SECRETS OF THE FOUR ELEMENTS: The Unity and Overstraining Dialectical Tensions in Time DIA Space

DIA

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

This creative article presents the Methodological Creative Framework of the Dialectical Interactive Approach based on the revealed secrets of the Ancient Four Elements, which were part of the hidden knowledge. Unlike the non-initiated antique Greek philosophers into this hidden ancient knowledge, whose interpretation of the real meaning and full point of these four elements ( Fire, Water, Air, Earth ) was based on rumors ('heard-said'), this application of the four elements for methodological purposes of solving perceived creative challenges in social and life reality using an appropriate dialectical method, was inspired by deciphering Plato's enigmatic story: Timaeus. It follows from this that only Plato, unlike other Greek philosophers, was initiated and instructed in the basic secrets of Egyptian hidden knowledge [he attended the Elementary School of Dialectics, for sure]. In ancient times, these four elements ( fire, water, air, earth ) were used as a starting point for formulating a methodological creative framework for solving creative challenges of the unknown in time DIA space. In short, their bright side in terms of their constructive ability to transform the non-existent into the existing, to revive and renew in cooperation with each other was utilized for creative purposes. In other words, this positive symbolic meaning and role of theirs was embedded

• [and not their perceived literal manifestations in the reality of life, as understood by the non-initiated antique Greek philosophers into this hidden ancient knowledge]

in this methodological creative framework for creating new knowledge, or for the renewal and improvement of existing knowledge. According to Plato: "These four elements pass on to one another, as it would seem, in an unbroken circle (cycles: spiral) the gift of birth (to each other)". In other words, by the dialectical interplay of the dialects fire [sun(light)], water (cloud), air (wind), and earth (landslide) in time DIA space, where the sunlight, cloud, wind, and landslide [lava eruptions or sliding down of earth] symbolize their dynamic properties, these four elements are renewed and manifested in appropriate dialectical forms because they permeate, complement, cooperate and give full meaning to each other.

A FOUR-TRIANGULAR STAR: Potentially REGENERATION Prolific Star, by words of Plato

This Ground Plan, based on the Four Elements of this Four-Triangular Star, was eternalized by building the Pyramid of Cheops in Egypt

In the dialectic interactive approach, which is actually based on this revived hidden knowledge, these four dialects were embedded in this methodological approach as its primary DIA proto dialectical paradigmatic methodological presumptions ("paradigmatic methodological presumptions ") because it was observed in ancient times that when the essential properties of any three elements are adequately arranged in a triad (3) and act in cooperation with each other, the fourth element results as the end result of this manifested unity and their oneness (1). To cut this long story short, this feature of the ancient elements - earth, fire, water, air, after their dialectical interplay of each with each other has initiated, understood in the symbolic sense of their innate capability of transferring to one another the gift of birth, was utilized for development of the appropriate methodical procedures and techniques of this dialectical method. Then this dialectical method has been applied for the methodological monitoring, consideration, and review of corresponding initiated creatively-interactive knowledge creation processes, the result of which is the birth of a new knowledge, or renewal of the existing knowledge. In addition to this, using these four elements properly arranged in the triad (3) DIA one (1: the subject under consideration or the knowledge being created), the emergence (coming into being) of a new knowledge, as well as the corresponding intertwined dialectical processes that are an integral part of this creative challenge of the time, in time DIA space, is much easier to understand and to follow.

Pay your attention that the dialectical interplay of these four pre-ancient elements, understood in the SYMBOLIC sense, takes place within a pictorial and PICTURESQUE rectangle (square), the image of which was imprinted and impressed in the ground plan of Cheops' pyramid (Khufu’s). By the way, on the basis of rumors and speculations about the role of the floor plan of this pyramid (its "fifth" side), those who were not familiar with this hidden knowledge, Aristotle (as well as in the written sources of the Far Eastern culture) called it the FIFTH ELEMENT ( ether ). But taking into account the fact that on the ground plan of this pyramid, the dialectical processes of the standard manifestation of the ether concept take place, as well as the further interactive action, refinement, and enrichment of the four basic elements (fire, water, air, earth) on a new, preferably at a higher level of time DIA space (the layer of this pyramid of time and space), they cannot be qualitatively equated with this "fifth" element (ground plan: the ground sketch of the pyramid). In other words, this is about a (HIGHER) SUPER-ELEMENT (over-element). For additional information related to the ancient understanding of the concept - ether, read the creative article: Conception of Ether in Ancient Hidden Knowledge. For the formulation of the aforementioned methodological creative framework, a rectangle or a square was divided by using the diagonal cross (X: crosswise) in four triangles, in which these four ancient dialects ( fire, water, air, earth ) were then placed. Thereafter appropriate combinations of these four elements were used for the symbolical representation of the creative challenge in time DIA space. In other words, they were used for the methodological formulation of the identified problem [the creative challenge in time DIA space] by re-arranging this quartet into a triad of fire, water, and air DIA their unity and oneness (1 - element-earth: the subject under creative consideration). Depending on how properly within the dialectical framework for orientation in the eternity of times DIA infinity of spaces they were arranged in this methodological triad according to their shared qualities or characteristics, will result in different interpretations of the dialectical content under creative consideration (different creative outcome). More about this theme will be said later on.

secrets of the ancient four elements: Abstract Methodological Creative Framework of the Dialectical Interactive Approach

