CREATIVE VEHICLES OF KNOWLEDGE
Creativity concerns using existing materials of memory and, by means of intellect and imagination, designing new groupings, arrangements, and forms. Knowledge is the Spiritual Elements in action. The 17th century English word “Vehicle” is etymologically a “carrier” (like a Symbol). “Figurative” Language with its Figures of Thought and “Figures of Speech” (FOS) constitute “off-center” Bull’s Eye forms of Creative Vehicles of Knowledge and their offspring (which are located elsewhere on the Archery Pad). The story of this group begins with the brilliant Primitive (the first people) Africans who originated its key concepts of Abstracts (pertaining to the Metaphysical and the infinite) and Abstractions (pertaining to spirits residing in Objective and temporal dominions)as virtual or contingent (i.e. “maybe”) Beings. Both enabled Africans’ ideas about “Power”–as present in the shape of their patterns–to be known by its actual or perceived manifestations. To the end of generating Abstractions for the purpose of Practical (Secular) Knowledge they used pebbles–the origin of the word “Calculate“–piled up on the ground to represent the numbers counted pertaining to something. These pebbles were concrete figures representing other concrete figures to convey Abstractions needed in daily living. Early Very Ancient Africans, in building upon Primitive Africans’ Practical Abstractions, used pebbles as a form of mental imagery to keep up with a group of their puppies. To improve accuracy they put into an animal-skin sack a pebble to represent each puppy as it left the fold. By so doing, they could tell, by checking the puppies returning at night against the pebbles, whether any had been lost. Each pebble, accounting for each puppy, represented the abstraction figure of “oneness”–its numerical value–the actual concrete representing a virtual concrete. An extension of this into bartering goods was to put stones into a sack to convey how much of something was owned or owed. To thereby use a concrete as an abstraction in order to “figure out” ways to reduce negotiation problems served as their “skeletal” concept for “Forethought” (doing all necessary planning before taking “calculated” risks). A vehicle variation included showing the Fingers of ones hand as a means of mental calculation, perhaps to determine what things were absent. Such hand gestures were the origin of the genre called “Fingers of Speech.”
Very Ancient Africans continued Primitive Africans’ fashioning of Practical Knowledge out of such creative ways of thinking. An example of their mental acts was bundling like-kind sense-impressions and memory-pictures gained from research to form meanings covering a complete image–e.g. Mathematics–i.e. quantitative reasoning made possible by consistent patterns underlying natural events. Being mathematically sound means it is Secularly unchanging and thus has Certainty.
The 13th century Old French word “Figure” (form, shape) came from the ancient Greek branch of Rhetoric, the art of using language to produce desired effects on a reader or listener. Originally, it pertained to a statue; then to fashioning a likeness of something; and in 1340 the sense of a literary device, meaning its “figure” giving diagrammatic essentials or the characteristic form or the set of outlines by which something is recognizable by the imagination. There are hundreds of devices and turns of phrase by which literal meanings can be enhanced and enriched. The type of figure used and its effect depends upon its plane of existence. Yet any Literary Figure refers to details that fill out and give body to a form, emphasizing the total impression made by the relationship of part to part. In its simplest form, to fashion an image of a concrete thing in another’s mind, then using another concrete thing in ones FOS might work best. For example, the branching of a river system is often explained by comparing it to a tree. This is because the more similarities there are, the more complete is the understanding. To give flare to Concrete Words for purposes of generating special effects–e.g. related to persuading, entertaining, expressing, sharing, teaching, instructing, informing, or serving as a call to action–people change the standard order, construction, and meaning of what would normally be literal. The flare comes from describing the similarities between unlike things, using expressions–as, for example, metaphors and similes–in which words step outside their literal meaning or outside their ordinary use to add beauty or force. jabaileymd.com