I Ching

【주제분류】중국철학, 역학(Chinese Philosophy, Yixue)
【주 제 어】내지덕, 착종설, 괘변설, 효변설, 괘생성론(Lai Zhi-de, Cuozong theory, Guabian theory, Yaobian theory, Theory of Gua-creation)
【요 약 문】본 논문에서는 내지덕의 괘변설 비판에 초점을 맞추어 그 의 역학체계를 고찰하였다. 이를 통해 밝혀진 바, 즉 그의 괘변설 비판 의 의도 및 그 비판의 근거인 착종설과 효변설의 관계 그리고 괘생성 론을 정리하면 아래와 같다. 내지덕의 괘변설 비판은 우번 이래의 자모괘래지설에 의한 ｢단전｣ 해 석을 착종설의 종괘로 대체한 것으로, 문왕의 주역 창작원리인 착종 (錯綜)을 주역 전체의 해석에 일관되게 적용시키고자 한 의도에서 비 롯된 것이다. 그의 주요 해석원리 중 하나인 변(變)은 소성괘에서 한 효의 음양변화를 의미하는 효변설로, 효사 해석에서 착종과 중효를 보 완하여 괘상을 도출하기 위한 원리이다. 이러한 효변설은 그의 역학체 계에서 괘변설 비판의 근거가 되는 착종설과 상호보완적인 관계에 있 다고 할 수 있다. 또한 내지덕은 정주역학에서 괘생성론으로 인식되어 온 괘변설을 취하지 않기에 이를 대체할 괘생성론을 제시해야만 했다. 그러나 그는 주희와 달리 선천후천의 구분을 부정하기에 선천역의 가 일배법을 취하지 않고, ｢계사전｣에 근거하여 소성괘 팔괘와 팔순괘의 생성을 설명하고, 팔순괘의 순차적 효변을 통해 64괘의 생성을 설명 하였다. 그의 이러한 괘생성론에서는 경방 역학의 영향을 엿볼 수 있었다.
本研究的目的在于解开，在理解来知德易之学体系中的卦变说批判时所产生的疑问点。其问题点如下。第一，来知德之易学体系中的卦变说批判与爻变说的关联问题。另一个问题则是，关于来知德的卦变说批判，在其易学体系中诉求崭新的卦之生成论。 来知德的卦变说批判，将以虞翻以来的自某卦之说作为依据的彖传解释，以自己的综卦来代替。也就是，将文王的《周易》创作原理的〈错综〉，以及从易之解释的总体当中来作出贯通连结。来氏的易解释原理的其中之一〈变〉，它所指的是，于小成卦中一爻的阴阳变化之爻变说，在爻辞解释之中補完错综、中爻导出卦象的原理。另外，来知德不承认以往被作为卦生成论而作理解的〈说卦传〉中的乾坤生六子说。因此他必须与朱熹一样，提示出新的卦之生成论。但是来氏与朱熹不同的是，他否定了先天后天的区别，因此不承认先天易的卦之生成论，他据〈系辞传〉来说明小成卦之八卦与八纯卦之生成，而且通过八纯卦中顺序性的爻变来说明六十四卦的生成。可以看到来知德这般的卦之生成论受到了京房易学的影响。

This dialogue foregrounds the interological nature of media ecology as a style of exploration into the human condition. Besides Marshall McLuhan, it also brings Gilles Deleuze, field theory, and the I Ching, et cetera, to bear on media ecological inquiry. The idea is to reveal a pattern instead of defining a term. RESUME Ce dialogue met en relief la nature « interologique » du style d'exploration de la condition humaine que propose I'ecologie des medias. Pour ce faire, il fait intervenir, en plus des reflexions de Marshall McLuhan, la pensee de Gilles Deleuze, la theorie des champs et le « Livre des transformations» (Yi King). II s'agit moins ici de definir un terme que de reveler un « motif » (pattern).