In order to understand and properly resolve the paradoxes, phenomena, illusions, and challenges of linear and rectilinear space and time (past ⇢ present ⇢ future), this understanding of space and time has been redefined in these creative articles using the main postulates of this revived pre-ancient knowledge. The result of this dialectical redefinition of time and space are its four Key Concepts, expressed with two paired dialects: Time in Space ⇄ Space in Time DIA Medium of Time ⇄ Medium of Space, which actually fill, elaborate and explain various interactively-creative contents of this Dialectical Creative Framework for Orientation in this Eternity of Times DIA Infinity of Spaces. In this way using precisely this dialectical understanding of time and space, an Abstract Methodological Creative Framework for a methodically pictorial formulation of the identified problem [creative challenge] also emerged. Pay attention to this interplay between a quartet of abstract paired dialects (fire, earth, air, water) with something more concrete, in this case with a quartet of paired key concept-dialects of the dialectical conception of time and space. This interplay of a quartet of abstract and concrete paired dialects is a basic feature and property of this Methodological Creative Framework. Another common feature and procedure of this Methodological Creative Framework of the Dialectical Interactive Approach is the qualitative reduction of this quartet (4) to paired triads (3) of concrete and abstract dialects, understood in terms of their unity and oneness (1).

Abstract Methodological Creative Framework of the Dialectical Interactive Approach: Four Key Concepts of the Dialectical Understanding of Time and Space, expressed through its Two Paired Dialects: Time in Space ⇄ Space in Time DIA Medium of Time ⇄ Medium of Space

The identified problem, ie some specific creative challenge, which is under creative consideration or re-examination, is USUALLY associated, connected, and qualitatively reduced in terms of Space in Time (here and now), which is abstractly symbolically represented by the ancient element-earth. In other words, in this methodological context, the element-earth is used as a single symbol and creative dialect, which in fact represents continuous testing and verification of thy creative outcome in a particular earthly scenario of the considered time interval DIA appropriate situation in space. Or to put it more simply, the feasibility of thy (creative) ideas and intentions (Time in Space) is continually tested and checked in work, business, or life reality (Space in Time), which in the methodological sense is expressed and presented as unity and oneness (1) of the other 3 abstract ancient elements (fire, air, water) paired with three matching concrete dialects (key-concepts). Within this Abstract Creative Framework for Orientation in the Dialectical Understanding of Time and Space, the current creative challenge of Time in Space is considered in the medium of space (mind dia reason), understood in terms of thy physical presence (here), by undertaking an appropriate creative journey through this dialectical understanding of space and time using thy emotively emotional presence (medium of time) in these inner dialectical worlds of the unknown and hidden (there), qualitatively reducing and transforming this abstract content into some concrete creative content of Space in Time [matter embedded in the past: here and now].

general methodical creative framework of the Dialectical Interactive Approach

Because these ancient four elements (fire, earth, air, water) also represent the first basic dialectical principle, property, and manifestation of time, in time DIA space, the dialectical interaction of a quartet of abstract and concrete elements, understood in terms of the creative interplay of their paired dialectical triads of this dialectical content under creative consideration [1 - abstract element EARTH ⇄ in concrete Space in Time] is ready to initiate appropriate dialectical processes. For an even more consistent monitoring and creative re-examination of the initiated dia-processes that take place within this Abstract Creative Framework (for knowledge creation), understood in terms of even better agreement of the creative result [subject under consideration: element - EARTH] with requirements of the considered reality (Space in Time), that is, its feasibility, it is necessary to expand this creative methodological framework with the introduction of even more concrete creative orientation points in these endless worlds of dialectic.

For this reason, a dialectical intermediate layer of paired quartets of concrete and abstract inter-dialects has been added to this Abstract Methodological Creative Framework for easier and better orientation in these unknown and creatively insufficiently researched worlds of dialectics. In other words, the Four Fundamental Simulation Methodological [1) philosophical, 2) cultural, 3) artistic and 4) scientific] Settings in cooperation with the Four Ultimate or Probable Methodological Assumptions of the Dialectical Interactive Approach were used to consider and re-examine this dialectical interactive content under creative consideration, placing them in the four rectangles of this Abstract Creative Framework (for creating knowledge), separated by a cross (+). In this way, the Abstract Methodological Creative Framework has been refined and upgraded into a General Methodical Creative Framework for creating knowledge or for conducting creative discussion, based on these general guidelines and methodological background settings of the dialectical interactive approach. Intentionality is used in this context in terms of the ability of key actors to create the desired reality by applying created knowledge, that is, to implement these hidden, inner intentions of (key) actors of Time in Space (NOW and THERE) into the outer worlds of Space in Time (HERE and NOW), while formulating and defining key concepts (notions) is the next stage in the development of this Methodological Creative Framework of dialectical creatively interactive approach.

  contemporary simulators (modelers) of four ancient paths that lead to the discovery of the unknown in time dia space

Dialectical Creative Framework for Orientation in the Eternity of Times DIA Infinity of Spaces
Source: Proposal for a Potential Ph.D. Dissertation at the Copenhagen Business School, Denmark: "Netmode – the Strategy for 21st Century – Dialectic Interactive Approach, Jovanović, 1999"

