Towards an Iterative Philosophy of Transformative Meanings
It's backwards to worship the beginning. Creative work always mimicks prophecy.
It may be seen as progressing upward, but only crossing one line:
First, it crosses the line of pure possibility: this is the realm of imagination.
Just within that realm the same line may be crossed again, yet more deeply. At this stage there is some kind of language being formed about those possibilities--tools which assist in securing a more precise and grounded reality. This is the literal stage.
Within the literal stage the line may be crossed in folds. Here a conceptual system is applied where the first thought can transform the raw materials of the medium into something better suited to the artist's purpose and needs. I see this stage as an alchemical cycle amongst the four polarities of Soul, Effective, Objective, and Mutable. This is the transformative stage.
Within the transformative stage the line may be crossed for a final time. At this ameliorative stage we determine the value of the creation in terms of its
paradoxicality. In order to do so, it is helpful to ask several questions:
1. If the thing has a self-nature (if it is Soulful):
Does it change (Is it Mutable)?
Does it relate? (Is it Objective)?
Is it purposeful or intentional (Is it Effective)?
2. If the thing has a purpose (if it is Effective):
Is its purpose itself (Is its essence Effective)?
Is its purpose only to change (Is it Mutably Effective)?
Is its purpose something beyond itself (Is it Objectively Effective)?
3. If the thing exists in the world (if it is Objective):
Does it serve its purpose (Is it Effectively Objective)?
Does it have/find meaning (Is it essentially Objective)?
Do its purpose and meaning change (Is it changeably Objective)?
4. If the thing changes:
Does its substance (Objectivity) change?
Does its purpose (Effectiveness) change?
Does its essence (Soul) change?
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The preceding, as well as all other parts of Nathan's Philosophy and Writing are pending copyright (c) 2006, Nathan Coppedge
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