This paper first draws attention to the striking similarities between the parable for which Dr. Iain McGilchrist named his book, The Master and His Emissary, and the top line of 2nd hexagram, The Receptive, of the Chinese Book of Changes (I Ching). His  theory that the right hemisphere is all about ‘totality’ and the left hemisphere is about ‘parts’ or ‘fragments’ maps, not approximately to the first two hexagrams of the I Ching, but perfectly. The relationship between the hemispheres mirrors the relationship between the hexagrams. ‘Are the phenomenological aspects of ‘something taking place inside ourselves’ found explained in the Wilhelm translation of the I Ching?’, ‘Did the ancient Chinese mind know something about our human being that McGilchrist is just now revealing in a Western scientific manner?’ The parallel extends to the importance of how we attend to the world and the ‘bringing into union the polar opposites of division and unity’.

This article presents the mathematical construction of the timewave (the central concept of Terence McKenna's Timewave Zero theory) from the 384 numbers which McKenna derived from the 64 I Ching hexagrams.  The mathematics is rigorous and thus the mathematical basis of the timewave is sound, although objections to McKenna's interpretation of it are possible.

Há uma histórica relação entre o 易經 Yìjīng (I Ching), Clássico das Mutações, e o 太極拳 Tàijí quán (Taichi chuan), Boxe da Extremidade Sublime. As possibilidades de es-tudos dessa relação são amplas, e abrangem aspectos filosóficos, de combate, da história e até da visualidade estética dessas artes chinesas cultivadas também por daoístas. Neste breve texto, vamos tratar da associação entre o estudo do 易 Yì (Mutações) através dos 卦 guà (trigramas e hexagramas), e de uma prática a dois do Tàijí quán conhecida como 推手 Tuī Shǒu (mãos que empurram ou push hands).

The Forgotten Principle of Casting Coin in I-Ching Divination.
Jung, Jae-Sang.
The procedure of casting three coins is one of the main methods to get a hexagram in I-Ching divination. It is faster and easier way to get a hexagram than the yarrow-stalk method which manipulates fifty stalks. Because of its convenience, the casting-coin-method (zhiqian-fa 擲錢法) has been in common use in the traditional period I-Ching divination. This article investigates two questions evoked by Jia Gongyan 賈公彥’s mentioning about the casting-coin-method in the Sub-Commentary to Ceremonies and Rites (Yili-shu 儀禮疏) in 7th century, and delves into the principle of method in I-Ching divination.
The first question is how to distinguish four patterns (sixiang 四象) of Yin-Yang - Old Yang (laoyang 老陽), Young Yang (shaoyang 少陽), Young Yin (shaoyin 少陰), Old Yin (laoyin 老陰) - in terms of “many” (duo 多) and “little” (shao 少). This article clarifies the notions of “many and little” in the casting-coin-method: this method succeeds those of the ancient orthodox divination method, in which ‘many and little’ means the divided two lines of Yin and the single line of Yang respectively, as well as the numbers of stalks as a calculation result for deciding four patterns. 
The second question is how to decide the “front” (mian 面) and “back” (bei 背) side of coin, which has caused great controversies. This article traces the historical background of the controversies was closely related to the first question: Many of the debates forgot certain numerical meanings existed in the original notion of “many and little,” and regarded “many and little” as “front and back” sides of coin. On top of that, “front and back” was replaced with “Yin and Yang.” The reason that Jia Gongyan addressed the either side of coin as “many and little” instead of “front and back” can be explained by its coincidence with the shape of the contemporary Tang copper coin, “kaiyuan tongbao 開元通寶,” which had ‘many’ and ‘little’ letters in each side.
In conclusion, this article discusses the validity and significance of the casting-coin-method in the history of I-Ching divination, in regard that it fixed imbalance of the original yarrow-stalk method and kept the probabilities of casting four patterns - laoyang, shaoyang, shaoyin, and laoyin - as 1:3:3:1. It is worth mentioning that the casting-coin-method is a deliberately designed method, and more advanced than the original stalk method in both practicality and effectivity.
Key words : I-Ching Divination, Orthodox Yarrow-Stalk Method, Casting Coin Method (zhiqian fa 擲錢法), Four Patterns (sixiang 四象), Many and Little (duoshao 多少), Front and Back Sides (mianbei 面背)

Divination is the attempt to elicit the mysterious veil of future or unknown secrets of past by interpreting the signs with some transcendent help or intrinsic nature by means of some tools or with a pure clairvoyance. Those who interpret these signs are called oracles. Types of divinations consist of two main categories: indigenous and artificial. We encounter some type of divination methods almost in every ancient cul-ture. This paper defines eighteen divination methods which are categorized into six main themes and gives examples of divina-tion methods that can be seen in ancient cultures of Egypt, Mesopotamia, Israel, Rome, China and Tibet. Moreover, in the light of data accumulated in this paper, the researcher has con-ducted a divination, which aims to make a practical approach to the study.