On the basis of the traces left by this imprinted dialectical content into the time DIA space, it can be concluded that in ancient times there were four main creative paths and ways that lead to the discovery of the unknown in the considered time interval DIA appropriate coverage of space (spirit, mind dia reason, matter). Translating this dialectical content into a contemporary way of expression, these creative paths and means are in fact ancient synonyms for creatively interactive dialects: PHILOSOPHY, CULTURE, ART, SCIENCE. [READ: "Culture DIA Religion"]. After these four elements ( fire, water, air, earth ) were placed inside this methodological framework of the dialectical creative framework for the orientation in an eternity of times DIA infinity of spaces bounded by a diagonal cross (X), the "four fundamental simulative methodological (philosophical, cultural, artistic and scientific) assumptions" of this dialectical interactive content under creative consideration are put in its four rectangles separated by a cross (+) from each other, as a kind of the dialectical inter-layer of this General Creative Methodological Framework. On this way, by placing these four real dialectical contents into this abstract methodological creative framework have additionally been overstrained the dialectical tensions between and among these four elements ( fire, water, air, earth ) very prone to interactively-creative change their existing forms into some other aspect of their mutual manifestation. Or put it in another way, by adding additional four dialects [culture, art, philosophy, science], this methodological creative framework is ready for the initiation of a multitude of the interactively-creative dialectical processes (dia-processes), that is, for transition and transformation of these dialects in various forms of the star-like figures (stars), which pictorially represent particular worlds of dialectics, shown at various stages of dialectical development. As a result of all this, the presented dialectical interactive approach is a unique methodological approach, just because of its pictorial linguistic approach, which enables that this very complex methodological content is relatively quickly adopted and understood without the use of too many supporting words. In other words, these four elements were used as some kind of the 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 initiated dia-process of the knowledge creation.

The Background Simulation Settings of the Dialectic Interactive Approach

Following the basic principles of this pre-ancient approach, a dialectical interactive content under creative consideration would be divided, summarized, and arranged in four creative dialects according to their shared philosophical, cultural, artistic, and scientific peculiarities, properties or attributes by classifying and putting them into these four simulative modules. After that, this creative dialectical content would additionally be considered in time DIA space from these four angles of philosophy, culture, art, science, understood in the sense of dialectically contradicting them with each other, as well as regrouping and reclassifying as needed the dialectical content, which has already been contained in these four creative dialects of the topic under creative consideration, driven by the creator’s intentionality to extract in that way the (interactively creative) drops of knowledge in order to embed them in the creative result of this dialectical content under creative consideration. For this reason, in the dialectical interactive approach, based on this revived hidden knowledge, these four creative modules present the four FUNDAMENTAL SIMULATIVE methodological assumptions ("the background simulative settings") of this methodological approach, in the background of which all the creative outcomes of the started dia-processes are creatively considered, processed and checked. In other words, during the process of knowledge creation, these four simulative modules [culture, art, philosophy, science] were used as general guiding lights powered from these methodological background settings of the dialectical interactive approach for the re-examination and simulation of various creative scenarios in time DIA the appropriate situation in the considered scope of space [spirit, mind dia reason, matter].

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

In short, concluding this initiated dialectical process, a much broader methodological framework for the creative orientation in the eternity of times DIA infinity of spaces of worlds of dialectics was elaborated and introduced including also the potentially very useful ROLE of the art, philosophy, and culture, understood in terms of their interactive application for creative purposes, instead of solo-applying each of them in an “OR-OR” sense during the knowledge creation process. In other words, all accumulated knowledge in the past within the realm of culture, philosophy, art, and science can be reused by dialectically contradicting and contrasting them with each other in TIME DIA SPACE using the previously demonstrated methodic procedure. This method is very useful, particularly when it comes to such strange, mysterious, and unknown 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 abilities of HUMANS (of this already remote past) to retrospectively recollect and revive the impressed and imprinted traces of the already forgotten thoughts in the memory of time DIA space. On the other hand, linguistic dialects of art and philosophy provide the necessary ELASTICITY during the creative process of creating (new) knowledge, compared to the rigidity of the contemporary scientific (methodological) approaches, what is also necessary during the creative pursuit of such imaginative, vague and ghostly targets and objectives. Keep in mind, there are no SCIENTIFICLY established points (written sources, archeological sites, etc.) in these endless creative vastnesses for easier orientation in this (inner) eternity of times DIA infinity of spaces of the worlds of dialectics.

  four ultimate or probable methodological assumptions of the dialectical interactive approach

The Ultimate DIA Probable Methodological Presumptions of the Dialectic Interactive Approach

These Four Ultimate or Probable Methodological Assumptions of this dialectical method are based on the postulates of the dialectical creative framework for orientation in the eternity of times DIA infinity of spaces, enabling creative travelling within it until the extreme limits of the considered creative challenge of time in space [future hidden in the dialect - spirit: now and there] DIA-space in time [the matter embedded into past: here and now] are reached, understood in terms of creative traveling BEHIND and BEYOND the perceived creative challenge of the subject under creative consideration in the medium of time (emotively emotional presence dia physical presence) DIA the corresponding spatial medium (mind dia reason). READ, "Dialectic Interactive Approach: Dialectical Comprehending the Time DIA Space". These ultimate methodological presumptions are from decisive importance for finding a successful solution of the considered creative challenge in time DIA space, and for this reason, they are also called the probable presumptions because the creative result is also continually re-considered and re-examined from the point of view of common sense. In other words, they in interaction with the three basic dialectical principles, aspects, properties, and manifestations of the time DIA space, especially in interaction with the second basic dialectical principle, determine what is likely to be the end result of the initiated dia-processes in time DIA space. In the dialectical interactive methodological approach, these four dialects are defined as follows:

• Ultimate DIA Probable Methodological Presumptions understood in terms of Spirit DIA Mind dia Reason,
  
• Ultimate DIA Probable Methodological Presumptions understood in terms of Matter DIA Mind dia Reason,
  
• Ultimate DIA Probable Methodological Presumptions understood in terms of Future DIA Emotively Emotional Creative Presence,
  
• Ultimate DIA Probable Methodological Presumptions understood in terms of Past DIA Proactive and Active Physical Presence.
  
• These Four Ultimates or Probable Methodological Assumptions of the Dialectical Interactive Approach should be defined and determined in more detail with four key-notions (concepts) which will summarize the essence of the creative challenge of time DIA appropriate space (identified problem) in the most credible way. More about that will be said in the next phase of the development of this dialectical method.

