Cognitive Cycles Vital to Sustainable Self-Governance (Part #4)
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The following might be a way of fruitfully and self-reflexively interrelating the 3 sets of "rings" or cycles (3-fold, 9-fold, and 7-fold) and thereby providing a sense of an emergent cycle to integrate and "rule them all" -- the "Lord of the Rings":
Poetry has offered insights into cycles of time and a sense of non-linear time characteristic of some cultures, notably the Mayan and the Hindu (Sarah Eron, On Borrowed Time: cycles of narrative, nature, and memory in the work of Tennyson and Eliot, The Victorian Web, 2004). A speculative commentary on the insights into time in The Lord of the Rings is offered by Jay Weidner and Sharron Rose (Tolkien at the End of Time: alchemical secrets of The Lord of the Rings, New Dawn, 2004, 82). The nature of any emergent "Lord" is implied by such frameworks.
Musical instruments offer a useful metaphor for distinguishing the ways in which the above sets can be understood and the cognitive roles they play. Such instruments can then be understood as associated with distinct ways of knowing. Appropriately the classification of musical instruments continues to evolve beyond the most common 3-fold set: string, wind and percussion (Musical instrument classification). An orchestra may have a wide variety of instruments that can indeed be clustered into that 3-fold set. For the purpose of this argument, one might image a 9-fold clustering as representative of the spectrum of modes of attention. This is then the requisite variety to achieve a meaningful symphonic opus -- rendering comprehensible and emergent order -- based on a vital combination of musicality and technique.
The musical metaphor provides a context through which to identify the nature of the binding integrity associated with a creative opus -- too readily confused with the composition of the score (as a "metric") or the directing role and understanding of a conductor (as "Lord of the Rings"). The challenge for any form of governance is the subtle nature and expression of that role -- of the "One Ring to Rule them All" -- beyond the inadequacies of the all too familiar simplistic forms of direction and governorship. Catalyst, enabler and mediator hold other dimensions that emerge through engagement with the music in that role -- through the cyclic expression of the various "rings". It is this that gives integrative expression to the 3-fold emergence of value, viability and operacy. The necessarily subtle understanding of "rule" is then itself emergent.
The charm of the mythopoeic for anybody in this case is that the "Lord of the Rings" -- the Ringmeister -- is as much oneself as any distant governor of the world. Everyone is then necessarily an emergent "Lord of the Rings" in terms of the understanding of the operation of the "One Ring to Rule them All" -- governing the range of cognitive rings and cycles vital to individual systemic survival. But as the tale illustrates, it is the quality and subtlety of that understanding which is necessarily to be challenged given the possibility of premature closure on dysfunctional rigidity. Identity in that role is essentially dynamic and unexpressible, as previously explored (Emergence of Cyclical Psycho-social Identity Sustainability as "psyclically" defined, 2007; Being What You Want: problematic kataphatic identity vs. potential of apophatic identity? 2008). It relates to the exploration of entelechy by the human potential movement (Entelechy: actuality vs future potential, 2000).
In metaphoric terms, the tale may also be understood as a "vehicle" for understanding equipped with various sets of "wheels" to give it traction over varied terrain, to give it motive power, and to enable it to be driven -- namely the sets of rings or cycles. This does not preclude the design of other "vehicles" with other combinations of "wheels" (Metaphors as Transdisciplinary Vehicles of the Future, 1991).
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