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
In this creative article was presented a Methodological Creative Framework based on the hidden knowledge of the secrets of Ancient Four Elements. Unlike the non-initiated antique Greek philosophers into this hidden ancient knowledge, whose interpretation of the real meaning of these four elements ( Fire, Water, Air, Earth ) was based on rumors ('heard-said'), the presented methodical application of these four elements for solving perceived creative challenges in social and life reality using the dialectic method is initiated by unraveling Timaeus of Plato. In short, only Plato, in contrast to other Greek philosophers, was initiated into the basic secrets of the Egyptian hidden knowledge (attended Primary School of Dialectics, for sure). Antique interpretations of the meaning of these four elements, which had a huge impact on the development of medieval science and philosophy, are available both in libraries and on-line. On the other hand, this pre-ancient interpretation of the four elements based on the hidden knowledge, you can not still find on the internet using a search engine and typing the keywords "four elements Fire, Water, Air, Earth", although it is as you see present there. For this reason, read this creative article to the end, and then also read other articles to find out the secrets of the High School of Dialectics.
In the ancient times, these four elements ( fire, air, water, earth ) were used as the starting point for the formulation of a methodological creative framework for solving creative challenges of the unknown in time DIA space. In short, their innate capability of generating and renewing each other was used in creative purposes by embedding this symbolical meaning and role of theirs
- [not their observed literal manifestations in the living reality, as it did non-initiated antique Greek philosophers into this hidden ancient knowledge]
in this methodological creative framework for creating new knowledge or for the renewal of the existing one. 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 pervade and make consisting part of each of 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 "). 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, 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 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). In short, for the formulation of the aforementioned methodological creative framework, a rectangle or a square was divided by the diagonal cross (X: crosswise) in four triangles, in which afterward were placed these four pre-ancient dialects ( fire, water, air, earth ). 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.
FOUR SIMULATIVE (MODELABLE) PRE-ANCIENT WAYS WHICH LEAD TO 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"
Based on the traces and imprints of this dialectical content in time DIA space, the four pre-ancient ways, which lead to the discovery of the unknown in time DIA space, can be translated and expressed using the contemporary language as the creatively-interactive dialects of the PHILOSOPHY, CULTURE, ART, and 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 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 Simulative Methodological Assumptions 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 assumptions") of this methodological approach. In other words, during the process of knowledge creation, these four simulative modules [culture, art, philosophy, science] were used 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 overall 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 DIA PROBABLE METHODOLOGICAL PRESUMPTIONS of the Dialectic Interactive Approach
The Ultimate DIA Probable Methodological Presumptions of the Dialectic Interactive Approach
These four methodical dialects of the presented dialectic 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 (spirit in future)-DIA-space in time (the matter embedded into past) are reached, understood in terms of creative travelling 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.
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. 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.
After this digression from the main topic under creative consideration, the right moment is to show how the The Background Simulative Methodological Assumptions of the Dialectic Interactive Approach can be implemented for solving the creative challenge of the development of a business model (netmodal management model), which was main topic under creative consideration in the aforementioned creative work. 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. 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.
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) presumptions and the fundamental simulative methodological assumptions, 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 set up simulated 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 more thoroughly descript, explain, and elaborate 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 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.
- 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 (perceived 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 key-notions with the 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 content of these four net-modules has been regrouped and reclassified as needed, as well as all these creative dialects were adapted and tuned in line with these made changes. By the above elaborated dialectical content was also demonstrated how the dialectical triad of key-notions in creative interaction with the 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
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Dialectical Creative Framework for Orientation in the Eternity of Times DIA Infinity of Spaces
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The Background Simulative Methodological Assumptions of the Dialectic Interactive Approach
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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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