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

By the following illustration is presentated the creative work: "Netmode - Strategy for the 21st Century - Dialectic Interactive Approach ", (Jovanović, 1999), seen from the perspective of this dialectic method, understood in the sense of application of the previously explained methodological creative framework and its basic principles. In this potential P.H. Dissertation at the Copenhagen Business School, Denmark (year, 1999), neither God, or citations of the Holy Books and Scripture were mentioned nor the (creative) freedoms, the established system of natiocracy based on the 'natural selection' .... of theirs were criticized. The only term or abstract notion which catches the eye is the dialect-SPIRIT, which was used to redefine the existing understanding of time and space.

• In this methodological context, the dialect-spirit was used in a metaphysical and figurative sense to refer to the unknown, enigmatic, invisible (external and) internal (non-physical) spaces of the megadialect - space, understood in terms of Time in Space (Now and There), that is, future hidden in the dialect - spirit (spiritual spaces). In other words, these hidden spiritual dialectical contents are still unknown, invisible and inconceivable to the five basic senses, but can potentially be manifested in the external worlds of matter (Space in Time: Here and Now).

This dialectical way of understanding the time DIA space in full compliance with this methodological approach (dialectic interactive approach), in fact, complements and supplements the Newton's and Einstein's understanding of space and time. READ: Dialectical Conception of Time DIA Space. But it seems, this was too much to the members of the study committee for the selection of competent (ideologically suitable) candidates to reject this potential P.H. Dissertation. For a deeper insight into this already distant time DIA space, READ: An Introduction to the Dialectic Interactive Approach.

• If someone asked me, what knowledge is, my short answer would be, it is about SPIRIT, MIND DIA REASON, MATTER creatively-dialectically synthesized and then placed at the right time (Jovanović, 1999). Since the right timing [when something should be done, created, or made available to others (launched)] depends on the level of achieved development of the consciousness of the inhabitants in that social, philosophical, cultural, artistic, and scientific environment, which is always in line with the relation between the good and evil in that particular society, manifested by the recognizable human pang of CONSCIENCE, this creator of knowledge gives precedence to acquired wisdom over created knowledge. In short, always give up the temporary in favor of something longer-lasting. In other words, knowledge possesses a relatively short-lived force and power in some particular interval of time DIA the appropriate scope of space (copy), while wisdom draws its strength and might from the heavenly sources of eternity DIA infinity (eternal role model). For more information, READ: Mysterious Puzzle of Time and Space: In the Wisdom is Hidden Real Might.

On the other hand, while writing the creative work "Traces of Dialectics in Time DIA space – Methodology for knowledge creation" (year, 2001), there were no "scientific" shackles (restrictions), that is, this creative work was not written for a scientific institution, what requires fulfilling rigid scientific requirements instead of creative ones. For further information related to this way of knowledge creation, read the creative article: Milestones of the Dialectical Creatively Interactive Way of Knowledge Creation.

Master's Thesis: Internationalisation Strategy for Virtual Software Companies - A Network Approach, Aalborg University, Denmark, Jovanović, 1997

After this digression from the main topic under creative consideration, the right moment is to show how the Background Simulative Methodological Settings can be implemented in cooperation with the Four Ultimate or Probable Methodological Assumptions of the Dialectic Interactive Approach for solving the creative challenge of the development of a business model (Netmodal Management Model), which was main topic under creative consideration in my Master's Thesis. In short, this dialectical content under creative consideration was divided and arranged in four creative dialects according to their shared philosophical, cultural, artistic, and scientific peculiarities, properties or attributes by classifying and putting them into these four simulative modules. The result of this applied metodic procedure were four net modules: Relationship Net-module, Position Net-module, Structure Net-module, and Process Net-module. As it will be shown in the following part of this creative article, the starting point in this developed dialectic method is the formation of a dialectical triad of (3) related key-notions of the subject under creative consideration,

• the quinteessence of the creative challenge of considered reality (of the network building, in this particular case): its summarization and expression in three words.
• Because the creation of the Netmodal Management Model was based on the network approach [Haakansson & Johanson, 1986], the main postulates of which are actors, activities, and resources, this considerably facilitates to determine the KEY-ACTORS with the appropriate KEY-ACTIVITIES and KEY-RESORCES for building the key-relationships, which are the main building block of the simulated Relationship Net-module.
• In the similar way were also formulated the other three simulated net-modules applying the The Fundamental Simulative Methodological Assumptions in creative interaction with The Ultimate DIA Probable Methodological Presumptions of the Dialectic Interactive Approach using thy abilities of common sense.

After that, this creative dialectical content was additionally considered in time DIA space from these four angles of philosophy, culture, art, science, by regrouping and reclassifying the creative content of these four net-modules as needed by application of the appropriate Ultimate or Probable Methodical Presumptions of this revived methodological approach based on the abilities of deep insight and acumen of human common sense. More about this will be said later after the completion of this methodological creative framework with other methodical procedures and techniques of this applied dialectic method.

completion of the dialectical method

Following the basic principles of this ancient approach, the dialectical interactive content under consideration would be divided, summarized, and arranged into four creative dialects according to their common philosophical, cultural, artistic, and scientific features, properties or attributes, by re-classifying and placing this creative content in these four simulation modules. These philosophical, cultural, artistic, and scientific orientation points in the eternity of times DIA infinity of spaces in cooperation with the appropriate constellation of ultimate or probable assumptions of this dialectical method significantly facilitate creative journeys within this methodological creative framework in order to reach the extreme limits of the considered creative challenge of Time in Space (future in the spirit: now and there ) ⇄ Space in Time ( matter embedded in the past: here and now ). Or to put it another way, the boundaries of the known should be expanded by undertaking an appropriate creative journey BEHIND AND BEYOND the perceived creative challenge that is creatively considered and re-examined in the medium of time (emotively emotional presence dia bodily presence) ⇄ the appropriate spatial medium ( mind dia reason ). In order for the Ultimate or Probable Methodological Assumptions of this dialectical method to function properly, it is necessary to formulate and determine three (3) related key concepts (notions) of dialectical content under creative consideration (1 - element EARTH). This requirement of the dialectical method is accomplished by arranging, grouping, and classifying the dialectical content contained in these four simulative modules in accordance with their common qualities and characteristics. Then these four creative contents are continually summarised and qualitatively reduced in order to derive these four key notions.