1. Kinh Dịch, hay gọi ngắn là Dịch, là một cấu trúc ký hiệu với những thành tố được gọi là "quẻ." Bản thân mỗi quẻ là một cấu trúc ký hiệu với những thành tố được gọi là "hào." Mỗi hào là một trong hai trạng thái loại trừ lẫn nhau được gọi là "âm" và "dương." Để nối tiếp truyền thống, ta viết "¦" để chỉ âm và "|" để chỉ dương. Một quẻ có chính xác sáu hào. Các hào trong một quẻ đứng trong thứ tự tuyến tính, hay nói cách khác là được đánh số từ 1 đến 6. Ta sẽ viết thứ tự các hào từ trái sang phải. Ví dụ, ta sẽ viết "|¦¦|||" để chỉ quẻ có hào thứ nhất là |, hào thứ hai là ¦, hào thứ ba là ¦, vân vân. Ta nói x và y là hai quẻ "khác nhau" nếu tồn tại một n sao cho hào thứ n của x là ¦ và hào thứ n của y là |. Ví dụ, |¦|||| và |||||¦ là hai quẻ khác nhau vì hào thứ hai của |¦|||| là ¦ và hào thứ hai của |||||¦ là |. Dịch gồm toàn bộ và duy nhất các quẻ khác nhau. Vậy, Dịch gồm 2 6 = 64 quẻ. Bản thân các quẻ của Dịch cũng nằm trong thứ tự tuyến tính, tức được đánh số từ 1 đến 64. Hai cách đánh số được nhiều người biết đến nhất là cách của Văn Vương (1152 -1056 TCN) và cách của Thiệu Ung (1011 -1077). Cách của Văn Vương như sau.

Plum Flower Divination is an ancient Chinese calculation method based on the Yijing 《易經》. This essay discusses the medical uses of Plum Flower Divination, but once the principles are understood, this method can be applied to other subjects. This paper was written ten years ago and has not been updated.

This paper will conduct a detail analyze on Freemasonry's symbolism codified to The Great Seal of the United States obverse and reverse sides, The Apotheosis of George Washington, The Centennial Great Seal of 1882, The Capitol Building and the mapping out of Washington DC.

Here I analyze Freemasonry ongoing enterprise of codifying esoteric symbols into the streets and monuments of Washington DC.  Most of the symbols I discuss have never been videoed or written about by previous authors or film makers.

Chiunque abbia letto (e/o visto) The Man in the High Castle è senz'altro rimasto colpito dall'idea, dapprima sfumata e, via via, sempre più forte, di Nebenwelt, cioè, in tedesco, “mondo parallelo” (caratterizzato nello specifico dal rovesciamento del rapporto tra vincitori e vinti), ragione ed essenza esoterica del libro e, meno esoterica e più concreta, della sua efficace trasposizione, e reinterpretazione, nei quaranta episodi dell'omonima serie TV prodotta da Amazon...
in
https://issuu.com/fogli.transeunte/docs/fogli-transeunte-2020-6_b19e8b991d68ce

易学可以分为两部分:理论的层面和术数的层面。学界以往对易学的术数层面关注较少,一是缘于学者对"术数"的偏见,二是术数学自身缺少系统性反思的理论大师。三国时的管辂便是试图对术数学进行理论说明的人。牟宗三曾经藉由管辂来研究中国传统的一类知识系统,但尚有许多内容待发掘。管辂说"善易者不论《易》",这是对术数易地位的辩护,同时也是对经学易和玄学易的回应。这种反对,不能从象数和义理对立的角度去理解,而应从文本和实践的区别来认识。管辂认为,术数的根本在于"神",这个神不是玄学或思辨意义上的"玄之又玄",而是实践意义中的通感和知几能力,它奠基于人自身的命限和气质中。但对于神的体悟又不能仅仅等同于"直觉"和"神秘主义",因为它对于表现的通孔——象,以及工夫论基础,都有明确的要求。在这里,我们看到了不隶属于理性、直觉或神秘主义的一种独特思维方式。
I Ching-learning could be divided into two parts: one was the theory and the other was divination o[…]
摘自：管辂易学研究——兼论术数学的思维方式
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A scientific relationship between the Eastern Confucian philosophy and quantum physics is not clearly known in science and philosophy because of lack of concrete data that would substantially enable us to clearly explain it. Recent findings and discoveries in quantum physics and other relevant science, and the Eastern Confucian philosophy are reviewed in this study. The review of Confucian philosophy, quantum physics and personal experiences of precognitive dreams of the author and others reveal considerable parallels between Confucian philosophy and quantum physics from the ontological perspective.

张惠言是晚清今文学兴起中的关键人物,他的学问介于朴学与晚清今文学的交界点上,他做的汉《易》学上承惠栋。然而根据现有材料,以考证的方法来复原虞翻《易》学,只能是破碎的。张氏不取考证学的方法,而是抽绎出虞翻《易》学的精义,再加入自己的体会,建构出虞翻卦象的结构体系,再凭借这个体系来笺释虞翻《易》注。这种方法富有创造性,也算是今文经学的一个重要特点。同时,张惠言的礼学,也非考证礼学,而是与公羊家的礼学相通。他会通《易》与礼,其实也蕴含着公羊学在其中。张惠言的方法传给刘逢禄,同时对黄以周、曹元弼等也有影响。 Zhang Huiyan was a critical figure in the rising of Jinwen xue (New Text classicism), whose learning
stood in the interface between puxue (plain learning) and Jinwen xue in the late Qing Dynasty. His study of I Ch⁃ing learning of the Han Dynasty inherited Hui Dong. However, the textual research, with the current materials, which were used to restore Yu Fan’s I Ching learning, were only broken. Rather than following the textual research, Zhang Huiyan constructed the structural system in Yu Fan’s Gua (hexagrams) through expounding the essence in Yu Fan’s I Ching learning mingled with his own understandings, which was further employed to make commentaries on Yu Fan’s annotations of I Ching. This creative explanation was one of the most important characteristics in the New Text classicism. Moreover, Zhang’s study of rituals was not the rituals of textual research, but in harmony with that of the Gongyang Scholars in the Spring and Autumn period. Actually, Zhang Huiyan’s mastery of I Ching and ritual learning also implied the learning of Gongyang School. Methods adopted by Zhang Hui⁃yan were handed down to Liu Fenglu, and further affected Huang Yizhou, Cao Yuanbi and the others.

Resumen.
Mostrando algunas analogías entre el pensamiento oriental, especialmente del antiguo taoísmo chino, y algunas escuelas psicológicas contemporáneas cercanas al neo-humanismo gestáltico y la llamada psicología transpersonal, en el presente ensayo se presentan y discuten los principales hallazgos de la ciencia psicológica sobre el proceso creativo, las características de personalidad de los sujetos altamente creativos y las circunstancias psicosociales que suelen favorecer el surgimiento de la creatividad.

Abstract.
Showing some analogies between eastern thought, especially of ancient chinese Taoism, and some contemporary psychological schools near the neo humanistic gestalt and the called transpersonal psychology, in this essay are presented and discussed the main findings of the science of psychology on the creative process, the personality traits of highly creative individuals and the psychosocial circumstances which tend to help to the emergence of creativity.

