Metonymies are an excellent introduction to a powerful, ancient Greek science, developed by early philosophers, that was used to explain and describe personal inner powers or other metaphysical forces. This science was so profound and no doubt considered so magical that it was suppressed along with everything associated with the Arian Heresy or pagan powers by the early Catholic Church._[1] The science, named Techne_[2], means ‘skill, art, cunning or a method of making or doing something’. Techne is also a form of the root tek- as used in words such as tekmerion meaning ‘proof’ or tekon meaning ‘giving birth,’ which help to define Techne. Techne is concerned with how things come into being_[3] and can be considered as explaining the source of power existing between cause and effect or how a hidden cause becomes its manifested effect. Techne was a science of personal power that could be used to find creative answers or solutions to problems independent of the normal methods of learning. To the Greeks, Techne was a source of truth for the soul that had to be supported by or compatible with: 1) scientific knowledge, 2) practical wisdom, 3) philosophic wisdom and 4) intuitive reason._[4] Techne was, therefore, not based solely upon imagination, wishful thinking, the supernatural or the occult, but rather upon a possible future.

It is important to note that a major aspect of Techne is similar to what is called transference in modern psychology but known as Henosis_[5] in the Greco-Roman period. Transference results from finding such a state of union with another person that thoughts, feeling and ideas could be as one, such as often reported in psychoanalysis. The union or oneness required for Techne is, however, far more complex and includes the union with the self and world in the immediate future as well as the immediate moment as will be described shortly. The rise in the early interest in Henosis in Rome was credited to Mithraism_[6] brought in by the military from Persia who had discovered that the effectiveness of hand-to-hand combat as well as personal survival was highly increased with Henosis as was taught in the early male-only Mithraic religion.

The basic concepts of Techne and transference also appeared in the philosophy of Sol Invictus or Henotheism_[7], as a further clarification of the powerful ancient philosophy and system. Constantine the Great gave the description of how metaphysical powers can be transmitted by using the sun as an allegory. Briefly, the sun contains heat and light which is radiated across space as invisible rays to earth where they anoint or coat objects rendering them visible or warm.  The important criteria in this model are that 1) the heat and light in the sun is exactly the same as that which 2) is radiated and exactly the same as that which 3) lights or warms an object. Henotheism, the religious view, considers that there is: 1) the nature or power of God, 2) the radiance of this nature, and 3) the covering or anointing_[8] of an individual such that the same nature of God is known within._[9] The Techne view is that 1) an individual contains truth which is 2) manifested in some form which 3) can then stimulate or cover an observer with the same truth.

There are two separate aspects of Techne; one is its usage in creating and manifesting, while the other is the perception and understanding of that which was manifested by someone else. Both forms were considered to require metaphysical inner powers. In other words, god-like traits are necessary to use Techne to create and dispense the creation, while similar god-like traits are necessary to use Techne to perceive and decode the manifested. An excellent introductory example of this is given in the book of Genesis_[10] where the Pharaoh of Egypt had a vivid dream and could describe it in detail, but he was unable to understand it. Joseph, on the other hand, was able to translate the dream and support it with “scientific knowledge, practical wisdom, philosophy and intuition” and hence could prove the truth of both usages of Techne. As a consequence, he was, of course, appointed to execute the vision of the Pharaoh. Both the early Greeks and the Hebrews considered that the source of the truth manifested by Techne was of some Divine power and would have had common agreement with the Divine-controlled steps of Proverbs 16:9.

Even though there is little public knowledge or support for the science of Techne, it is still being used today, such as by the self-actualized individuals, studied by Maslow, to manifest their inner goals. Creative scientists frequently use Techne and give evidence of it with their ‘weird’ explanations of how they attained their insights. Perhaps the best known example is the story told by Isaac Newton when he experienced the falling of an apple as the same as the continual falling of the moon, which led to his profound theory of gravitation. Many creations begin with what Einstein called ‘mental experiments’_[11] where the mind sorts through images appearing in the mind until one is somehow ‘known’ to work. This can be described as looking into the future to foresee which possible concepts will work or to find the solution that will exist with complete union with the problem.

