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  Plato Timaeus - Part Two: A creative traveling through the dialectical understanding of the time DIA space


The Symbol of the Human(e) Genus

The Symbol of the Human(e) Genus

In this creative article, the antique text Timaeus of Plato was unraveled, the essence of which is actually a universal pictorial frame for the illustration of the symbol of human genus. But by the unraveling of this dialectos of Plato was not finished this antique tale, because this creator of knowledge, becoming even more puzzled with this enigmatic and still mysterious dialectically interactive content, continues his creative travel by using this dialectical way of comprehension of the time DIA space.


  Plato Timaeus: The Creative Frame for the Symbol of the Human Genus


5. PLATO: .... (a comment of Plato's uttering (4.) was skipped and can be read in the original creative work)

  • ... "This was the plan of the Eternal God, which He gave to the (Living) God [respectively the Living God DIA the manifestation of Him within the time DIA space, was a part of this plan (TIME IN SPACE)] about (one day) to come into existence (SPACE IN TIME), to whom He gave a body, a smooth and even, in every direction equidistant from the centre …... And He put soul in the centre, which He diffused throughout the body ..… His creation, for all these reasons, was blessed by God. ..…. But God created the soul before the body and gave it precedence both in time and value (Spirit DIA Mind), and made it the dominating and controlling partner. And He composed it in the following way, and out of the following elements and on this wise:"

5. COMMENT OF BOBAN: ....... Just pay thy attention to this refined but splendid expression DIA impressions of this "Proto-Archaic Echo of Truth, Trust and Love of His" in time DIA space, understood in terms of eternity DIA infinity: The Breath of Life from the For Ever Existing (Immortal) God to the Living One (in time DIA space). Plato also wants to say that everything came into existence through creation of the Greatest Creator. For more details, read the Revelation of St. John the Divine. Again circle? Bingo! Why Plato does it repeat? Bingo!


The Indivisible, Unchanging Existence: origin of the symbol of the human genus, plato timaeus

The Indivisible, Eternally Unchanging Existence

6. PLATO:

  • "Out of the indivisible, eternally unchangeable Existence"

6. COMMENT OF BOBAN: Shall I-thou-we present the indivisible, eternally unchanging Existence (Essence: human single soul DIA aura) by a circle? I suggest, NO, because Plato’s description of a circle is so obvious, and the purpose of his tale is to hide it and not so plainly to reveal it. For this reason, let’s do it by depicting an ellipse-like (egg-like) shape. By the way said, creators of knowledge are not perfect beings. In the case that you are perfect, draw a circle because the main didactic message will be the same. In other words, this creative article is dedicated to Plato: to a great philosopher and artist (writer). Apart from that, this is also a story about fashion models and their long legs. Seen from the dialectical perspective, the reflection of this ellipse-like shape, that is, of the diffused soul of this universal Inner Being (”Model” by the words of Plato), will be impressed and imprinted into a human being like an invisible aura of her- / his body. This indivisible, eternally unchanging Existence was symbolically illuminated and presented by the dialect - fire, because according to Timaeus:

  • "Nothing is visible where there is no fire (light)".


The Divisible, Changing Existence of the Physical World: origin of the symbol of the human genus, plato timaeus

The Divisible, Changing Existence of the Physical World

7. PLATO:

  • "and also out of the divisible, changeable Existence of the physical world"

7. COMMENT OF BOBAN: In the antique age, the divisible, changing existence of the physical world was presented by a rectangle (square: see also the ground plan of the Cheops' / Khufu’s pyramid). This divisible, changing Existence of the physical world was symbolically embodied by the dialect - earth, because according to Timaeus:

  • "Nothing is tangible that has no solidity, and nothing is solid without earth".

By the way, which another geometric shape can be divided physically (rectilinearly) DIA symbolically into two (four) rectangles, respectively in a myriad of rectangles (squares) DIA TRIANGLES. Keep in mind, this dialectical interactively creative content is also in full agreement with Plato's ideas and thoughts:

  • "It is absolutely necessary that this depth should be bounded by a plane surface; and the rectilinear plane is composed of triangles".

Triangle: The Intermediary Existence: origin of the symbol of the human genus, plato timaeus

Triangle: The Intermediary Essence

8. PLATO: "Wherefore also God in the beginning of creation made the universal creative frame(work) of the universe to consists of fire [(lights of the) heavens] and earth [earthens]"..... For this reason,

  • "He placed a third kind of Essence to intermediate between them:"

8. COMMENT OF BOBAN: What can better and simpler (triangularly) express a mixture of the two previous forms in order to be created a common whole [to span (dialectically synthesise) the essence of the two previous surfaces] than a triangle,

  • [read Brunes, 1967, who also until this passage, depicted the same geometric shapes dia symbols. But after this passage of Plato, our common creative pathways are diverging from each other].

According to Plato, two things (pair-dialect: thesis dia antithesis) cannot be rightly put together without a third; there must be some bond of union (synthesis) between them, holding them together" (DIA the Renewed Thesis). This binding Essence to intermediate between The Indivisible, Unchanging Existence and The Divisible, Changing Existence of the Physical World was symbolically presented by the dialects - water and air, because according to Timaeus:

  • "... God placed water and air in the mean between fire (heavens) and earth (earthens), (to intermediate between them) and made them to have same proportion so far as was possible {as fire is to air so is air to water, and as air is to water so is water to earth}....".


The Six-Pointed Star: origin of the symbol of the human genus, plato timaeus

The Six-Pointed Star

9. PLATO:

  • "again with the Same (water) and the Different (air) He made, in the same way, compounds to intermediate between their indivisible element (fire) and their physical and divisible element (earth): and taking these three components (ellipse, rectangle, triangle), He binded them into single form (six-pointed star), compressing by force the Different (water), which was by nature reluctant and allergic to mixture (back to back position: ◄►), into the union with Same (air), and mingling them with the Essence, in this way out of three made one (whole)….."

9. COMMENT OF BOBAN: As Plato in a previous passage emphasised:

  • "If this universal frame had been created a surface only, and for this reason having no depth, a single mean would have sufficed to bind together itself and the other middle terms; but now, as the world must be solid, and what brings solid bodies compact (concrete existences with depth) is never one middle term but always two": The pair (couple) dialect - principle of life DIA living within time DIA space.

By the way said, perceive this charming presentation of the THESIS and ANTITHESIS by two triangles: An expanse that emerged through the dialectical separation (◄►) dia re-union of the dialects - water and air (six-pointed star). This interactively creative content was symbolically represented by using linguistic dialect: the Same and the Different (Other), respectively, a pair dialect of the Sameness (water) and the Otherness (air). In other words, the Same symbolizes a triangle [thesis], while the Different (Opposite) in time DIA space can be expressed by a (myriad of) different triangle(s) [antithesis: contradictions between the dialects water and air]. This creator of knowledge also hopes it was not difficult to be recognised an image of the six-pointed star, as an utmost result of the re-union of the dialects - water and air [synthesis] DIA [the renewed thesis (that is, the hexagon within it) ....], although it is masked by the rectangle, that is, by the wings (of an angel): the physical world understood in terms of rectilinear presentation of the dialectical reality. Observe too, how the seven-pointed star also fits the triangles within the six-pointed star, marked off by the wide version of the diagonal cross.

  • Pay also thy attention that in each pair of triangles is an image (likeness) of the basic aspects of the part, of the constituent component, of the whole and of everything. In the antique symbolism the six-pointed star represented time DIA space in their perfect union. According to Ouspensky, the six-pointed star represents the three (3) dimensions of the physical space and the three (3) dimensions of time in their perfect union, where every point of space includes the whole of time and every moment of time includes the whole of space, when everything is everywhere and always.

By the way, this Plato's pictorial representation and understanding of the triad of thesis, antithesis, synthesis (DIA the Renewed Thesis...) was not sufficiently acknowledged, neither in the classical nor in the contemporary philosophical thought in comparison with other antique philosophers.