In the quest and search for a physical theory of everything from the macroscopic large body matter to the microscopic elementary particles, with strange and weird concepts springing from quantum physics discovery, irreconcilable positions and inconvenient facts complicated physics-from Newtonian physics to quantum science, the question is-how do we close the gap? Indeed, there is a scientific and mathematical fireworks when the issue of quantum uncertainties and entanglements cannot be explained with classical physics. The Copenhagen interpretation is an expression of few wise men on quantum physics that was largely formulated from 1925 to 1927 namely by Niels Bohr and Werner Heisenberg. From this point on, there is a divergence of quantum science into the realms of indeterminacy, complementarity and entanglement which are principles expounded in Yijing, an ancient Chinese knowledge constructed on symbols, with a vintage of at least 3 millennia, with broken and unbroken lines to form stacked 6-line structure called the hexagram. It is premised on probability development of the hexagram in a space-time continuum. The discovery of the quantization of action meant that quantum physics could not convincingly explain the principles of classical physics. This paper will draw the great departure from classical physics into the realm of probabilistic realities. The probabilistic nature and reality interpretation had a significant influence on Bohr's line of thought. Apparently, Bohr realized that speaking of disturbance seemed to indicate that atomic objects were classical particles with definite inherent kinematic and dynamic properties (Hanson, 1959). Disturbances, energy excitation and entanglements are processual evolutionary phases in Yijing. This paper will explore the similarities in quantum physics and the methodological ways where Yijing is pivoted to interpret observable realities involving interactions which are uncontrollable and probabilistic and forms an inseparable unity due to the entanglement, superposition Transgressing disciplinary boundaries in the discussion of Yijing, originally from the Western Zhou period (1000-750 BC), over a period of warring states and the early imperial period (500-200 BC) which was compiled, transcribed and transformed into a cosmological texts with philosophical commentaries known as the "Ten Wings" and closely associated with Confucius (551-479 BC) with the Copenhagen Interpretation (1925-1927) by the few wise men including Niel Bohr and Werner Heisensberg would seem like a subversive undertaking. Subversive as the interpretations from Yijing is based on wisdom derived from thousands of years from ancient China to recently discovered quantum concepts. The subversive undertaking does seem to violate the sanctuaries of accepted ways in looking at Yijing principles, classical physics and quantum science because of the fortified boundaries that have been erected between Yijing and the sciences. Subversive as this paper may be, it is an attempt to re-cast an ancient framework where indeterminism, complementarity, non-linearity entanglement, superposition and probability interpretation is seen in today quantum's realities.

Il ritrovamento di alcuni documenti inediti di Amelia Rosselli nel fondo pavese getta una nuova luce sugli anni dell'esordio letterario della poetessa (1952-1953). L'autoanalisi 1953 per Bernhard ci rivela come le letture intraprese in quegli anni sotto la guida dello psicoanalista Ernst Bernhard abbiano influenzato in modo sostanziale la produzione poetica rosselliana da Primi Scritti a Variazioni belliche. Sono inoltre pubblicati due testi in inglese, con molta probabilità il primo tentativo di scrittura creativa della Rosselli. 1. Sulla datazione degli inediti Nell'ottobre 1948, dopo la morte della madre, Amelia Rosselli sceglie di restare in Italia. Ha diciannove anni ed inizia a lavorare come traduttrice per le Edizioni di Comunità a Roma. In quel periodo «domina la musica», 1 prende lezioni di composizione da Guido Turchi, comincia a studiare teoria musicale, in particolare etnomusicologia. Il suo apprendistato poetico inizia più tardi, il testo d'esordio in Primi Scritti, My clothes to the wind è infatti datato 1952. Il primo tentativo di scrittura in italiano arriverà poi nel 1953 dopo la morte di Rocco Scotellaro. Del periodo musicale della Rosselli (1948-1952), ovvero degli anni che precedono l'esordio letterario, conosciamo solo quel poco che lei ci racconta nell'intervista rilasciata a Spagnoletti. Resta comunque un vuoto di informazioni sulle letture cui si accenna vagamente («Studiavo per conto mio le lingue, filosofia, letteratura e anche matematica» 2) e sul percorso che la porterà alla scelta della poesia.

The author introduces the concept of transdualism to critique dualism without relying on a dualistic model of critique, the modus operandi necessary for a critique against sexual dualism and hetero/cisnormativity. Transdualism offers an opportunity to dwell within that operation by staying below (not beyond) the "dualism," that is, below the logic of either/or. The essay will explore the notion of "transdualism" through the hexagram Tai of the Yi Jing, which is often used in medical contexts to illustrate the body-of-orifices of Huangdi Neijing or the Inner Canon of the Yellow Emperor. The author reads this body-of-orifices, which is primarily represented by its nine major bodily tunnels, with yinyang philosophy as gender/sex indeterminant and shows that the Inner Canon's yinyang body-of-orifices points to something more transgressive, which could unsettle from within the naturalism of gender and sexual dualism and the nature/culture as well as other dualistic divides that have informed contemporary critical rethinking of embodiment. By unpacking the hexagram Tai alongside Inner Canon's body-of-orifices. as well as contemporary feminist, queer, and transgender theorizations of the body and sexuality, this essay aims at rethinking the materio-discursive complexity of the body-of-orifices, which has been either dualistically separated into antagonisms between man and woman, sex and gender, body and discourse, yin and yang; or one-sidedly reduced to a function of "social construction," knowable only through language-or problematically lumped together in a gender-is-fluid postmodern "both-and," which supposedly overcomes the metaphysico-theological "either/or."