Some poets are, of course, masters of Techne, such as Emily Dickinson who was able to impart strong metaphysical feelings with only a few words._[12] Many painters such as Pablo Picasso spent considerable time and effort developing their Techne to depict deep inner metaphysical feelings and forces. Ludwig van Beethoven combined chorus and orchestra with the poetry of Friedrich von Schiller’s Ode to Joy in order to manifest the metaphysical joy that unites one with the world which society has separated’_[13] in his famous Ninth Symphony.

The works of Newton, Dickinson, Picasso or Beethoven can only be fully appreciated, however, by a relative few who have the Techne to understand or find union with both the creation and creator. The initially created physical works of Techne exist as ‘agents of transfer’_[14] of the inner vision of the creator to the outer world, or as Aristotle noted, Techne deals with things coming into being. Techne serves both as an intermediary between a creator and the created as well as between the created and the observer.  Techne is an intermediary agent that opens a path to the future or vice versa. We will shortly describe how Techne has been used in understanding supernormal powers.

We have avoided using the word ‘art’ as is commonly done as a translation of the word Techne since the majority of modern art is not Techne as originally described by the Greeks. 

Walter Lowrie_[15] gives an excellent dissertation on the usage of Art by the early Greeks and the subsequent changes that occurred when the metaphysical content of Art became replaced with a message_[16], teaching or something to be purchased. There can be far more Techne in a child’s drawing of a frowning face to express an inner feeling than in the regimented usage of art to attract, decorate or sell.

Because of the proliferation of art to educate or sell, the ability to use Techne to appreciate and understand the metaphysical content of art has nearly been lost. Art is now judged as to its physical portrayal and form rather than decoded as to its content. Paintings are judged according to their photographic likeness or how they will match the setting in some room. Writings, as will shortly be presented, are similarly judged according to how entertaining they are, how easy they are to read and their political or religious correctness much more than the content.

The perception of art in terms of its physical form or popular acceptability is not new to this generation but must have been also present in ancient China, where the relative blindness of the public was aptly described by the maxim, “Finger Pointing (to) Moon.” This maxim refers to the vast majority of people who can perceive only the physical form of Techne,_[17] which is never the vision, but only that which points to the vision. The majority of people resort to describing and judging the physical finger, painting or writing according to social, religious or academic standards. Nevertheless, the maxim can be understood to be affirming the existence of fingers or allegories which are a product of techne that do in fact point directly to the moon.

The metaphysical can only be pointed to and never be directly observed, touched or measured such as is common in the subjects of science. The science of Techne can be explained as the use of special allegories to manifest the metaphysical. If a proper allegory is created then it can be used to recreate the original metaphysical concept. We, for instance, used allegory above in describing force by stating that it is ‘like’ pushing a car. If you can relate to our allegory of pushing, then you can experience the same metaphysical force that we were experiencing. An allegory often can present a clearer depiction of truth than can a lengthy technical essay, provided, of course, that it satisfies: 1) scientific knowledge, 2) practical wisdom, 3) philosophic wisdom and 4) intuitive reason as required by Aristotle._[18] 

An excellent example of Techne is given in music with ‘cadenza’_[19] performed by a solo instrument or voice in a concerto (also found in modified form in early jazz and folk music). Cadenza comes from Latin meaning to fall or end and has the accepted modern meaning of denoting the end of a musical expression specified by some arranger. However, there is the earlier_[20] concept that a cadenza was to be an unspecified impromptu addition by the soloist to the Techne of the composer as well as to summarize and end the preceding expression. The soloist therefore, must find an expression using Techne that is built upon the state of the musicians, conductor and audience to clarify or fully manifest the original metaphysical expression of the composer.  The instrument or voice then becomes an allegorical tool for the further expression of the metaphysical content._[21]

A successful soloist must satisfy the above four requirements of Techne if an impromptu created cadenza is to fit into and amplify the concerto. The soloist, for instance, cannot ignore the physics or structure of the music, ignore the mood of the audience and past performance of the musicians, or be unaware of the metaphysical content of the music. The soloist must finally combine the preceding with creative insight and learned skills to fully manifest and amplify the vital metaphysical insight of the composer.

The self-actualized individual or the fully human person of Maslow can be described as a soloist within a society expressing credenza to more fully manifest the steps or evolution of life. Similarly, any individual who initiates a change in the world with his or her creation is a soloist. A soloist, however, requires a supporting and united group that accepts individual powers and the resulting changes.  

---