As the next step of this methodical procedure of the dialectical interactive approach, the most appropriate abstract symbolic element of this methodical triad consisting of fire, water, and air should be assigned to this dialectical triad of 3 concrete related key-notions (key-concepts), but in such a way ​to properly match and pair with each other as well as to be in harmony with each other. Depending on how properly in this methodological creative framework, the constituent dialects of these aforementioned methodical triads were arranged, that is, to what extent their common qualities, shared traits, or characteristics are harmonized with each other, will result in different interpretations of dialectical content under creative consideration (different creative outcomes). In this way, the dialectical content under creative consideration is methodologically formulated in accordance with the requirements of this dialectical method. In other words, this dialectical creatively interactive content of abstract and concrete dialects is ready to be reflected through the prism of this thoroughly explained and elaborated methodological creative framework by using thy capabilities of distinguishing good from bad choices, as well as to avoid inappropriate creative pathways in the purpose of finding the best solution for the identified problem or creative challenge that is creatively considered. As an example of the implementation of this methodological approach in social reality, READ: Love Interpreted in terms of the Unity of its Chosen Dialectical Triad through the prism of the Four Ancient Elements: Fire, Water, Air, Earth.

dialectical method: the triad of thesis, antithesis, synthesis DIA the renewed thesis

Couple Dialect (Matching and Paired Dialects): Thesis DIA Antithesis

Synthesis (Six-Pointed Star) DIA "G" - Hexagon → The Renewed Thesis in Time DIA Space

In other words, by placing these four real (concrete) dialectical contents in this abstract methodological creative framework, the dialectical tensions among and between these four elements (fire, water, air, earth) are additionally strained, very prone to interactively creative change of their existing forms into some another kind of their mutual manifestation. For this purpose, the previously elaborated and explained methodical procedure of the elementary school of dialectic was used for the mutual interaction of the paired dialects of thesis and antithesis (couple dialect). In other words, the creative synthesizing of the contained quality of this paired dialect of thesis and antithesis, understood in terms of their reunion into a dialectical synthesis (the triad of thesis, antithesis, and synthesis: six-pointed star), results in a renewed thesis (hexagon - "G"), which expresses the unity and oneness of this creatively considered triad at a new (preferably qualitatively higher) level of time DIA the appropriate space (spirit, mind dia reason, matter) and so on until a temporary conclusion of the considered creative challenge is reached [temporary final hexagon of the last pictorially shown six-pointed star]. In short, all the previously considered abstract and concrete paired dialects of this dialectical method can be creatively expressed in this pictorially vivid way of the implemented primary six-pointed school of dialectic.

It is very important to emphasize here that during the process of knowledge creation, or developing a general model of artificial intelligence that is based on this dialectical methodological creative framework, the biggest creative challenge during reaching the temporary conclusion of the started dia-processes is to determine the number of iterations in this type of manifestation of the do-while loop (the number of depicted hexagons inside this initial six-pointed star). In other words, the number of executed and dialectically condensed triads of thesis, antithesis, synthesis into a renewed thesis (1 - their unity and oneness) DIA the complemented antithesis ...... depends on the final quality of the initiated dia-processes, which is to be achieved. Or to put it in another way, since each achieved quality of initiated dia-processes is limited with the allocated time interval DIA the appropriate space, its final qualitative creative outcome cannot be waited for forever, understood also in terms of endless spending of allocated resources of space (spirit, mind dia reason, matter). One way to solve this creative challenge is to gradually increase the number of iterations of the qualitative review of the thesis, antithesis, synthesis triad DIA the renewed thesis in the previously mentioned do-while loop in accordance with the (higher) level of quality that is to be achieved within the space used DIA the appropriate time interval.

In addition, the dialectical merging and further summarizing of these two temporarily condensed six-pointed stars of the above creatively considered concrete and abstract dialects also results in a twelve-pointed star (the second basic dialectical principle). Dialectical content which has already been presented and interpreted during the attendance of this "primary and higher school of dialectic" reveals (all) the complexity of dialectical summarization and synthesis of several dialectically initiated processes in time DIA space into a renewed dialectically creative interactive content. And it is here that the conception of Dialectics of Dialectics DIA Negation of Negations comes to the fore. In addition, these dialectically initiated methodological settings of simulation modules in cooperation with far more abstract Ultimate or Probable Methodological Assumptions manifested in the form of three basic dialectical principles, aspects, properties, and manifestations of time DIA space, especially in cooperation with the second basic dialectical principle, determine the probable end result of the initiated dia-processes (rhombus or twelve-pointed star) using innate reasoning abilities (common sense), that is, just as an ungerminated seed will not grow into a plant, so an unbloomed plant will not bear fruit.

