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Interweaving Contrasting Styles of Remaindering

Reintegration of a Remaindered World (Part #1)


Introduction
Ordering of clues to contrasting styles of "remaindering"
Axes of bias
Degrees of coordination of cognitive modalities
Sustainable discourse

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Annex 2 of Reintegration of a Remaindered World: Cognitive recycling of objects of systemic neglect
(which contains Conclusion and References)
Prepared as an aid to reflection on a world of "remaindered people"
currently of concern to the "Indignant" and to the Occupy movement


Introduction

Weaving: The necessarily disparate nature of the threads evoked in the main paper raises the question of how they may best be interwoven to offer a "seductive" pattern of elegant coherence, following arguments presented separately (Interweaving Thematic Threads and Learning Pathways, 2010). A vital.key to fruitful comprehension can arguably be associated with an aesthetic quality, as stressed in the main paper and separately (Enacting Transformative Integral Thinking through Playful Elegance, 2010).

The challenge may even be seen in terms of a play on use of the weaving metaphor in response to the poetic accusation by John Keats. That metaphor has recently been exploited as a key to greater aesthetic appreciation through science by Richard Dawkins (Unweaving the Rainbow: science, delusion and the appetite for wonder, 1998).

Interdisciplinarity? Science has however yet to respond adequately to the remaindering of the world and of other modes of knowing -- to which it has contributed so much to facilitating. Currently "interdisciplinarity" might even be upheld as a sterile play on words. The concept of "responsibility" lacks any meaning in scientific methodology -- especially with respect to the social implications of science itself.

Tentative intimation: Borrowing from the case made by May (main paper), valuable aesthetic qualities for the requisite articulation can be derived from the sfumato painting technique developed by Leonardo da Vinci and from the non finito sculptural technique developed by Donatello during the Renaissance and used by Michelangelo. This "borrowing" can be framed as an aesthetic form of technomimicry.

The approach is hypothesized on requisite aesthetic criteria for the strategic engagement with the unexpected "other", as variously argued (Engaging with the Inexplicable, the Incomprehensible and the Unexpected, 2010; Relevance of Mythopoeic Insights to Global Challenges, 2009; Strategic Jousting through Poetic Wrestling, 2009; Us and Them: Relating to Challenging Others, 2009). It is striking that an "aesthetics of otherness" should even have been envisaged in relation to jurisprudence (Robin West, Jurisprudence as Narrative: an aesthetic analysis of modern legal theory, New York University Law Review, 1985; Sarah S. Willen, Toward a Critical Phenomenology of 'Illegality', International Migration, 2007).

Requisite complexity: The method employed in the iterative articulation in the following presentation derives from that variously explored previously (Eliciting a 12-fold Pattern of Generic Operational Insights, 2011; In-forming the Chalice as an Integrative Cognitive Dynamic: sustaining the Holy Grail of global governance, 2011).

The use of a 12-fold articulation is therefore continued as a means of interrelating the themes regarding remainder, as evoked in the main paper. This can be understood as indicating 12 "blindspots", 12 "modes of seeing", 12 "modes of denial", or 12 "narratives". The result is necessarily fuzzy ("sfumato") and incomplete ("non finito"). This also applies to the choice of columns and rows in the tables below.


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