"The Elven Book of Changes" is a magical interpretation of the I Ching or Book of Changes, and is for magicians, elves, and magic wielders of all kinds. It is written without gender bias and serves both as an Oracle and as a book of instruction to help the magician find hir way through the maze of modern life, the mystical worlds of spirit, and the magical realms of Faerie.

This article explores under-examined resonances between I Ching and McLuhan's work. It presents I Ching as a metamedium, shows that McLuhan's four laws of the media have precursors in I Ching, and evaluates the relevance of I Ching in the age of digital mediation. The article illustrates that studying I Ching in comparison with McLuhan's work opens up numerous opportunities for mutual illumination between the two. RÉSUMÉ Cet article s'intéresse aux interrelations peu explorées entre le Yi-King (ou « Livre des transformations ») et l'oeuvre de Marshall McLuhan. On y montre que le Yi-King peut être conçu comme un « métamédia » au coeur duquel il est possible d'identifier des éléments paraissant anticiper les quatre lois des médias proposées par McLuhan. On s'y intéresse aussi à la pertinence du « Livre des transformations » à l'ère de la médiation numérique. Au bout du compte, cet article démontre qu'une étude comparative du Yi-King et de l'oeuvre de McLuhan ouvre la voie à plusieurs possibilités de correspondances mutuellement éclairantes.

This is a work of deep analysis and meditation regarding sacred geometry and its relationship to ancient theological texts from antiquity - covering the I Ching (Daoism), Hellenic Philosophy (Plato, Aristotle...) to Vedanta and Buddhism.

Sacred geometry is considered from the context of textual exegesis as well as personal enlightenment and the expansion of the personality (persona).

Various frameworks for understanding these themes and how they evolve through different social and cultural contexts throughout history is also presented.

"Centerquest throughout the traditional Chinese cultural
realm was and is characterized bv its unique system of
divination through skilled surveying and Interpretation
of landform. It is this surveying system and its underlying
theory that Western writers often refer to as "'Feng-shui,'
or 'Chinese geomancy .... 'Topomancy' and 'terrestrial
astrology' are less commonly encountered English-language
terms for Feng-shul. Geomantic surveyors in China and
Korea, ideally scholar-technicians educated in the Confucian
classics, are termed 'geomancers' by Western writers.
Chatley's (1917:175) succinct and accurate definition
for Chinese geomancy is: 'The art of adapting the residences
of the living and the dead so as to co-operate and harmonize
with the local currents of the cosmic breath.' In practice,
geomantic surveying attempts to 'center' human residences
exactly where "cosmic breath" concentrates. For this
reason, geomancy is regarded here as 'centerquest' … ."

THE divination PROCEDURES for forming a hexagram and consulting the I Ching were
prescribed by Chu Hsi (1130-1200) in Shih I. a part of his I Hsueh Ch'i Meng. Since Chu Hsi's commentaries on the Chinese Classics became the standard texts, Chinese scholars have followed his prescription obediently. The English translation of I Ching by James Legge was based upon Chu Hsi's I Hsueh Ch'i Meng and Chou I Pen I. The German translation by Richard Wilhelm was based upon the Chou I Che Chung, a collection of the Sung commentaries on the I Ching by Ch'ing scholars. Therefore, only the Sung version of the divination procedures is available in the West. Scholars like C. G. Jung, Hellmut Wilhelm' and Wayne McEvilly followed his version to form hexagrams and to consult the I Ching.
It was Jung who first introduced the concept of "synchronicity" in opposition to "causality" as the key to understanding the Chinese psychological
     
phenomenology as revealed in the I Ching. McEvilly further suggested that "Not only is it [the I Ching] remarkable because of its antiquity, however, but also because of its persistent appeal to the deeper levels of the psyche, its impressive vitality, and its implications for the future expansion of our ideas concerning the nature of human experience." In recent years more articles and books have been written dealing with different aspects of this most treasured Chinese Classic. However, as in the cases of many other Classics there are still many unanswered problems about its text, its history, and its usefulness. This paper is intended to deal with two basic and yet related problems: how a hexagram is acquired and how the I Ching is consulted. These problems have been discussed among Chinese scholars ever since the T'ang period (618-905). During the nineteen twenties  at the monthly meetings of the I Hsüeh Yen Chiu Hui in Nanking several of my friends shed some new light on them. Many original ideas in this article should be attributed to Kao Heng, who contributed a great deal to our discussions.  (underlines are mine)

The digital age demands that we retune and update our sensibility. In his rigorous, schematic corpus, Flusser shows us how. As we prehend his elaborations and intimations, we find ourselves returning to the worldview behind the immemorial I Ching, which epitomizes programmatic thinking and contains an ethical calculus of the expedient and the optimum. This article creates a space of exploration between Flusser's corpus and the I Ching, reveals the resonance in between, poses Flusserian questions about the I Ching, and brings to the fore aspects of the book that otherwise would remain largely unnoticed. It also points out that the digital revolution was predicated upon a Leibnizian reduction of the vitalistic, inter-transforming yin and yang to the bimodal 0 and 1, and points to the desirability of vitalizing the digital. At a moment of self-reflexivity, the article reveals its own accidentally derived hexagrammic structure. It can be read as a hexagram (the six sections) within the frame of another hexagram (the Introduction and the Closing Remarks). The readers are invited to figure out the second hexagram on their own and see it as the "flip to" hexagram.

la tradición europea abarca tanto al Sur de Asia como a Asia Oriental, a veces envolviendo en el mismo manto la filosofía de la India, el budismo, el taoismo, la poesía china y la japonesa, sería injusto decir que Paz era un "orientalista" de los que criticó Edward Said. 1 Paz de ninguna manera veía a "oriente" como este otro exótico e inferior si no más bien como lo complementario o lo "divergente" a occidente pero necesario para entender la totalidad del pensamiento humano. Esto lo lleva a la búsqueda de lo que llama "una suerte de combinatoria de los siglos centrales de cada civilización" puesto que "de la relación de estos signos depende, hasta cierto punto, el carácter de cada sociedad e incluso su porvenir" 2 . Para ilustrar su visión de lo complementario y de lo divergente, nos dice: "Me serviré de ejemplos extraídos de Occidente, India y China por esta razón: creo que la civilización India es el otro polo del Occidente, la otra versión del mundo indoeuropeo. La relación entre India y Occidente es la de una oposición dentro de un sistema. La relación de ambos con el Extremo Oriente (China, Japón, Corea y Tibet) es la relación entre dos sistemas distintos. Así en el caso de estas reflexiones, los ejemplos chinos no son convergentes; son excéntricos." 3 Sin embargo, "en todos los casos y por más acusada que sea la disyunción o la conjunción, la relación no desaparece". 4

"The basic ethical doctrines and public philosophies systematized and advocated by
Confucius (551-479 B.C.) are often termed Classical Confucianism in the English-
speaking world. However, during the Chinese Song Dynasty (960-1279 A.D.), Classical
Confucianism underwent extensive transformation to become the highly sophisticated,
abstract, and political mode of Confucian philosophy now called Neo-Confucianism
(Yang and Henderson 1958). Eventually, the Zhu Xi school of Neo-Confucianism
became the official state cult in Ming Dynasty China (1368-1644 A.D.) and then also
in Yi Dynasty Korea (1392-1910 A.D.) (Henthorn, 1971, p. 170). Seckler (1992) has
already alluded to Neo-Confucianism's influence in Japan; Okinawa and Taiwan were
similarly influenced. An East Asian martial arts region, therefore, roughly coincides
with the extent of a traditional Neo-Confucian civilization centered in China. East Asian
martial arts can also be discussed as unified and uniform to the extent that their theories and practices were influenced by a single Neo-Confucian cosmological perspective. Cosmology is a branch of metaphysics that deals with the natural universe as an orderly system, and East Asian martial arts can be interpreted as an orderly sub-system withina Neo-Confucian cosmology."