Seen from the perspective of the developed dialectical interactive approach, this is only a small piece of the dialectical wisdom, because it also includes the three-pointed star(s), four-pointed star(s), five-pointed star(s), seven-pointed star(s), the eight-pointed star(s) ……. twelve-pointed star(s) and even more stars, as thou father travels through this dialectical understanding of the time DIA space. In other words, this dialectical (creatively) interactive content through the initiation of corresponding dialectical multiple - interactively creative processes (dialectical interplay), understood in terms of the intentionality of their initiators (dia their multiple-(inter)dependence), can be creatively expanded dia narrowed (squeezed) within this eternity of times DIA infinity of spaces. For further info READ: "The Dialectical Interactive Approach".


The Two Beings DIA One: origin of the symbol of the human genus, plato timaeus

The Two Beings DIA One

10. PLATO:

  • "….. He then took the whole fabric and cut it down the middle into two strips, which He placed crosswise at their middle point to form a shape like the letter X; ……."

10. COMMENT OF BOBAN: This creator of knowledge tried to conjure up the purpose of this holy cut, expressed by the letter X. I hope that everyone is able to see two (2) beings in the perfect union (“so they are no longer two beings, but one” - Matthew, 19:6). Perceive that the heads (mental dialect) were placed within the indivisible eternally unchanging Existence, while the emotive emotional dialect, placed within the rest of the body, is an ennobling part of the divisible changing existence of the physical world (body), as a final result of mixing of them, understood in terms of the Same and the Different (Opposite) in action. Without decoding the full meaning of the vital key (X), that is, both its broad and the narrow manifestation of the Cross in time DIA space, all this would remain a lovely picture from an ancient age pictorially presented by a six-pointed star, within which were depicted two beings, symbolised by two pentacles.


The  Six-Pointed Star; The Triad of the Crosses DIA (One) Cross; The Six Crescents in Time DIA Space

The Six-Pointed Star; The Triad of the Crosses DIA (One) Cross; The Six Crescents in Time DIA Space

That was done by this creator of knowledge for two years ago (1999). In other words, try to conjure up this dialectical process(ion) in terms of the implementation of dialectical creative framework for the orientation in time DIA space, READ, "Dialectic Interactive Approach: Dialectical Comprehending of the Time DIA Space", to be completed and made alive this dialectos of Plato. To the opinion of this creator of knowledge, the dialectical creative framework for the orientation in time DIA space, respectively in the eternity DIA infinity of them, presents a (CREATIVE) framework, understood in terms of the key to this language of symbols (pictorial script), on which this ancient knowledge DIA wisdom was expressed dia impressed and imprinted for ever in the time DIA appropriate space. This picture also proves the significance and importance of the Diagonal Cross (Crosswise) in the ancient symbolism. This creator of knowledge also hopes that the ancient symbols in general [both forms of the Crosswise, the Cross, their Dialectical Synthesis (the three Crosses DIA One Cross), the Crescents, the Stars] are the keys, with which many secrets of the ancient age and of its creators can be unlocked, although swathed in a mantle of the silence of the gone times DIA spaces.


  Additional Comments of Plato's Timaeus by the Creator of Knowledge: Boban


The Broader and the Narrow Diagonal Cross: (Axises of the) Two Crosses in the Eternity of Times DIA Infinity of Spaces, plato timaeus

The Broader and the Narrow Diagonal Cross: (Axises of the) Two Crosses in the Eternity of Times DIA Infinity of Spaces

In many translations of the Timaeus, instead of the symbol "X", the Holy cut was presented by the symbol "+". By the way said the cross (+) was used by Tons Brunes for the continuation of his creative interpretation of the Timaeus of Plato by putting focus on unraveling secrets for the construction of Great Pyramid of Cheops / Khufu. In spite of the very strong attracting force of this way of the creative interpretation of Plato's dialectos Timaeus, this creator of knowledge applied, to his opinion, the right symbol (X) in order to satisfy the purpose of his creative journey through this dialectical understanding of time DIA space: In Search for the origin of the symbol of the human genus. This un-riddling of Plato's dialectos Timaeus (end of September 1999) also can be comprehended as a kind of the "Ph.D." proposal to my heavenly mentors. In short, after it was finally accepted by these unobservable, spiritually mindual mentors, I dia this inner creator (who acts within me), was enrolled in this Dissertation Program of this sort of the learning on distance [of the eternity of times DIA infinity of spaces (to be overcome)], which was successfully crowned by the promotion of me (2001) into the creator of knowledge: "Traces of Dialectics in Time DIA Space – Methodology for Creating Knowledge".