This innate way of reasoning with common sense is each time reflected with an additional dialectical summarization and synthesis of four abstract dialects (fire, earth, water, air) with three concrete dialects of the Abstract Methodological Creative Framework [1) time in space, 2) space in time, 3) medium of time dia medium of space] in the sense of dialectical understanding of time [future (within thee), emotively emotional presence dia physical presence, past (around thee)] and space [spirit, mind dia reason, matter] as a whole (4), that is, as an additional consideration, testing and checking the compliance of thy creative outcome with the requirements of the considered reality, that is, its feasibility. Although in the model of the considered reality, time and space can be separated from each other, for example, in this specific case Medium of Time (water) from Medium of Space (air) within the Abstract Methodological Creative Framework, in reality time and space are inseparable, that is, they are presented as two mutually understandable and compatible mega-dialects that permeate each other (the basic postulate of the dialectical understanding of time and space). This also leads to the accumulation of deviations of this model of reality from reality, which should be corrected in one way or another.

  DIALECTIC METHOD IN ACTION: ITS METHODICAL PROCEDURES AND TECHNIQUES

The Unity and Overstraining Dialectical Tensions in Time DIA Space

DIA

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

Dialectically summarizing this methodological creatively interactive content, it is worth of emphasizing that by applying this previously formulated methodologically creative framework of the interplay of all its constituent dialects including its ultimate (likely) methodological presumptions as well as background simulative methodical settings, understood in terms of the proper dosing the primary DIA proto dialectical paradigmatic presumptions in time DIA space, can be successfully solved the observed creative challenge of the time, in time DIA space. In other words, this very complex creative challenge, in the methodological sense too, can only be achieved and realized by creatively attacking this creative challenge (identified and formulated problem) without giving up, from the standpoint of each of these dialects, both separately and in a team of them [by alternately teaming these dialects] using all available as well as creatively accessible methodical procedures and techniques. But if you have not been able to extract both knowledge and accumulated cognition out of this unsolvable creative loop without a proper exit, try to arrange and set up simulation modules and other methodological dialects in a different way using the acquired knowledge cognition, and experience you have just gained on this failed creative journey including further development and improvement of the methodical procedures and techniques of the dialectic interactive approach as well [transforming creatively accessible methodical procedures and techniques into the available ones].

How can this be done by implementing methodical procedures and techniques of the dialectic interactive approach? Simply by applying The Four Primary DIA Proto Paradigmatic Presumptions of the Dialectic Interactive Approach for the solving of the identified problem or creative challenge of the social, business, and living reality: Fire, Water, Air, Earth. An identified problem or creative challenge, which is under creative consideration, is USUALLY associated and symbolically represented by the ancient element-earth. In other words, in this methodological context, the element-earth is used as a symbol and creative dialect, which actually represent the continual testing and verification of your creative outcome in a particular (earthly) scenario in time DIA the appropriate situation in space, that is, its feasibility. In order to succinctly summarize and dialectically synthesize the identified problem or creative challenge of reality are used three (3) akin key-notions by arranging, classifying, and teaming them in a triad according to their shared qualities and characteristics. As the next step of this methodical procedure of the dialectic interactive approach, to this dialectical triad of the 3 akin key-notions should be assigned the most suitable symbolic element of this abstract methodical triad consisting of the Fire, Water, Air.

In this way, the topic under creative consideration was methodically formulated, and ready for reflecting this dialectical content through the prism of the previously elaborated methodological creative framework of the dialectic interactive approach. Because by these ancient four elements ( fire, earth, air, water ) is also represented the first basic dialectical principle, property, and manifestation of the time, in time DIA space, the dialectical interaction of these four inter-related elements, that is, the dialectical interaction of the corresponding dialectical triad of the three (3) akin key-notions DIA the identified problem of the subject under creative consideration (1 - element EARTH) is ready to start with a further deducing and dialectical synthesizing the dialectical quartet (4) of this triad (3) of three dialects to one (1) dialect using your creative capabilities of the distinguishing good from bad (evil) choices and creative pathways in order to be solved in the best way the identified and formulated problem or creative challenge under creative consideration. By the way said, this manifestation of the "quartet" [three (3) DIA one (1)] is present throughout this thoroughly elaborated and presented methodological creative framework of the dialectic interactive approach which greatly facilitates the application of this dialectical method during solving various creative challenges of the time, in time DIA space. In other words, these quartets of the triads of 3 concrete key-concepts can be reconnected and bridged using a triad of 3 abstract elements (fire, water, air), understood in terms of their unity and oneness (abstract element - earth: the main topic (creative challenge) that is creatively considered.

• For example, carefully look at the graphical illustration of the three (3) basic dialectical principles, aspects, properties and manifestations DIA the first (1') basic dialectical principle, aspect, property, and manifestation expressed at a new level of time DIA space, paying special attention to the SECOND basic dialectical principle, aspect, property, and manifestation in time DIA space. In fact, its two kinds of the eight-pointed stars DIA a parallelogram versus a twelve-pointed star can be considered as "two" dialectical principles merged into one principle, where the creative outcome of the first part of this basic dialectical principle pre-conditions the latter its part, that is, whether its final result will be a twelve-pointed star or a parallelogram. In other words, the three basic dialectic principles could also be rearranged by the redefinition of the second basic dialectic principle, as the "quartet" [three (3) dialectical principles DIA one (1) creative outcome in time DIA space].
• A similar case is with the dialectical creative framework for orientation in the eternity of times DIA infinity of spaces. By merging within the Time mega-dialect ("dimension"), the dialects-emotively emotional presence dia physical presence (medium of the time) and within the Space mega-dialect ("dimension"), the dialects-mind dia reason (spatial medium) into the Medium of the Time DIA Space, again is perceivable the "quartet" [three (3-dialects: the Time in Space, Medium of the Time DIA Space, Space in Time) DIA their unity and oneness (1)].
• The same is also valid for the main method of the dialectic interactive approach, which is also presented by the "quartet" of the thesis, antithesis, synthesis (3 dialects) DIA the renewed thesis .... temporal conclusion [1 - their creative outcome at this new level of the considered time DIA space].
• In addition to this, the constituent dialects of the Dialectics of the Dialectics DIA Negations of the Negations are also organized as the "quartet" of the three (3) dialects DIA one (1).
• Now reflect your acquired impressions of this previously expressed dialectical content through the prism of the Primary Law of Dialectics. I hope, you can now conjure up the majestic picture of this methodological dialectic interactive approach.

