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Mechanistic and Creative Processes
The notion of "process" can contain two aspects: actualization of a definite matter in a definite form, which can be correlated to mechanistic movement, and the change in that very matter, which refers to development.
The mechanistic process can be arranged in two ways. First, as a certain sequence of forms of one class (quality) where subject space is the bearer of those, and second, as a change in a certain form within time. The rule of ordering (sequence) of forms of a certain class or property realizes the essence of this process. Thus, the unity of form and matter is expressed in a specific process to be correlated to a certain track or line in space
The only way to experience the matter of the process for a subject of a specific subjective reality is the process itself operating as a change of form in time. Here the intuitionist model best fits for its description.
Thus the actualization of reaching a certain final condition (as a means for realizing ones requirement) issuing from a certain initial condition (actual state of a requirement) within the limits of final matter is transformed for a subject into an ordered cause-and-effect chain or time-related process. The final attainable matter to be realized in a definite situation makes the essence of ontogenesis.
If the succession of forms for a given class is generated by the final finite operator (a concrete relationship, the rule of deduction), then this process expresses the final matter or content. In this sense the infinite set itself, which creates this class of forms,could be correlated to the non-finite matter/content/content. The reason is that, in principle, this infinite set can be grounds for actualization for an infinite lot of processes.
Then an act of creativity becomes possible, either as:
The first case generates a new subject reality (for example, as a stage of phylogenesis); the second one, actualizing the change in the process matter, expresses creativity as disclosure of the essence of subject reality; and the third one corresponds to analogy, generating the process of transferring the content from one class of forms to another.
As far as the content matter can not continuously change, like an axiom, rule or law of form transformation, the change in content matter is not a temporary process and is always actualized as a jump (which is psychologically experienced as insight). Further process of disclosing a new final content matter that appeared in the mind, or in other words the expression of this content, is realized in theoretical or practical activity. It is a mechanical process in its classical sense as long as the cause forms the effect.
Changes the content of a certain process, a creative act breaks cause-and-effect relations, because a certain effect (a new content) is presented to the mind, and the subject fails to find the reason for it in his past, old content. The reason can only be detected from outside, and is to be correlated with another class of subject (meta-subject). In this case, a creative act can be viewed as a subject-generated process of forming the necessary conditions for mediated disclosure of the essence of evolution (or meta-subjects requirement). The subject is realizing his vital requirement here. It is the conditions for the evolutionary stage that are formed by individuals in the process of satisfaction of their requirements. The succession of creative acts is, so to say, a creative process itself.
Consequently, the evolutionary process gives rise to sense hierarchy of requirements of subjects of this process in such a way that the content of each stage is the condition for every next one that discloses the matter of the previous evolutionary stage. Infiniteness of development in this case is obvious - every stage is defined by its infinite chain , infinite sense redefinition of the subject.
Semantic Analysis formalized the stages of creative process by realizing the only way to disclose "the infinite reason" for creativity in finite terms, which leads to the "crazy infinity", just like in classical science. Unlike classical science where infinity of knowledge is determined by infinite variety of subjects, Semantic Analysis links infinity of knowledge to variety of "subjects" on different levels of specification. In this case, the task of Semantic Analysis transforms from the infinite process of mechanistic disclosure of the world's "finite content" ("a pile of things") through meanings (concepts), into revealing the sense of each creative act of the evolutionary process through the system of subjects' goals on each specific level.
Thus, in Semantic Analysis there is a differentiation between mechanistic and evolutionary processes. The evolutionary process is realized through a succession of creative acts (extratemporal "jumps") that generate finite content matter. The mechanistic process, on the other hand, is a way of existence for this finite content matter in subjective reality, which is realized through a succession of forms altering in time and space.
The definition can be both qualitative and quantitative. The quality can be correlated to a certain class (type) of forms in which certain matters admissible for a given set can be actualized as processes. It is possible for one and the same matter to be realized in different types of forms.
In space-time any process contains a certain essence that is linguistically expressed as a concept. In this sense any theory is assigned to some limited content matter, defined on a certain variety of forms. If the content matter changes (axioms or rules change), in this case we cross its boundaries and build a new theory. The change of form at the unchanged matter is studied in classical theories. Emergence of new content matter is linked to creativity, which breaks the causes determining temporal sequence of forms.
There, in a creative act, can be generated both new content within specific qualities and a new quality/property that determines the new subject reality. The sequence of creative acts could not be revealed by a formal theory, because every creative act redefines subjective or subject reality that it describes.
The reason in this case can be found only in the new content, "from the future" where effect comes before cause. If a creative act generates several opportunities under certain conditions, then a cognitive definition of the future is possible only as a probability (there are several opportunities possible in the future).
Thus, the study of development requires rejection of classical notions of causation. At the same, time all mechanistic processes can be described within classical theory.
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