undertaken creative travelling in time DIA space. From these reasons they are also continually re-examined DIA tested in sense of the implementation (in the practice) DIA creative interplay of the previously specified four simulative methodological presumptions. In the dialectic interactive approach these four dialects are defined as it follows:

  • Ultimate DIA Probable Methodological Presumptions in terms of Spirit DIA Mind,
  • Ultimate DIA Probable Methodological Presumptions in terms of Matter DIA Mind,
  • Ultimate DIA Probable Methodological Presumptions in terms of Future DIA Presence,
  • Ultimate DIA Probable Methodological Presumptions interms of Past DIA Presence.

Source: "Traces of Dialectics in Time DIA space – Methodology for Creating Knowledge, Jovanović, 2001"

Dialectics of Dialectics DIA Negations of Negations

The Unity and Exerting of Dialectical Tensions in Time DIA Space

DIA

The Four Primary DIA Proto Paradigmatic Presumptions of the Dialectic Interactive Approach


Dialectically synthesising this methodological creatively interactive content, it's worth to be emphasised that only in the proposed dialectical creative framework DIA interplay of the consisting dialects of the ultimate and simulative methodological presumptions DIA assumptions in terms of the proper dosing primary DIA proto dialectical paradigmatic presumptions in time DIA space, can be successfully prevailed the spotted challenge in time DIA space. It was achieved by creatively attacking it without flinching from each of these dialects, both separately taken and in a team, that is, by successively teaming these Dialects. But if it has been not managed to get out with both knowledge and accumulated awareness from this unsolvable creative loop or more precise said "from this creative darkened hole", try to place the simulative methodological dialects in a different way, thereby recollecting DIA using just the acquired awareness from this unsuccessful creative journey.


Sometimes it is necessary to be done the so-called paradigmatic shift of the way of thinking, no matter how it has been unpleasant DIA difficult to get rid of the accustomed (adopted) way of thinking. But for a successful achievement of the set (methodological) goal has to be used the all available DIA creatively accessible means. At the very end, from this reason exist these primary DIA proto PARADIGMATIC methodological presumptions, allowing thou "to warm them up, to cool them down, to make them wet, watered, dry, dilute, to scatter them by blowing up, to make them firmly, to form them", ....., that is, to do symbolically all what you want in creative sense with any dialectical creatively interactive content under consideration. And just due to these specified properties it has been occupied by them this respectful proto DIA primary position in the developed dialectic interactive approach.

 PARADIGMATIC SHIFT OF THE WAY OF THINKING:

Dialectics of Dialectics DIA Negations of Negations

The Four Primary DIA Proto Paradigmatic Presumptions of the Dialectic Interactive Approach

DIA

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

DIA

Culture DIA Religion

The Background Simulative Methodological Assumptions of the Dialectic Interactive Approach


In accordance with principles of this pre-ancient knowledge, understood in terms of wisdom (of dialectics), if you place a harder substance (dialect), as it is "earth (mud)" or a less hard substance, as it is methodological dialect "water (cloud)" in the creative module (triangle), reserved for the symbolically uttered dialect "spirit" within the dialect space ("dimension") and within the triangle "future" of the time dialect, and the softer substances (dialects), as it is methodological dialects the "fire (sunlight)" and the "air (wind)", in the spatial creative module (triangle) reserved for the "matter" and in the creative triangle "past" within the dialect time ("dimension"), after again undertaking the corresponding creative trips in this constelation of the primary DIA proto dialectical paradigmatic presumptions in the time DIA space

  • [recall, in the dialectic interactive approach by these four primary DIA proto dialects is also presented the first dialectical principle, property and manifesting in time DIA space],


the creative upshot, work ... will be reinterpreted and presented in an another (new DIA renewed) way. In short, it might be just it thou should do in order to satisfy in this chosen methodological way the set out creative objectives. From this dialektical content, it is easy to conclude, to thou have been left a freedom to use all available DIA creatively accessible in time DIA space methodological means of this dialectical approach.


Or perhaps you had been already set your primary DIA proto methodological presumptions DIA assumptions in that way, being the reason DIA cause for the unsuccessful prevailing of the diagnosed challenge in time DIA space. In addition to this, do not forget to try to adapt, using the fine tuning in terms of the replacement of the dialectical (inter)ground - layer (perhaps their positions as well) in accordance to the fundamental DIA simulative methodological (philosophic, cultural, artistic and scientific) presumptions DIA assumptions of the dialectic interactive approach, within modules of the dialectical creative framework for orientation in eternity of times DIA infinity of spaces. The purpose of this change of the existing way of thinking is achievement even more qualitatively creative ending upshot, as a final result of the undertaken creative travelling within this renewed DIA redefined dialectical methodological creative framework. In any case this started "HIGH SCHOOL OF" THE DIALECTICS DIA dialectical interactive approach has not still been ended, but rather the creative methodological fire just blazed up! And this PICTURESQUE WAY of the revivifying this complex methodological content, as the major feature that distinguish the dialectic interactive approach from other methodological approaches, continues in the following creative articles too.


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