Anyway, after this unraveling of Plato's dialectos Timaeus, this creator of knowledge managed in this creative work, not only to reveal incentives for the construction of all ancient pyramids but he also, from this DIALECTICAL methodological point of view, recognized hidden images of the (Recti)linear Creative Framework for the Orientation in Time AND Space" within the four basic operations of the dynamical mathematics (addition, multiplication, subtraction and division) in action, which are in fact embedded in The Natural Evolution of the Dual ⇢ Bipolar ⇢ into the Binary Way of Thinking, uttered in the everyday reality, as the for - against, yes - no, all - nothing, true - false, 0 - 1, black - white and the like. In other words, these creative discoveries are postulates of the concept of simple, simpler, simplest and vulgar mind, which are broadly used in everyday reality for orientation in the (recti)linear understanding of space and time. By ending this initiated dia-process, regardless whether you believe or not, it is up to you, into the existence of these spiritual mentors, respectively into this way of the learning on distance, these missing links of the methodological aspects and postulates of the hidden knowledge were brought from oblivion to the light of day. Bingo! In other words, this creator of knowledge for sure exists, because without any doubt he creatively acts and lives in this Information Age of the creating knowledge, but which is still, to his opinion, created in terms of the indisputable rule and dominance of five (scientific) basic senses, where within this crucial realm and the appropriate creative range, this methodological creative approach is a very rare exception. Bingo! By paraphrasing Descartes (1596-1650):

  • "I exist because I am present"

[in time DIA space, understood in terms of both here and now (space in time) and there (time in space)]. Bingo! Or said it in another way, this part of the (lost) hidden knowledge reemerged within the range of five basic senses, thanks exactly to this inner creator (Boban), who acts inside me. Bingo!


The Dialectical Eternity DIA Infinity

Dialectical Frame for the Encapsulation of Eternity DIA Infinity

The Eternity DIA Infinity, symbolically represented as chained Grummets of the Four Elements

Eternity DIA Infinity, symbolically represented as chained Grummets of the Four Elements

Compare Creative Vastness of this Four-Triangular Star to the Symbolical Presentation of Eternity DIA Infinity

Compare Creative Vastness of this Four-Triangular Star to the Symbolical Presentation of Eternity DIA Infinity

Seen from this methodological perspective of the introduced dialectical creative framework for the orientation in time DIA space within the world of dialectics of God, including the creative one, the Crosswise (x) symbolises a (creative) framework for the acting of four ancient primary DIA proto substances, principles, dialects (fire, water, air, earth), as a way of the dialectical encapsulation of eternity DIA infinity

  • [triangle as a rectilinear (incomplete, imperfect) representation of the ellipse (circle)].

READ: "Dialectic Interactive Approach: The Methodological Creative Framework." In short, the dialectical eternity dia infinity is, in fact, a triangular representation of the eternity DIA infinity [8 DIA horizontal eight (∞)]: A static cross-section of the eternity DIA infinity, understood in terms of the impracticability (futility) of stopping time DIA space within it. Pay the particular attention to the fact that in the dialectical understanding of the eternity DIA infinity, triangles of the four elements (fire, earth, air, water) are perfectly fitted with each other by forming a parallelogram, while in this abstract presentation of the eternity DIA infinity, the ellipses are fitted with each other only within the intersection of these four elements.


Compare this symbolical presentation of the eternity DIA infinity to the creative vastness of a four-triangular star in order to fully experience all power of this picturesque language of symbols, as a sort of the pictorial writing system for an advanced way of creative communication. All this aforementioned related to the Crosswise (X), together with the symbol Cross (+), through the symbolical transformation of these ancient four elements, understood in terms of dialectically creative interaction of the future, past, spirit, matter, that is, within the dialectical creative framework that is formed by dialectical synthesising of the "x dia +", also creates an alive medium (mind dia presence), as a precondition for the ignition of the life DIA living, through the initiation of vital dialectical creatively interactive processes within this dialectical eternity of times DIA infinity of spaces, and everything else in a farther, broader and deeper sense.


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

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

By reconsidering this dialectical content in terms of ideas expounded by this creator of knowledge (1999), after introduction of the dialectical creative framework for the orientation in eternity of times DIA infinity of spaces, by keeping them dialectically apart, the cross (+) (re)establishes dia splits and separates all this encompassed time DIA space, that is, it does not allow the complete merging of this encapsulated time and space, as well as of the dialects time in space (future within spirit) and space in time (matter within past), whereas the diagonal cross, that is, crosswise (X) prevents the merging of the dialect - future dia the dialect - spirit (time in space) and of the dialect - matter dia the dialect - past (space in time), creating in that way a (creative) medium of the time (emotive emotional presence dia physical presence) DIA corresponding spatial medium (mind dia reason), that all together understood in METHODOLOGICAL sense is a continual wellspring of the dialectical change as well as of the life dia living within it, and of everything else in a broader, farther and deeper meaning of this dialectical way of conceiving and understanding of the time DIA space.


Broader Diagonal Cross: Dialectical Synthesised Cross (with)in Eternity of Times DIA Infinity of Spaces in Terms of the (Greatest) Greater, plato timaeus

Broader Diagonal Cross: Dialectical Synthesised Cross (with)in Eternity of Times DIA Infinity of Spaces in Terms of the (Greatest) Greater

Finishing the dialectos Timaeus of Plato, this creator of knowledge argues, the two beings dialectically united within the six-pointed star, that is, depicted by the so-called broad version of the crosswise, as a kind of witness of these times DIA spaces, represented by the two five-pointed stars (pentacles), which symbolise the constituents of each pair of thesis and antithesis (the couple dialect) within the world of dialectics of God, could be a POSSIBLE solution of this enigmatic and mysterious text of Plato, understood in terms of the full meaning for the writing the dialectos Timaeus. But either way, keep in mind that this conceptual model and its postulates were used in this dialectos by Plato, not only for the pictorial presentation of creating a human being but the universe as well as everything other within it in a broader and deeper sense of the real meaning of this antique text. Notice too that already in this antique time DIA space, the "brethren of temples" have lost an important part of the hidden knowledge (read also later the continuation of this dialectos), as a final result of the separation DIA non-communication between the established civilisations of the Near East and the Far East.


But by this unraveling of the dialectos of Plato was not finished this antique tale, because this creator of knowledge, becoming even more puzzled with this enigmatic and still mysterious dialectical interactive content, continues his creative traveling through this dialectical understanding of the time DIA space. In other words, this antique world, where you could recognise the origin of the David's star, the Three Crosses DIA One Cross and the Six Crescents, was left behind by him, in order to be continued this creative journey through the ancient world, from this imaginary and imaginative DIA sensible pora-spora in time DIA space, remote 25/24-pointed centuries DIA stars from the living pora-spora of Plato. In that purpose, it was also abandoned the world of Hebraism, (and of the later coming) Christianity and Islam, in order to be entered into the ancient world of the Hinduism, Taoism, Buddhism, Confucianism

  • [which is founded on the yin-yang (thesis-antithesis) way of thinking. Actually here the word goes about a far-eastern interpretation of the main postulates of the dialectical interactive approach. For this reason, try to reread dia reinterpret it from the perspective of this dialectical methodological approach. Hope, it will not be difficult to understand that the point of this yin-yang way of thinking is not in the "YIN" (thesis) nor in "YANG" (antithesis) but in their common unity (dialectical synthesis) DIA the renewed thesis ... dia a myriad of (the complemented and supplemented) antithesis and so on in time DIA space ....],

and of the akin (spiritual) religions of the Far East.

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