Retrospective Recollection as a Source of the Great Creative Discoveries
Basic ideas of the retrospective recollection, which were creatively methodologically more thorough considered in the previous part of this creative article, show that almost everything a (GOOD) human being is able to CREATIVELY IMAGINE (time in space), distinctly to present as well as to expound that idea and thoughts in the medium - mind dia reason, especially, if it is retrospectively recollective in nature, that is, there is an inner feeling this was experienced once upon a time, can also (later) POTENTIALLY be realized (EXTERNALISED) in the living reality (space in time). However, this creative ability and talent, based on the good intentions of creators (of) knowledge, cannot prevent its (subsequent) abuse of the created knowledge (in EVIL purposes). Either way, in the opinion of this creator of knowledge, if great inventors (of the past) would have been honest, understood in terms of reconsidering the entire creative process (DIA respectively recollecting), and honestly said how these great ideas of theirs REALLY came to them, as well as later were creatively carried out in the reality, in some form of NEW KNOWLEDGE [making a great creative breakthrough, that is, a revolutionary discovery], it will be shown, most of them came into being in accordance with the exposed basic ideas, principles and aspects of the concept of retrospective recollection.
For sure, much more than within the walls of numerous, mindually fused academic institutions was created. If you are still not convinced with what has been exposed so far, then the next question arises: How many great creative breakthroughs and discoveries have indeed been made within these too noisy [AND VERY EXPENSIVE, seen from the perspective of the invested resourses] "walls of this kind of natiocratic obscurity"? Not so much, especially compared with their well-known 'scientific' creative (kre - cre chor) efforts of ridiculing, belittling, mocking, and black-scorning most of the great inventors and creators (of the past). Recall, in the previous creative article has distinctly been emphasized that the so-called simpler mind is only capable to improvise, adjust, reproduce, and imitating an already created knowledge, accordingly, in the best case to deepen it, but also not to make revolutionary discoveries.
- Reading the life stories of great thinkers, artists, and inventors around the world, it is clear that most of them lived, creatively worked, and ended their lives in difficult or miserable working and living conditions. At the same time, their creative contributions to humanity were often belittled and devalued, and even ridiculed by uncreative or insufficiently creative favorites of the natiocratic elite. Nevertheless, it was only after their death that their works began to be magnified, marketed, and 'respected', that is, plundered by the descendants of this natiocratic elite, and then 'respected' by the broad mindless masses, thus creating insidious new followers and admirers of this inhuman cult. In other words, these members of the inhuman race, gathered in various international and national networks of darkness, continue to nurture the cult of the dead and martyrdom, that is, they continue to nurture the traditions of the ancient ‘fraternal temples of the Brotherhood of Darkness’.
- Moreover, some of these greats, whom I considered to have had a dignified life, by carefully reading their biographies,
it is noticeable that they also lived a (very) modest life. Some of them did not even manage to provide their own roof over
their heads, but creatively acted as tenants, or the natiocratic elite gave them a (small) apartment under their old days so
that they could use this Danaans' gift after their death as a memorial to this still an actual cult of death and martyrdom.
For this reason, before entering these temples of death and martyrdom, every human being should at least read their real-life
stories. I personally enter there with a mixed feeling of shame and astonishment.
- First of all, there are external and internal guides: teachers, parents, close and extended relatives, etc.
- Secondly, it is necessary to build a creative framework and develop the contours of knowledge as well as the basic idea of created knowledge. For example, small children begin to build this framework structure of knowledge from the first days of coming into this world, although some believe that they start doing it while they are still in their mother's womb.
- Third, all these users and practitioners of the exposed concept of retrospective recollection in fact patiently assemble and unravel the enigmatic puzzle of time and space, using as a template the previously developed framework structure of created knowledge. Even little geniuses do not immediately find the right word, verb, noun, adjective ... Despite that, they make us laugh and bring a lot of joy and happiness in their immediate environment to make it easier to forget everyday worries, as well as their well-known mischief and habits. But as the old saying goes: Everyday practice makes a master! As a result, sooner or later, little children manage to put together all the pieces of this type of dialectical jigsaw puzzle of time and space (mastering the mother tongue).
- Fourth, for both the boy-slave and the small children, as well as for me, this assembled knowledge within space in time is something new, something we encounter for the first time in this world ruled by the five basic senses, so we can for the first time listen, see: read it. These charms of creating new knowledge in the previously described way experienced and tasted through the prism of the five basic senses, give an additional incentive to take appropriate creative journeys in these inner worlds of time in space to bring additional cubes and tabs (drops of new knowledge) of this increasingly interesting and interesting dialectical jigsaw puzzles of time and space. But unlike this boy-slave and little genius, this creator of knowledge cannot claim to have painted and transferred a faithful copy of this image of time in space (now and there) to this earthly world of space in time (here and now).
