Higher School of Dialectics of Four Dialects
DIA
THE CREATIVE EXPANSES OF A FOUR-TRIANGULAR STAR
The expounded dialectical interactive content in previous creative articles, during attendance at the "primary and high school of dialectics", reveals all the complexity of dialectical synthesising a few dialectically initiated processes in time DIA space, into a renewed dialectical creatively interactive content. And right here, the concept "Dialectics of the Dialectics DIA Negations of the Negations" has a decisive role, that is, its dialectical quartet DIA triad:
- 1. "Dialectic of the Dialectic",
- 2. "Dialectics of the Dialectic",
- 3. "Dialectic of the Dialectics" DIA
- 1'. Dialectics of the Dialectics
- 1. "negation of the negation",
- 2. "negations of the negation",
- 3. "negation of the negations" DIA
- 1'. negations of the negations.
| FOUR - TRIANGULAR STAR, as a Final Result of the Acting Three Basic Dialectical Aspects, Principles, Manifestations and Properties in Time dia Space | ||||
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| 1 - The Unity and Exerting of Dialectical Tensions (Contradictions) in Time DIA Space | 2 + 2a + 2b – The Transition, Transformation, Metamorphoses and the Transfiguration of the Quantitative and Qualitative Accumulation in Time DIA Space into a Higher (Renewed) Quality | 3a + 3b - Everything in Time DIA Space undergoes Development and becomes its Own Dialectical Opposing (Contradiction) |
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Note that this methodological part was expressed in "sign DIA symbol" of the number four (4), which is closer to the way of thinking and understanding used by human beings. On the other hand, the three basic dialectic principles, aspects, properties and manifestations in time DIA space, READ: "Dialectic Interactive Approach: Three Basic Dialectical Principles, Aspects, Properties and Manifestations in the Time DIA Space", as well as this dialectical content related to the dialectics of the dialectics DIA negations of the negations was methodologically expressed in terms of ("quartet") three (3) DIA one (1) using methodic procedures and techniques of the dialectic method. In this way was clearly indicated the possibility that this dialectical content should be deduced on the number three DIA deducing it on the number one, in the most feasible extent, by intermediating between these two "number's dialectical worlds". The purpose of this is the spanning, synthesizing, and extracting in this dialectical way essence of a particular topic under creative consideration, understood in terms of overcoming deepnesses, remotenesses and widenesses of the eternity of times DIA infinity of spaces of the worlds of dialectics, which actually separate creator (of) knowledge from the owner of the "absolute truth und all knowledge(able)": The greatest Creator (of knowledge) of all (us).
Seen from this dialectical perspective, the NEGATIONS OF NEGATIONS are in fact a further improvement of the creative end result, understood in terms of further dialectical synthesising and ennobling of the transfered (conveyed) DIA accumulated quality on this higher level of eternity of times DIA infinity of spaces, through removing the transfered DIA (amassed, piled up, collected, gathered, compiled) accumulated disquality (unquality). In other words, the getting rid of all it, for what was thought and considered on a lower level of time DIA space that this should be preserved and transfered on the evaluation of this higher level of time DIA space, from one or another reason.
Those who had opportunity to read the “Netmode – the Strategy for 21st Century – a Dialectic Interactive Approach”, 1999), are familiar with the fact that (dialectical "quartet" of the) Dialectics of the Dialectics (DIA negations of the negations) span the triangles of thesis, antithesis and synthesis (TAS), understood in terms of the made changes and adaptations of these interactively creative dialectical contents [processing of them: renewed thesis, amended antithesis, synthesis (3)... DIA temporally conclusion (1)] into new, renewed (qualitative) triangles at a higher and higher level of time DIA the appropriate space (new quality), until was (possibly) reached the imaginative Great Dialectical Synthesis (the highest quality imaginable, apprehensible, conceivable and expressible) of the considered interval of time DIA the appropriate scope of space [THESIS] and the way round (linearly in terms of spiral). Now they got opportunity to fulfill their knowledge of the Dialectics with a broader, further, deeper (methodological) meaning (purpose) of the (dialectical "quartet" of) Dialectics of the Dialectics DIA negations of the negations, that is, its continual spanning the three basic dialectic aspects, principles, manifestations and properties in time dia space, understood in terms of the made adequate dialectical changes, into these redefined triangles of quality (TAS DIA ...), (with)in this eternity of times DIA infinity of spaces of the worlds of dialectics [ANTITHESIS] and the way of spiral. And now, after the all previously expressed DIA the imprints and impressions of this interactively creative content in time DIA space, try to synthesise this creative content of the "higher school of dialectics" in this dialectical way.
VERSUS
I hope, after the dialectical synthesising the previously expressed dialectical interactive content, that is, the previously emphasized thesis and antithesis, you can grasp, why you see in the above graphical illustration [antithesis: spanning of the THREE basic dialectical principles, aspects, properties and manifestations in time DIA space] the three (3) dialectics of the dialectics DIA negations of the negations, whereas by this creator of knowledge was introduced "quartet" of them [three (3) DIA one (1)]. In other words, by dialectically synthesising the dialectical content of the previously expressed thesis [spanning the triangles of MULTITUDE of thesis, antithesis and synthesis (TAS) DIA the corresponding changes ...], each of them can be also illustrated by the three (3) dialectics of the dialectics DIA negations of the negations. Because such a complex dialectical interactive content is very difficult to be "digested" in the human sense, the dialectical content of the previously expressed THESIS and ANTITHESIS is presented as a "quartet" of dialectics of the dialectics DIA negations of the negations, that is, as the three (3) DIA one (1) dialectics of the dialectics DIA negations of the negations.
