Peculiarities of the Dialectical Interactive Approach
The Unity and Exerting of Dialectical Tensions in Time DIA Space
DIA
The Four Primary DIA Proto Paradigmatic Presumptions of the Dialectic Interactive Approach
and so on in Time DIA Space, until was reached stage of the development of
CREATIVE EXPANSES OF A FOUR-TRIANGULAR STAR
This ground plan was eternalized in the Pyramid of Cheops in Egypt
In either case, now is much easier to understand, why this creator of knowledge prefers the recorded ANCIENT citations of the actors of this distant past, who lived and creatively acted on these earthly expanses. Although some of you, seen from the perspective of the MODERN understanding and comprehending ROLE of art, science, philosophy and culture, might argue that the great thoughts of these actors of the remote past is feasible to substitute and utter on a higher level of time DIA space, their TIME VALUE (THOUSANDS OF YEARS) is not possible to substitute and replace in any way, particularly, after incorporating the related spatial value [spirit, mind dia reason, matter]. And as it was demonstrated by this creator of knowledge in the creative works and articles of his, their great thoughts are still VERY actual, valid and will continue to be that in the future as well. In short, the "modern creative" and narrow-specialised comprehension of the role of science OR philosophy OR art OR culture during the process of creating knowledge, demands (exclusively) citation of the latest creative achievements within a narrow-specialised realm of science, where also implementation of the interdisciplinary approach is rather a rarity. Note too, how they are particularly ('creatively') oversensitive and easily upset on the embodiment of citations of the major actors of HOLY BOOKS AND SCRIPTURES in the creative works by the ("scientific, philosophic, artistic and cultural") intruders. This creator of knowledge is only one example of this kind of intruders. Regardless of this, the dialectical interactive approach because of its "Background Simulative Methodological Assumptions" requires that each dialectical content under creative consideration is reconsidered from (tri)angles of the great pyramid of culture, philosophy, art and science, understood in terms of suitable "Ultimate DIA Probable Methodological Presumptions of the Dialectical Interactive Approach". Perceive that the dialectical interplay of these four SYMBOLICAL pre-ancient dialects take place within a PICTURESQUE geometrical rectangle (square), whose image was imprinted DIA impressed in the ground plan of Cheops' (Khufu’s) pyramid, as a kind of embodiment of THESE CREATIVE VASTES OF THE FOUR-TRIANGULAR STAR. In other words, it might be argued that in this way, this pre-ancient methodological approach to creating knowledge had been perpetuated (and hidden), respectively, allowing it to come again on the light of day, in the case that this important part of the higher (hidden) knowledge was lost, from one or another reason.
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, the ether represents a general (standard) creative working framework (for example, a vacuum), but also every specific created environment and creative ambience [wrapped on all sides with an invisible protective membrane] on one of the levels (building blocks) of this pyramid of time and the space within which these four elements interact creatively and cooperate with each other. Examples of the manifestation of the created ether-environment are the interplanetary star space (stellar system), interstellar spaces, galactic spaces, inter-galactic spaces, etc., while examples of the created ambient or micro-ambient are: the earth's atmosphere, the activity zone of black holes, supernovae... . From the above, it follows that the vacuum, as an almost empty airless space, actually represents an ideal neutral environment and ambience for the standard manifestation of the ether, and for this reason it occupied space (and time) on the ground plan of this pyramid.
The Earth's atmosphere is one example of the manifestation of the ether at the higher level of this pyramid, created as a result of the interactive creative action, permeation, and enrichment of these four basic elements. The Earth's atmosphere not only provides the conditions for the emergence of life but also protects life on Earth by creating protective layers and envelopes, as well as the appropriate atmospheric pressure of this created ambient in mutual cooperation with the force of the Earth's gravity, which in fact enables the creation of liquid water, as well as its retention on the surface of the Earth. By the way, every resulting ambient contains some manifestation of a protective covering, which actually separates it from other ether-ambients. Due to this special (protective) role of this form of manifestation of ether-vacuum and its ability to metamorphose into various forms of manifestation of ether-ambient, which actually created the necessary environment and desirable ambient for the emergence of life, as well as the conditions for its maintenance, it could be said that here it is really about a (HIGHER) SUPER-ELEMENT, and not about some fifth, non-existing element.
Either way, this linguistic "pictographic script" (of symbols) evokes to mind dia reason, by awaking and seting in motion asleep thoughts, which were impressed, imprinted and stored DIA hidden deep in the subconscious and unconsciousness ("imaginative server") of human beings, and which can be recollected and revivified in time DIA space by "little" help of the dialect - spirit of those beings with (deep) human root. The self-awareness of possessing this kind of ability motivates humans additionally to continue stubbornly to bear their heavy "chests of drawers" (inner being), fulfilled with the (hidden and invisible) dialectical contents of human culture, philosophy, art of science. By the way, still bearing the burden of this treasure of humanity, they try to convince others too, whatever price for it has to be paid that in their heavy "chests", there is truly something worth for the future (generations). The creative articles, narrated by this creator of knowledge, creatively acting within me, prove too that they have been in right. From this reason, let’s peer together into this kind of the burden of (meaning) to being human(e).