- Fifth, it is very important to master the ability to recognize and cognize patterns of ideas and thoughts, both during the alternating creative stay in the inner time in space and in this outer space in time.
- Sixth, it is very important to use the innate abilities of common sense, that is, to stay and act creatively within its
limits, during these alternating creative stays in the inner worlds of time in space (NOW and THERE) and returns to space in
time (HERE and NOW) during the copying or painting of this enigmatic puzzle of the dialectical understanding of time
and space. This, together with the innate ability of creativity and talent to intuitively choose, place, pin, and fit the brought
tabes of this enigmatic jigsaw puzzle in the right place, is of key importance. Although there are those who claim that innate talent
can be replaced with hard work and training, in my opinion, it is valid only in a certain category or level (+ -), because such
a thing is available to far more people. In any case, this is a far more arduous, long-lasting, and a long road to success.
As an example, despite learning such a natural talent to play basketball, chess, table tennis, or some other sport, if you are deprived of this innate talent, sooner or later, there is no chance of beating him no matter how long you practice and train (for example, basketball). Thy only chance is that he or she does not train at all, breaks an arm or a leg, grows old, and the like. In other words, thanks to his innate talent, no matter how he throws the ball seemingly at random, it goes to the basket (to the desired place) almost every time. In short, he or she is gifted at hitting the right place (goal). Of course, such a high efficiency and effectiveness is far more difficult to achieve and realize during the transfer of knowledge from this invisible inner time in space to this earthly space in time (now and here). Regardless of this fact, this universal talent still bears all these recognizable features and characteristics of innate talent and giftedness, especially if this is supplemented or compensated with thy innate creative abilities (creativity).
Arising DIA Enlightenment of a Simplest One in Time DIA Space
Guardian Angel of the Creation and Knowledge
According to Plato, knowledge is the memory of the past that is imprinted in the soul of every human being, and which can be revealed through learning and teaching by instructors and guides. This teacher guide helps the student during the creation or revival of new knowledge for him through proper guidance and direction to better understand the essence of the creative challenge by forming during this learning process his appropriate creative framework and contours of this emerging knowledge. Then this student gradually fills in this creative framework by presenting what he already knows and carries within himself [time in space: now and there]. To prove the feasibility of this way of learning using this method of retrospective recollection and remidance in a philosophical discussion with Meno, Socrates uses one of Meno's uneducated slaves to solve a completely unknown geometric problem of doubling squares to this slave (82b9-85b7). With Socrates' guidance and appropriate questions and guidelines, this boy-slave came to a reasonable solution by recognizing the truth of the conclusion, the essence of the teacher's question, and the ultimate meaning of the teacher's direction, which in fact led to the successful fulfillment of this creative goal, although he was neither learned nor taught this topic of solving mathematical and geometric problems. In other words, this uneducated boy-slave does not repeat or use the knowledge he has previously learned and been taught in this external world [space in time: here and now].
This practical example of Plato's interpretation of the concept of Retrospective Recollection and Remembrance inspired by the Paradox-Meno is very well explained in philosophical literature. But what has attracted the special attention of this creator of knowledge is the congruence of this kind of retrospective recollection within this external world of captured space in time, including the captured soul in the bodies of living beings, with retrospective recollection, remindance, revival, and revelation of buried hidden knowledge in internal worlds of dialectics. Namely, also with the help and guidance of inner hidden teachers, it is possible to revive and bring to light this type of hidden knowledge. The previously mentioned external structure of the creative framework and contour of this emerging knowledge was built by applying powerful methodological techniques and procedures of the dialectical creatively interactive approach applied within this dialectical understanding of time and space. Keep in mind that in the existing concepts of time and space, based on external five-sensed physical (material) worlds that surround us, understood in the sense of something outside of us, it is very difficult to imagine the processes of bridging these external worlds of space in time (HERE AND NOW) with the invisible inner worlds of time in space (NOW and THERE), and especially these dia-processes that take place within the legal boundaries of inner time in space.