By the way said, this manifestation of the "quartet" [three (3) DIA one (1)] is present everywhere in the introduced dialectical interactive approach. READ: "DIALECTIC METHOD IN ACTION: ITS METHODICAL PROCEDURES AND TECHNIQUES". As an example, carefully look at graphical illustration of the three basic dialectical principles, aspects, properties and manifestations in time DIA space, particularly, the SECOND basic dialectical principle. In fact, its two kinds of the eight-pointed stars DIA a parallelogram and twelve-pointed star, can be considered as "two" dialectical principles merged into one, where the creative outcome of the first one pre-conditions the latter one, that is, whether its final result will be a twelve-pointed star (success) or a parallelogram (failure). In other words, the three basic dialectic principles could also be FURTHER dialectically synthetised in the sense of the redefinition of its second basic dialectical principle, as the "quartet" [three (3) DIA one (1)]. The same is also valid for the presented DIA interpreted dialectical content of the "quartet" of thesis, antithesis, synthesis (3) DIA the renewed thesis .... temporal conclusion (1). And as a final result of all these previously mentioned, this dialectical, creatively interactive content was presented as the triad of the three basic dialectical principles, aspects, properties and manifestations in time DIA space (3), understood in terms of their dialectical unity and oneness (1'): Four-Triangular Star of this dialectically synthesised eternity of times DIA infinity of spaces of the worlds of dialectics.
Dialectical Creative Framework for Orientation in the Eternity of Times DIA Infinity of Spaces
Unfruit - Bringing DIA Stunted Eight - Pointed Star
(Recti)linear Creative Framework for the Orientation in Time AND Space
The similar case is with the introduced dialectical creative framework for orienting in the eternity of times DIA infinity of spaces. By merging within the Time mega-dialect, the dialects-emotively emotional presence dia physical presence (medium of the time) and within the Space mega-dialect, the dialects-mind dia reason (medium of the space) into the Medium of the Time DIA Space, again is perceivable the "quartet" [three (3-dialects: 1) the Time in Space, 2) Medium of the Time DIA Space, 3) Space in Time) DIA their unity and oneness (1)]. READ, "Dialectic Interactive Approach: Dialectical Comprehending the Time DIA Space". Furthermore here is also visible, how this was done and PRESENTED in this introduced dialectical interactive approach. Because in the dialectical interactive approach everything is presented by triangles (of thesis, antithesis, synthesis DIA ....), the above emphasized dialectical content was presented by simply dividing the triangles on the couples of the right-angled triangles. Bear in mind, each time when you see a dialectical content presented with right-angled triangles, it means, this dialectical content was simplified DIA expressed in more details in order to be easier understood in human terms. On the other hand, when you see a figure presented by the right-angled triangles, as it is, for example, illustration of the simple, simpler, simplest mind, READ, "Static Math reflected through Prism of the Dialectic Interactive Approach", of the parallelogram [a rhombus or rhomboid can be also divided in the four right-angled triangles], of the unfruitful-bringing DIA stunted eight-pointed star
- [pay your attention to its four graphical illustrations of the concept of "simple(st) mind" on this stunted eight-pointed star, clustered around a centrally positioned parallelogram ("M"): "A-I-B", "C-J-D", "E-K-F", "H-L-G"],
in dialectical terms such a dialectic content presents some kind of retrogression, degeneration, vulgarisation, stunted evolution ...
This already embedded property into these creatively interactive tools of the dialectic interactive approach was utilised by deploying the four pre-ancient elements (fire, water, air, earth) in order, as the next step of this methodological procedure, to reflect a dialectical content under creative reconsideration in terms of the aforementioned dialectical triad (3) dia their unity and oneness (1). The most frequently used option of teaming this methodological quartet, that is, their working together by the joined force, was а symbolic implementation of the elements FIRE, WATER and AIR in order to interactively creative elaboratе some three key-notions (triad) of a dialectical content under creative consideration, and then, the creative result of this dialectical triad was reflected through the prism of the fourth element (EARTH), understood in terms of putting this in a particular (concrete) scenario in time DIA the appropriate situation in space (their oneness), for example, in the right (real) social context. As an example of this methodic approach of the implementation of these four elements in social and cultural reality, READ: Love Interpreted in terms of the Unity of Dialectical Triad through the prism of the Four Ancient Elements: Fire, Water, Air, Earth. In order to fully harness the creative fruits of this methodological approach, this dialectical content under creative reconsideration was also reflected through the prism of four crucial areas of human acting (culture, philosophy, art, science), understood in terms of placing this into the suitable dialectical context by means of the "Ultimate DIA Probable Methodological Presumptions of the Dialectical Interactive Approach".
The all previously expressed dialectical content related to the "quartet" [three (3) DIA one (1)], particularly their picturesque illustrations, clearly indicates that they also were once upon a time DIA the suitable space, a part of the hidden (lost) knowledge. Keep in mind, creators of knowledge are not focused on the discovery of a (completely) new knowledge but rather on the revival of the forgotten existing one, by dialectically synthesising and incorporating IN TIME DIA SPACE the missing links into a renewed whole, by putting this in the right dialectical context, using the techniques and methodological procedures of the dialectical interactive approach.
- In Christ’s words: "There is nothing hidden, which will not be brought out into the open, and there is nothing secret, which will not be known and come out into the open" (Luke 8.17 and Mark 4.22 –23).
READ, "The Concept of the Living God".
By this creative article was completed methodological creative framework of the dialectical interactive approach. In the following creative articles real happenings in the living reality will be reconsidered from the viewpoint of this methodological approach.
READ the Next Part of the Dialectic Interactive Approach:
