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 Dialectic Interactive Approach: Dialectics of Dialectics DIA Negations of Negations

Dialectic Interactive Approach: Dialectics of Dialectics DIA Negations of Negations

Higher School of Dialectics of Four Dialects

DIA

The Concept of the Living God

THE CREATIVE EXPANSES OF A FOUR-TRIANGULAR STAR

The expounded dialectical interactive content in previous creative articles, while attending the "primary and high school of dialectics", reveals the (all) complexity of dialectical synthesising a few dialectically initiated processes in time DIA space, into a renewed dialectical creatively interactive content. And just here plays a decisive role the concept "Dialectics of Dialectics DIA Negations of Negations", that is, its dialectical quartet DIA triad:


FOUR - TRIANGULAR STAR, as a Final Result of the Acting Three Basic Dialectical Aspects, Principles, Manifestations and Properties in Time dia Space

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)
DIA
1’ - The Unity and Struggle of Dialectical Tensions (Contradictions) in Time DIA Space at a new Higher Level [New Rectangle (Square) DIA Four Triangles and so on] (with)in the Eternity of Times DIA Infinity of Spaces.

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


Note that this methodological part was uttered in "sign DIA symbol" of the number four (4), which is closer to the way of conceiving, wgich is used by the 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 dialectics DIA negations of negations was uttered in terms of ("quartet") three (3) DIA one (1). In this way, it has been 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 and synthesizing essence of a topic under creative consideration in a dialectical way, understood in terms of prevailing 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 a dialectical perspective, the NEGATIONS OF NEGATIONS are in fact a further improving a creative 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 DIA considered on a lower level of time DIA space that it should be preserved DIA 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), have probably noticed that (dialectical "quartet" of the ) Dialectics of Dialectics (DIA negations of negations) spans the triangles of thesis, antithesis and synthesis (TAS) DIA the corresponding dialectical changes [renewed thesis, amended antithesis, ... synthesis DIA temporally conclusion] into new / renewed (qualitative) triangles at a higher and higher level of time DIA space (of the quality), until was (eventually) reached the imaginative Great Dialectical Synthesis (the highest quality imaginable, apprehensible, conceivable and expressible) [THESIS] and the way round (linearly in terms of spiral). Now they got opportunity to fulfill their knowledge of the Dialectics by a broader, further, deeper (methodological) meaning (purpose) of the (dialectical "quartet" of) Dialectics of Dialectics DIA negations of negations, that is, its continual spanning the three basic dialectic aspects, principles, manifestations and properties in time dia space DIA the adequate dialectical changes into redefined triangles of quality (TAS DIA ...), (with)in the eternity of times DIA infinity of spaces of the worlds of dialectics of His [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.


Culture DIA Religion Culture DIA Religion

VERSUS

Culture DIA Religion The (Recti)linear Comprehending Space and Time: The Concept of the Physical Universe

Hope, after the dialectical synthesising the previously uttered dialectical interactive content, that is, the previously emphasised thesis and antithesis, you can grasp, why you see on the above illustration [antithesis: spanning of the THREE basic dialectical principles, aspects, properties and manifestations in time DIA space] the three (3) dialectics of dialectics DIA negations of 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 uttered 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 dialectics DIA negations of negations. Because such a complex dialectical interactive content is very difficult to be "digested" in human terms, the dialectical content of the previously uttered thesis and antithesis is presented as a "quartet" of the dialectics of dialectics DIA negations of negations, that is, as the three (3) DIA one (1) dialectics of dialectics DIA negations of 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: "The Dialectic Interactive Approach". 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 one. In fact, its two kinds of the eight-pointed stars DIA 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 or a parallelogram. In other words, the three basic dialectic principles could also be FURTHER dialectically synthetised DIA the redefinition of the second one, 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 DIA the renewed thesis .... temporal conclusion. 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 oneness (1'): Four-Triangular Star of the dialectically synthesised eternity of times DIA infinity of spaces of the worlds of dialectics.


Dialectic Interactive Approach

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

The Methodological Consequences of the Way of Thinking based on the Static DIA Dynamic Mathematic

Unfruit - Bringing DIA Stunted Eight - Pointed Star

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

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

The similar case is with the introduced dialectical creative framework for orienting in the eternity of times DIA infinity of spaces. By dividing the dialect presence within the time dialect ("dimension") on the "emotively emotional presence DIA physical presence" and the dialect mind within the space dialect ("dimension") on the "reason DIA mind" is again both visible and perceivable the "quartet" [three (3) DIA one (1)]. READ, "Dialectic Interactive Approach: Dialectical Comprehending the Time DIA Space". Furthermore here it is also visible, how it was done and PRESENTED in the introduced dialectical interactive approach. Because in the dialectical interactive approach everything is presented by triangles (of thesis, antithesis, synthesis DIA ....), the above emphasised dialectical content was presented by simply dividing the triangles on the couples of the right-angled triangles. Bear in your mind, each time when you see a dialectical content presented by the right-angled triangles, it means it was simplified DIA uttered 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 rhomb or rhomboid can be also divided in the four right-angled triangles], of the unfruitful-bringing DIA stunted eight-pointed star

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 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 reconsideration, and then, the creative result of this dialectical triad was reflected through the prism of the fourth element (EARTH), understood in terms of putting it in a particular (concrete) scenario in time DIA the appropriate situation in space (their oneness), for example, in the right (real) social context. 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 it into the suitable dialectical context by means of the "Ultimate DIA Probable Methodological Presumptions of the Dialectical Interactive Approach".


The all previously uttered 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 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 revivifying the already existing one, by dialectically synthesising and incorporating IN TIME DIA SPACE the missing links into a renewed whole, by putting it in the right dialectical context, using the techniques and methodological procedures of the dialectical interactive approach.

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.


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