In this purpose, in order to fulfill this creative requirement regarding the role of the dialect - culture, the words of the major actors of Holy Books and Scriptures were also quoted DIA CREATIVELY APPLIED, that was not at all welcomed by the "modern ideologists and 'theologists'", who act (behind the hidden sceneries) within the established official natiocratic institutions of the "modern" science, philosophy, art and culture. In other words, they would like that this part of the treasure of humanity forever remains OUTSIDE OF THE PROCESS OF CREATING KNOWLEDGE, within the well isolated (and under full surveillance) "walls of containers of theirs", as it deals with the nuclear (radioactive) refuse. In other words, these "containers" were exclusively used in purpose of some kind of the modern edition of "catacombs" for practicing God's confessions, thereby "enjoying such a kind of (religious) freedom of theirs", BUT NOT ALSO ENJOYING THE FREEDOM OF CREATIVE ACTING, that is, the use of ideas and thoughts of these great persons of distant past IN THE CREATIVE PURPOSESES. A good example of this methodological approach to the creative implementation of the (dialectical interplay of) culture DIA religion, science, philosophy and art is the following creative article: The Concept of the Dialectical Time DIA Space VERSUS The Concept of (Recti)linear Space AND Time.
The Background Simulative Methodological Assumptions of the Dialectic Interactive Approach
DIA
The Ultimate DIA Probable Methodological Presumptions of the Dialectic Interactive Approach
Dialectical Creative Framework for Orientation in the Eternity of Times DIA Infinity of Spaces
Simultaneously, by reading the left (behind) ancient and antique sources, and particularly the Holy Books and Scriptures, understood in terms of dialectical synthesising this enormous span of time DIA space (THOUSANDS OF YEARS), this awareness also offers an opportunity everyone to comprehend that so much ESSENTIALLY still hasn't been changed since these ancient and antique times DIA suitable spaces .. till present days, in the treatment of (common) people compared to the preferential treatment of various group's societal categories from the side of state and the established network structures. On the other hand, there are very powerful natiocratic forces ('modernists'), which want to prevent THIS KIND OF LONG-RUN dialectical synthesising IN TIME [future, emotively emotional dia physical presence, PAST] DIA SPACE [SPIRIT, mind dia reason, matter] at any price. In other words, they want to prevent development of (cap)abilities of this kind LONG-TERM dialectical synthesising of such an enormous span of time DIA suitable range of space, that encompasses and cross-bridges both past and future DIA thy creative (emotively emotional) dia physical PRESENCE, as an alternative to their way of conceiving and understanding the notion "future", captured and considered within a creatively very limited "container" of the (recti)linear dialect - present (time).
On the other hand, concluding this initiated dialectical process, it truly amuses this creator of knowledge, how many manifested paradoxes, self-deceptions and (optical) illusions of the (recti)linear conceiving and understanding time AND space, can be stored within this "container" of the dialect - present (time), in interplay with the abandoned hollow, regarding the already proverbial negligence of the role of dialect - past by the fused (coalesced) minds of these "modernists", during their (CREATIVE) orientation in time and space. And all this, although the well-known creative achievements of cosmology also contradict to this very wide spread 'scientific' (methodological) approach. "As farther a look to the observable universe was thrown, as better the (face of events of the distant) past has been seen": The Olber's paradox. Or by uttering this cosmological view on the universe in terms of the used terminology of dialectical interactive approach, my - thy - our PHYSICAL PRESENCE is surrounded from all sides by the dialect - (matter in the) past (SPACE IN TIME). But these (external) experiences and limitations of time and space ARE NOT ALSO VALID FOR THE DIALECT - EMOTIVELY EMOTIONAL PRESENCE.
In other words, only this kind of the dialectical SPIRITUAL (creative) presence is able to peer into the INVISIBLE INNER EXPANSES, as well as into unknown external vastness of this way of dialectical conceiving, comprehending and understanding of (the dialect -) FUTURE, respectively, into the immense expanses of dialectical worlds of TIME IN SPACE: future IN SPIRIT, as well as into the vast tiny (infinitesimal, diminutive) expanses of the micro-universe (the world of dialectuls). After these dialectical statements, all (methodological) shortcomings and (creative) disadvantages of scientific exclusion of the dialect - spirit from the 'modern' scientific thought have emerged on the light of day, only because this dialectical content is objectively (and mathematically completely) immeasurable, and from this reason physically meaningless. In either way, in purpose of retrospective recollection of these stored (asleep) patterns of thoughts, that is, their transfer and translation in the medium - mind dia reason, the linguistic dialects of the "Background Simulative Methodological Assumptions of the Dialectical Interactive Approach" (culture, philosophy, art, science) were again used, understood in terms of placing them into the suitable dialectical creative context by means of the "Ultimate DIA Probable Methodological Presumptions".
