introduction to the museum and weekend workshop
Introduction to the museum on Fridays and discussion of the exhibits on Sundays.
The unconscious as a natural science conflict resolution mechanism, the universal harmonic, illustrated in all the exhibits of the Museum of the Creative Process
The unconscious is a self-adjusting process like a self-driving car that has an engine propelled by the need to transform conflict energy to resolution. The unconscious is essentially an engine, propelling the creative process, and steering mechanism, bound by morality.
The conflict analysis battery is a self-assessment that gives a person the opportunity to get into the driver’s seat and take control of the run-away self.
The unconscious is a scientific phenomenon abiding by the laws of the pendulum oscillation, the 10 harmonic motion, and the laws balancing the equilibrial scale: reciprocity, negation and correlation
The six role conflict resolution process, a universal harmonic present in all samples of creativity, is a triple emotional energetic oscillation transforming conflict energy to resolutions as stable order.
The unconscious navigates our behavior resolving conflicts like a driverless car without the services of our judgment. Becoming self-aware through the self-assessment however, which generates insights and guidance for changes, we can learn how to manage power and optimize our conflict resolution pattern.
The transformation is guided by three equilibrial formal operations balancing the trays of a scale: passivity is transformed to the reciprocal mastery, antagonism to the opposite cooperation and alienation to the correlative: mutual respect.
Creativity is driven by the two scientific phenomena. Religions recognized them as the six-part structure of the Greek cosmogony and the six days of creation of genesis.
Mural one of the creation stories
Genesis is correct as the metaphor of the conflict resolution six-step process, transforming chaos to order. Sabbath, the day of rest is correct as the metaphor of the celebration of conflict resolution.
The ten commandments are correct as the moral injunctions of averting and resolving conflicts describing the moral injunctions of the three principles of conflict resolution: moderation, cooperation and mutual respect.
Mural three of the ten commandments
Mural #5 illustrates the dialectic evolution of cultural paradigms. All cultural phenomena have natural science dimensions
Mural 6 presents four cultural relational choices as four approaches in dealing with temptation as handling the proverbial apple.
The Aztec apple is the person’s heart offered to the cruel mother goddess. The Greek ‘apple of discord’ is inscribed ‘to the fairest’ inciting antagonism. The Indian apple is the sacred cow corresponding to self-sacrifice. The Judaic apple is forbidden.
The Gorski retrospective’s focus is integrating the canvases as a series of six-role conflict resolutions.
The formal transformations of the mouth on the jacket of the textbook illustrate the four formal alternative modes of resolving conflict: submissive and dominant, with cooperative and antagonistic modalities.
The story of the wizard of oz is a study of the process of resolving, the yellow brick road. The yellow brick road presents a series of adventures, illustrating the syndromal nature of the conflict resolution process.
The four characters symbolize the personality diagnoses of wellness as the four alternative ways of resolving conflicts as the relational modality syndromes.
The sculptural trail in the history of love features two installations of abstract art. The first illustrates the six-role process as the perfect universe consisting of three acts and the resolution We examine the three marble stations as the acts of a play with the head stone as reflecting the conflict resolution.
The scale’s three equilibrial principles
The second abstract art exhibit illustrates the three formal equilibrial operations of the scale. We consider the three sculptures as reflecting the three formal operations: reciprocity, negation and correlation.
Moral monopoly, Tikkun Olam, healing the world, is an educational card game. The configuration of the game-board, the octopus design, presents the architecture of the unconscious, illustrated by 8 stories along four alternative paths to resolution.
Two tentacles of the octopus as the two six-part processes of two cultural stories.
The four suits of the deck of cards are a perfect metaphor for four cultures.
The heart and the diamond in red, are the cooperative modalities; the club and the spade in black, are the antagonistic ways of resolving conflicts. The right field is power and the left is powerlessness. The colored cards symbolize the king, queen and jack as the family role models of resolving conflicts; the numbered cards unfold as 2 stories, 2 sequences of six role-states each. Jokers represent science.
The sociogram, as the quadrants of relational alternatives
Mural two: The American flag becomes the flag of the united metaphors. The joker of the stripes reflects the laws of the simple harmonic motion. The stripes illustrate four cultures’ alternative six role process.
The stars of the flag are in a relational constellation on the normative map the three circumferences. Their placement identifies the cultures’ power placement within the sociogram. The vectors reflect the attitude alternatives; clockwise for cooperation and counterclockwise vectors for antagonism. The second joker is about the equilibrial laws of a scale.
The conflict analysis battery helps to identify the test taker’s six-role syndromal process and his/hers relational modality. The statistical analysis shows the level of agreement.
Which one of the following relational modality types do you identify with?
A for Dorothy, dominant cooperative,
B for the lion, dominant antagonistic,
C for the scare crow, submissive cooperative, and
D for the tin man, submissive antagonistic.