No doubt, the formulation, explanation, and elaboration of the identified problem or creative challenge of the considered reality, understood in the sense of determining and choosing the three akin key-notions (forming a triad) according to their shared qualities or characteristics is not such an easy task. One option is to expand this dialectical triad by including even more akin notions. But there is a catch because at the very end you have to synthesize this expanded dialectical content, understood in terms of your (temporal) conclusion of the topic under creative consideration. And as more dialects were included as more complex and difficult is to summarize, abridge, and synthesize this dialectical content in terms of a multitude of the thesis-antithesis into dialectical synthesizes dia the renewed thesis.... until the temporal conclusion was achieved. For this reason, the better methodological approach is to dialectically sinthesize and deduce this expanded dialectical content of the creatively considered key-notions to the "quartet" of a dialectical triad consisting of three key-notions (3) DIA their unity and oneness (1) of the dialectical content under creative consideration, and afterward to apply the previously elaborated methodological creative framework using this dialectic method.

• In the aforementioned creative work of creating the Netmodal Management Model, the creative challenge of the network building was initiated by the development of four net modules: Relationship Net-module, Position Net-module, Structure Net-module, and Process Net-module. In order to form the dialectical triad of (3) akin key-notions, from the essence of each of them, their broader conceptual notions can be glimpsed and drawn out of this already narrowed context as follows: relationships, positions, structures, and processes (read also Easton, 1992).
• By a further creative consideration and dialectical squeezing and synthesizing these broader conceptual notions, the quinteessence of each of them also slowly emerges: trust, power (distribution), established (and common) interests, and (created) knowledge and acquired experience, understood in the sense of their interdependence, not taken and considered individually. In other words, they are dialectically interrelated with each other, conditioning the existence of each of them.
• For example, although the building and maintaining each relationship requests and involves each of these key-notions, the key-notion TRUST was chosen as the most relevant. In short, the (inter)dependency, understood in terms of their mutual interaction, is a sign that these selected key-notions posses shared qualities or characteristics, as well as they are closely inter-related with each other.
• By eliminating the (created) knowledge and acquired experience [the essence of the solved creative challenge: element-earth], the triad of key-notions consisting of trust, power, and interests is finally formulated and formed.

The second creative challenge (identified problem) is to assign the most suitable symbolic element of the methodical triad consisting of the Fire, Water, and Air to this dialectical triad of the 3 akin key-notions in order to properly match each other, as well as to be in harmony with each other.

• During the development of the Netmode (Strategy) using the Netmodal Management Model (subject under creative consideration), the main creative challenge of which is the development of its four net-modules for a continual testing and verification, whether your creative outcome (the netmode) is in full compliance with the business reality (its feasibility and implementation). For this reason, to this dialectical content has been assigned the ancient element-earth.
• On the other hand, the assignment of the most suitable symbolic element of this methodical triad consisting of the Fire, Water, Air to this dialectical triad of the Trust, Power, Interests depends on the chosen way of realisation of the set objective.
• For example, in the scenario in time DIA the ability of creating such a situation in space, if you intend to carry out the set goal of establishing trust in the created network (actor-net) by using the key-notion power in order to fortify additionally your established and embedded interests ("playing with the fire") in the actor-net or in the global network, the element-fire should be assigned to key-notion established interests [further strengthening of the established structure: the structure net-module]. Since the key-notion power [the currently powerful position in the network: the position net-module], in this creatively reconsidered case, was used (or abused) as the mediator and messenger (of force), the element-water is assigned to the key-notion power and might. To the key-notion trust in this case [the very weak inter-relations in the established (global) network due to the lack of trust in it: the relationship net-module] was assigned the element-air. By the way, this is the favorite used option in the created world of natiocratic societal orders.
• In the case, the element-water was assigned to key-notion trust to mediate between key-notions power (element-fire) and the established interests in the created actor-net (or in the global network) by assigning element-air to it, your creative result will be presented and interpreted in a different way. Especially, if you expand the key-notion power by including concept of the role of power distribution in the created network, and to expand the key-notion established interests with inclusion of the concept of role of common interests in the established network, your creative result will be presented and interpreted in a new way. But keep in mind, as more these key-notions are expanded as more complex and more difficult is to summarize, abridge, and synthesize your dialectical content under creative consideration and re-examination.
• I hope, you perceived that the element-fire was assigned to the most tricky, problematic or self-deceptive key-notion of the formed dialectical triad ["playing with the fire" or using the "fire" in some useful purpose....] for successful realization of the set goal or objectives implementing your (particular or specific) way or metodological approach to carry out it in the living (business) reality.
• I hope too, you understood the main messages of this dialectical method as well as the essence of this methodological approach. For practicing, try to arrange these three key-notions in other way using the acquired knowledge of this implemented dialectic method.