Couple Dialect (Matching and Paired Dialects): Thesis DIA Antithesis
Synthesis (Six-Pointed Star) DIA "G" - Hexagon → The Renewed Thesis in Time DIA Space
Let us recall that the meaning of the dialectical interactive approach is not in the struggle or the multitude of theses and antitheses, but in their mutual CREATIVE complementarity and supplementarity (pairs of matching dialects) during the initiated dia-processes. For this reason, the thesis and antithesis, understood as the gap between these internal and external dialectical times and spaces that need to be successfully creatively bridged (synthesis) with this revived knowledge (renewed thesis), must match, coincide and correspond to each other in terms their suitability, understood in terms of the quality of the dialectical content presented and the creativity demonstrated by the creators of knowledge during this way of creating knowledge. If you look closely at the full meaning and essence of Socrates' method, it is obvious that the ultimate purpose of Socrates' instructive questions and guidelines is to fill this kind of enigmatic puzzle of time and space, ie continuous assembly and disassembly (correction) of constituent components in this jigsaw puzzle of space in time with the pieces of the original imaginary jigsaw puzzle from time in space until all its pieces are put together correctly.
In order to be better conjured up and understood this concept of retrospective recollection, remindance, and revival of hidden knowledge contained in the inner worlds of time in space, it is necessary to insert another missing link, which despite being present everywhere, loud enough and clearly visible, it has never occurred to anyone to include it in the creative consideration of such a complex concept, such as retrospective recollection. I guess none of you have a clue that this is about the supernatural abilities of retrospective recollection of small children as they learn to speak their first words and later to speak their mother tongue clearly. Namely, it has been noticed that children aged two to three years already use the language in a way that they have not been explicitly taught before. Pay attention to the fact that these child-prodigies of a much younger age have been compared to Menos' boy-slave, so that their ability to acquire knowledge by gathering experiences in the outside world is far more limited.
In short, these little geniuses compose original sentences from words they haven't heard before, by putting them in the right order, as well as beginning to understand grammatical rules before they even know what a noun, adjective, or verb is. The enigmatic way in which this innate talent works, that is, the ability to create, conceptualize, and give meaning to some unknown dialectical content, is still unknown. This ability is almost on the same level and can be compared with trees and plants which can adapt to changes in the environment, although they do not have a brain, five basic senses or a neurological system. In spite of this shortcoming, they still find a way to defend themselves from mammals by developing thorns, poison and the like.
From all that has been presented so far, one can clearly see the basic and common features of these three ways, ie the stages of development of the concept of retrospective recollection.
I hope these remarks have breached and shed more light on the "darkness" and the related ignorance, regarding the process of emerging a new knowledge with help of the retrospective recollection and revival of these dormant dialectical (interactively creative) contents. I hope that the above also offers a different perspective on how to look at God's inborn gift known as creativity, as well as innate talent and similar giftedness. Or said it in another way, the afore discussion outlines some shortcomings of the scientific approach, seen from the perspective of the pre-ancient methodological approach to creating knowledge, that is, their attempts to explain such a puzzling (ghostly) dialectical content, which is still beyond understanding, by applying (exclusively) objectivistic methods. Namely, in the same way, it might be argued that it is ALSO not the objectivistic method to be presented and interpreted the process of creating knowledge, and the closely related creativity, as a result of the creative talent, creativeness and the gift of the inventiveness of creators. This arises the "objectivistic" question, where these creative individuals find the creative talent, creativeness and inventiveness, revelation … , respectively, where does it come from, what is their real wellspring, and the similar questions as well, WITHOUT AN APPROPRIATE SCIENTIFIC (OBJECTIVISTIC) ANSWER, UNDERSTOOD IN TERMS OF ABILITIES OF PERCEPTION BY THEIR FIVE-SENSES.
Or uttering this 'SCIENTIFIC' DILEMMA ("to create or not to create") in another way, if inventors and creators (of) knowledge waited to get an appropriate answer of scientific researches to these arisen questions, that is, these CREATIVE ABILITIES AND CAPABILITIES to be pre-tested and verified by means of repeated experiments, respectively, the creative capabilities of such a kind of scientists, there will be nothing invented nor created by these great creators and inventors. Instead of applying this unfruitful 'scientific' approach to creating knowledge, they chose the continual pathway of realization of their (great) creative ideas, respectively with these continually repeated success stories (of the accomplishing "EXPERIMENTS WITH THE UNKNOWN"), this rare gift of God (creativity, innate talent ....) has also been successfully verified and validated in the creative reality, as well as the feasibility of the creative conquering of challenges of the unknown in a particular span of time DIA space was proved. In other words, this was not achieved by means of the barren scientific statements, academic discussions, symposiums, and congresses, although this mysterious dialectical content is still not so well understood and "documented" in terms of the five (already proverbial 'scientific') senses.