XPost: alt.france, de.soc.weltanschauung.islam, uk.legal   
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   From: dolfboek@hotmail.com   
      
    From our informal research as a contemplative life (ie. musing rather   
   than engaging within only an amusing opportunity which does not preclude   
   deriving pleasure from thinking) perspective the simplest answer to DE   
   ZENGOTITA's fusillade of questions. With this next on "why are musical   
   preferences so intensely important to kids?"   
      
   Accords with the hypothesis we stated in our previous chapter, was that   
   in our view any cohesion with the experiential NOUMENON clustered   
   empirical categories normally exhibits a characteristic of fidelity   
   whereby an optimal process of attenuation occurs.  Whereupon the better   
   the mental correspondence as acuity, then the more astute the ONTIC   
   grounding (ie. the #451 - PRAXIS OF RATIONALITY which has a moral   
   construct underlying #492 - VOLUNTARY FREE WILL) from whence springs our   
   capacity to circumscribe our ontological experiences.   
      
   By compliance with the #205 - PRINCIPLE OF PERSISTENCE, is then perhaps   
   the need to avoid @215 - SELF CONTRADICTION by the engendering of   
   resonance within a preferential zone which possesses some psychosomatic   
   relativity whereupon you can then #405 - ménÅ   
    (G3306): *LIVE* the   
   emanating vibe according to @135 - kardía (G2588): *SENSIBILITIES*,   
   *DESIRES*, *PASSIONS* by which one is @102 - lâvâh (H3867): *ENJOINED*   
   within the context of time and its implicit @168 - ONTIC ROOT without   
   then incurring any adverse effect as #405 - páschÅ   
    (G3958): *SUFFERANCE*   
   that is antithetical to the #46 - ENLARGEMENT (K'UO) of inner being (ie.   
   self development) having a potential as an implicit consideration for   
   moderation and self-restraint.   
      
   In contradistinction to DE ZENGOTITA's historical example of mediation   
   which is predicated upon the fallacious claim it was no accident that   
   certain Ancient Greek philosophers, being suspicious of representation   
   (ie. a false assertion given Pythagoreans considered music and number   
   representations of an universal harmony as KOSMOS) then linked music as   
   a gift of the gods and morals so closely: the lyre to Hermes, the flute   
   to Athena and the panpipes to Pan.   
      
   He then concludes "they were already thinking about the psychological   
   consequences of mediation, even back when media was pretty basic, [and]   
   long before the fabulous representation we take for granted today could   
   even be imagined." [Page 96]   
      
   In our view the action of mediation firstly occurs by the devising of a   
   META-NARRATIVE in being only sufficient to convey an astute   
   comprehensibility of the situation and articulate the viability of the   
   METALOGIC process which are outcomes that are bound to our ternary   
   number as theoretical noumenon (ie. the PREHISTORY OF MIND as GODHEAD),   
   in thereby constituting an intermediate action to then assist others who   
   possess a professional capacity within their own subsequent mediation   
   processes.   
      
   One must very carefully consider #925 - *THEORIA* (thinking) the cursory   
   analogies which DE ZENGOTITA, in only a few words, then makes of the   
   Greek genius with respects to drawing "a line around arts and artefacts   
   whose essential purpose was to communicate through representations of   
   some kind."   
      
   The tension is evident in the generic designation of the 'work of art'   
   which tends to conflate process with what this process produces. This   
   conflation about the work of art can be illuminated via a return to   
   Aristotle's concept of techné. This is because techné (the kind of work   
   art performs) remains irreducible to both #578 - *POIESIS* (to make) and   
   #451 - *PRAXIS* (deliberative action). Where #578 - *POIESIS* and #451 -   
   *PRAXIS* are constructive activities differentiated by their intentional   
   ends, techné remains a more foundational power to work upon processes of   
   material causation. [@5, abstract]   
      
   So it was that, when they asked their question such as how does the   
   *ENTELECHY* mediate between the #578 - *POIESIS* (making) and any   
   outcome as #451 - *PRAXIS* (doing), they found one modality that   
   obviously belonged with communicating arts like writing and painting.   
   [Page 96]   
      
   In then having to resolve (ie. obviously the book was written for a   
   particular audience who are au fait with both the subject and its   
   historical developments) the oblique reference to MARSHALL MCLUHAN (21   
   JUNE 1911 to 31 DECEMBER 1980) as the Canadian philosopher whose work is   
   among the cornerstones on the study of media theory, our starting point   
   as self education was then to consider what we might conceptually convey   
   as a knowledge sphere / intelligent books in having at its ONTIC core   
   the #451 - PRAXIS OF RATIONALITY, being analogous to what was then   
   called the "noosphere" or a technological brain for the world and then   
   to interweave such an idea with the observation regarding prevailing   
   scientific models of communication being ostensibly linear, sequential,   
   and logical as a reflection of the late medieval emphasis on the Greek   
   notion of efficient causality.   
      
   So we want to introduce here an actual in situ example (ie. our starting   
   point was the noumena heuristic #336 / #302 instantiation however the   
   process as realisation of a coherent narrative took some four hours) as   
   our theoretical proposition of a dynamic and more efficient causality   
   being our noumenon heuristic as a computational determinism applied to   
   temporality (ie. meaning one can temporal shift and predetermine its   
   prototype) being implicitly a notion of *ENTELECHY* (French: élans   
   vitaux) which within philosophy and metaphysics is the attainment of   
   actuality or realization of #605 - *TELOS* as opposed to potentiality.   
   Aristotle used the word to refer to the soul (psyche), seen as that form   
   within the material being by virtue of which it achieves the actuality   
   of its nature.   
      
   But firstly, back to DE ZENGOTITA's conundrum between "arts and   
   artefacts" by which he succinctly draws our attention to a distinction   
   between the two ancient formulations. Of such problem which art presents   
   to us, JASON TUCKWELL (2017) further suggests, that "#578 - *POIESIS*   
   understands art as a generic ontological problem and techné treats art   
   as a particular kind of work—a skilful, intentional practice to deviate   
   processes of becoming.   
      
   Although Plato considered the universality of #578 - *POIESIS* to   
   ultimately determine thinking about art, techné remained for the Greeks   
   an irreducible problem. This is largely because, despite the exclusion   
   of techné from episteme—a knowledge of universals—it was quite clear   
   that reason had to have its own sort of techné, a skilful discernment or   
   calculative process (logistikós) sufficient to produce sophia: the skill   
   of reasoning (#405 - sâkal (H7919): *PRUDENT*, *WISELY* *UNDERSTAND*)   
      
   [continued in next message]   
      
   --- SoupGate-Win32 v1.05   
    * Origin: you cannot sedate... all the things you hate (1:229/2)