I. Idea and Actor II. Capital and Craftsman III. Technology and Dictator
I. Idea and Actor
1. The Actor chooses an Idea which is already in the world, and is already mediated through law, capital, and history. The Actor is fundamentally becoming accustomed to the Idea which is already present in the world and mediated through Spirit. This is to say, the Idea comes into contact with Actors, Craftsmen, and Dictators previous to the individual engagement with the Idea.
2. The Actor comes to know the Idea as Spirit, and the interrelations that people at various stages of engagement come to know the Idea. The Actor is one who contains primordial self-knowledge, and passes through various stages of engagement with the Idea. The Idea is suppositional to the Actor, and the Actor while determined to be solidified within the Idea, is cast out when their engagement with the Idea is seen as rudimentary, and does not pass with ease through the Idea, inhabiting different necessary roles for the singular human being within the Idea.
3. Students find themselves in the role of Idea and Actor, and are often asked to play a role and engage with a particular Idea as a method of being trained to engage with Ideas-in-and-for-themselves. Student is the fundamental novice-nature of the Idea and Actor, as a buyer could be a Actor, Craftsman, or Dictator. The Actor is marked by failing self-certainty, and an inability to generate the craft in a manner which could generate capital.
II. Capital and Craftsman
4. The Craftsman engages with the Idea to a level in which they have some skill in engaging with the idea in a manner which to Craftsman and Actors, are deemed an Authentic Engagement. The Authentic Engagement is what separates the Craftsman from the Actor; however, due to the necessity of Authenticity dialectically engaging with Inauthenticity, the Craftsman also finds himself in unhappy consciousness by necessity due to the striking of the self as Inauthentic in order to produce Authentic Engagement. Only through the striking of the self as Inauthentic can one refine to the level of Craftsman and have Authentic Engagement with the idea.
5. Authentic Engagement, in itself containing Inauthenticity as a dialectical supposition, is Engagement which tests itself against itself, and against Actors, Craftsman, and Dictators. The Dictator, by necessity being one who becomes something higher than the original Idea itself as they are the points of creation for the Idea, inevitably shapes the Craftsman to the Dictatorial Will.
6. The Craftsman, due to the necessary unhappy consciousness from striking themselves as Inauthentic in order to better engage with the Idea, will inevitably come up against a Dictator which they see as not engaging with the Idea as the Craftsman engages with the Idea, but is flawed in a way in which the Craftsman then presupposes themselves to want power, power which is to say, the ability to generate aspects of the Idea which is not yet Idea. This power is obtained through the Craftsman creating something which generates Capital as the Craft, which is not yet the Craft. In generating Capital, the Craft now becomes registered as the Idea, in so far as it is desired to be part of the Craft by Actors, Craftsmen, and Dictators who are also engaged with the Idea. The Status of Craftsman differs from the Dictator in that the Craftsman-as-Craftsman is rarely challenged, while the Dictator-as-Dictator is challenged via any challenge of the Dictate, which is by its nature a generation of the Idea.
III. Technology and Dictator
7. When the Craftsman can generate Idea through Capital, it can then go into Law, and History of the Idea. Once a Craftsman does this, he is now a Dictator of the Idea. The Dictates of the Craftsman now manifest as the Idea. When Actors, Craftsmen, and Dictators challenge the Dictator, they are challenging both the direction of the Idea and the Dictator’s self-certainty as Dictator, which is to say, the Dictator’s ability to generate the Idea through Law, History, and Capital.
8. The Dictator is necessarily challenged in order to preserve the fidelity of the Idea. The Idea is mediated by Actors, Craftsmen, and Dictators, and thus if the Idea is not to degenerate into another form entirely, the Idea is held true through the challenging of individual actors who engage with the Idea.
9. Conflict is the necessity of fidelity to the Idea as mandated by the Dictator. The Dictator comes into conflict with those moving the Idea, and thus are the determiners of the Technology of the Idea. Dictators necessarily engage in Technology which is utilized to shape the Idea.
10. The two technologies the Dictator utilizes are the Technology of the Idea, and Technology to Communicate the Idea. The Technology of the Idea is specialized for the Craft, and is reflective of the Craft itself. The Technology to Communicate the Idea is more general, and is what Dictators and Craftsman use to Propagate the Idea at large, and through which Actor’s engage with in order to discover the idea, and is more reflective of Time itself.