This creative interplay of constituent dialects of the formed dialectical triad of concrete key-notions (concepts) with the abstract methodic triad of the fire, water, and air was continually monitored, understood in terms of the compliance of the creative result [of the topic under creative consideration (element-EARTH)] with the issues of the considered reality (its feasibility). In other words, creative result was considered and re-examined from the point of view of the Fundamental Simulative Methodological Assumptions [philosophy, culture, art, science] in creative interaction with the Ultimate DIA Probable Methodological Presumptions of the Dialectic Interactive Approach using thy abilities of common sense:

• Intentionality of the business actors DIA their mutual trust, understood in terms of spirit DIA mind dia reason (Relationship Net-module);
• Intentionality of the business actors DIA their power (distribution), understood in terms of matter DIA mind dia reason (Position Net-module);
• Intentionality of the business actors DIA their their established interests (including their common interests), understood in terms of past dia their active, creative, and physical presence (Structure Net-module);
• Intentionality of the business actors DIA their created knowledge, understood in terms of future dia emotively emotional presence (Process Net-module);
• Intentionality was used in this context in the sense of their (cap)ability to create this reality applying created Netmode (Strategy) in order to their dreams come true. In short, the application of this netmodal approach reminds more on a painter (Netmode-Strategist) made busy with a continual repainting and improving his great picture of the business reality: Old Picture of the Network DIA a New Picture of this Network (Actornet) DIA a newer Picture of it DIA.....
• Keep in mind, the Netmodal Management Model was developed using an improved version of the Network Approach: Netmodal Methodological Approach. On the other hand, the methodological reconsideration of my master's thesis in this creative framework was done from the view point of the dialectic interactive approach, that is, after I made paradigmatic shift in the way of thinking: application of network methodological approach → of netmodal methodological approach ◄▲► of dialectic methodological approach to address the creative challenges of the considered (business) reality. In other words, this is how the methodological creative framework of my refused P.H.D proposal could look out in a real P.H Dissertation.

In short, the creative dialects of these four Network-Modules are regrouped and reclassified as needed, as well as adapted and tuned in accordance with these changes and additions. By the above elaborated dialectical content was also demonstrated how the dialectical triad of key-notions in creative interaction with the abstract methodic triad of the fire, water, and air can be applied for solving various creative challenges of the considered reality. It was also shown how a rearrangement of their constituent dialects redirects and changes the final creative outcome of the initiated dia-processes.

  PARADIGMATIC SHIFT IN THE WAY OF THINKING

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

DIA

The Background Simulative Methodological Assumptions of the Dialectic Interactive Approach

DIA

Ultimate dia Probable Methodological Presumptions of the Dialectic Interactive Approach

Sometimes it is necessary to make a paradigmatic shift in the way of thinking and reasoning [a change and reset of mindset: making a shift in (way of) thinking], no matter how unpleasant and difficult can be getting 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, for this reason exist these four primary-DIA-proto PARADIGMATIC methodological presumptions, allowing you "to warm them up, to cool them down, to make them wet, watered, dry, dilute, to make them solid, to form them", ....., that is, symbolically to do all that you want in order to find a creative solution of the topic under consideration. And precisely because of these specified and stated properties, they occupy this respectful proto-DIA-primary position in the introduced dialectic interactive approach. In other words, these four pre-ancient elements ( fire, water, air, earth ) are its methodological pillars. The paradigmatic shift of the way of thinking sometimes has to be done, even if this requests not using the ancient element-earth for continual testing and verifying your creative outcome in a particular (earthly) scenario in time DIA the appropriate situation in space but in the heavenly one or a fictional one [writing a science-fiction novel], for example. Keep in mind, this approach considerably complicates the finding solution of the subject under creative consideration.

In accordance with basic principles of this pre-ancient knowledge, understood in terms of wisdom (of dialectics), if you place a harder substance (dialect), as it is "earth (landslade)" or a less hard substance, as it is methodical dialect "water (cloud)" in the creative right-triangular module, reserved for the symbolically expressed dialect-spirit within the mega-dialect-space ("dimension") and within the right-triangular module "future" of the mega-dialect-time, and the softer substances (dialects), as it is methodical dialects the "fire (sunlight)" and the "air (wind)", in the spatial creative right-triangular module reserved for the "matter" and in the creative right-triangular module "past" within the mega-dialect-time ("dimension"), after re-undertaking the creative travels from time to time, within this constellation of the primary DIA proto dialectical paradigmatic presumptions,

• [recall, in the dialectic interactive approach by these four primary DIA proto dialects, was also presented the first basic dialectical principle, property, and manifestation of them in time DIA space],

the creative outcome, upshot, work ... will be reinterpreted and presented in a new way. In short, it might be just this you should do in order to satisfy in this methodological way the set creative objectives. From this dialectical content, it is easy to conclude, you have the freedom to use all available DIA creatively accessible methodological means of this dialectical interactive approach.

Or you may have already set your primary-DIA-proto methodological presumptions in this way, which is the reason for failing to overcome the creative challenge of the time, in time DIA space. In addition to this, try to adapt this dialectic method, by using the fine-tuning of it, understood in terms of the replacement of the dialectical inter-layer (perhaps their positions as well) in order to better fit the fundamental simulated methodological (philosophic, cultural, artistic and scientific) assumptions of the dialectic interactive approach, within simulative modules and creative dialects of this methodological creative framework for solving creative challenges of the time, in time DIA space. The purpose of this change of the existing way of thinking is to achieve an even better creative result, as the final creative outcome of the undertaken creative trips within this renewed and redefined dialectical methodological creative framework. Anyway, the HIGH SCHOOL OF DIALECTICS of this methodological approach has just begun, not yet finished, because this creatively methodological fire has just been lit. And for this reason, this vividly picturesque way of reviving this complex methodological content, as the main features that distinguishes the dialectic interactive approach from other methodological approaches, is continued in the following creative article too.

READ the Following Creative Article:

• Dialectic Interactive Approach: Three Basic Dialectical Principles, Aspects, Properties and Manifestations in the Time DIA Space
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