This is not to say it is irrational but, perhaps, transrational or beyond reason alone.
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Spirituality is an essential aspect of being that is existentially subjective, transrational, non-local, and non-temporal.
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Likewise, normative sense is not abdicated in favor of nonsense, but in favor of a transrational, visionary mode.
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Rather, spirituality represents a transrational form of knowledge resulting from interactions with a nonmaterial, transcendent dimension of existence.
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Transrational, transrational experience or transrational reality refers to the experience of phenomena occurring within the natural universe where information and experiences does not readily fit into the typical cause and effect structure; the kinds of experience that are often dismissed as unfathomable or superstitious.Bernstein, Jerome S. Introduction. Living in the Borderland: The Evolution of Consciousness and the Challenge of Healing Trauma. London: Routledge, 2005. xv-xvi. It differs from the ‘supernatural’ and the ‘rational’ in that it neither directly controverts nor affirms rational reason.
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A transrational experience is not pathological. One of the most popular examples of transrational experiences are individuals witnessing blessed/evil omens which turn out to become true, or feelings of extremely intense dread which helped staved an individual from disastrous catastrophes, even if the individual has zilch prior knowledge or context (see Examples below). The transrational does not engage with the question of how it sensibly fits into a rational framework, instead, it is about allowing the experience to be felt and witnessed, uninterpretable by sensemaking or meaning-making.
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A leader must use his charisma or some other transrational force to get his way and, if he does not, things will fall apart.
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Transrational Boog, 1914, by Olga Rozanova Centred in Moscow, around the Gileia Group of Transrational (zaum) poets David and Nikolai Burliuk, Elena Guro, Vasili Kamenski and Velimir Khlebnikov, the Russian futurists created a sustained series of artists' books that challenged every assumption of orthodox book production. Whilst some of the books created by this group would be relatively straightforward typeset editions of poetry, many others played with form, structure, materials and content that still seems contemporary. Key works such as Worldbackwards (1912), by Khlebnikov and Kruchenykh, Natalia Goncharova, Larionov Rogovin and Tatlin, Transrational Boog (1915) by Aliagrov and Kruchenykh & Olga Rozanova and Universal War (1916) by Kruchenykh used hand-written text, integrated with expressive lithographs and collage elements, creating small editions with dramatic differences between individual copies. Other titles experimented with materials such as wallpaper, printing methods including carbon copying and hectographs, and binding methods including the random sequencing of pages, ensuring no two books would have the same contextual meaning.
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The concept was conceptualized in Western literature by Jungian analyst Jerome Bernstein in 2000.Bernstein, Jerome. "Listening in the Borderlands." The Salt Journal 2.2 (January/February 2000): 13-21. [The concept was first published, though not named, by Bernstein in this article, and was later coined “transrational” in lectures that year and in subsequent publications.
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The Innsbruck Academic Festival of Many Peaces is an international peace and conflict studies conference, facilitating a dialogue amongst scholars engaged within the field of transrational peace philosophy, as well as practitioners, within the field of elective conflict transformation. The 1st Innsbruck Academic Festival took place between August 9 and 14 2015 at the Grillhof Seminar Center in Innsbruck, Austria.
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Dyr bul shchyl (, ) is the earliest and most famous zaum/transrational poem by Aleksei Kruchenykh, written using the Zaum language, which, according to the author, is "more Russian national, than in all of Pushkin's poetry". The poem was written in December 1912. This date the author then called "the time of occurrence of the phenomenon of Zaum language (i.e. the language that has no utility value), in which are written the whole independent works, and not just parts thereof (as the chorus, sound decoration, etc.)".
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The purity and dynamism artists of this movement found in mechanisation and technology, literary Cubo-Futurists found in transrational poetry, with this poetic experimentation later developing to involve the deconstruction of language to onomateopeic forms. One such example of this is Velimir Khlebnikov‘s sound-paintings in his play Zangezi. Poets of this movement also utilised unorthodox methods during their public poetry recitals, such as painted faces, public clowning, and extravagant clothing in order to gather attention to their work, and highlight their futuristic experimentation.
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The Innsbruck School of Peace Studies is based on Wolfgang Dietrich's transrational approach to Peace Studies and is outlined in his Many Peaces Trilogy. Spanning continents as well as disciplines, Dietrich presents a panorama of diverse interpretations of peace in world history and culture. In a journey through time and space, Dietrich outlines the so-called five families of peace - energetic, moral, modern, post-modern and trans- rational. He stresses the importance of combining rationality and reason with human properties such as emotion and spirituality in applied peace work.
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Elicitive Conflict Transformation was first introduced to the field by John Paul Lederach in 1995 and is the applied method of transrational peace philosophy. Drawing on the debate on multi-track diplomacy, Lederach initially distinguished between three levels of conflict: # Top Leaders # Middle-Range Leaders # Grassroots Wolfgang Dietrich draws on Lederach's systemic approach to conflict and developed a multi-layered model of conflict analysis. Furthermore, he systematizes elective conflict transformation techniques in three main groups: # Voice Oriented Approaches to Conflict Transformation; e.g. non-violent communication after Marshall Rosenberg and Theme-Centered Interaction after Ruth Cohn.
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Prospects for this harmonization are further expressed as the means by which transrational awareness [emphasis added], "standing within the political freedom—the liberal freedom—offered by the Enlightenment . . . moves into its own higher estate by pursuing Spiritual Enlightenment, which it then offers, within that same political freedom, to any and all who desire to be released from the chains of space and time, self and suffering, hope and fear, death and wonder" [emphasis in original]. This "politics of meaning" then, in "its own spiritual realization" is "thoroughly transliberal, bringing together the Enlightenment of the East with the Enlightenment of the West" [emphasis added].
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Further pursuing this line of thought, but utilizing the moral rationale of "ought", Kant's third critique, Critique of Judgement begins by examining the realm of aesthetics in route to ascertaining; as Wilber paraphrases it, "that the interior "ought" of moral reasoning could never get going in the first place without the postulates of a transcendental Spirit". Consequently, but in the aftermath of Kant's contributions, the Romantics "began an intense effort to make the I-domain, the subjective domain—and especially the domain of aesthetics, sentiment, emotion, heroic self-expression, and feeling—the royal road to Spirit and the Absolute". However, because "romanticism was a philosophical revolt against rationalism" the movement "fell violent prey to" what Wilber has termed, "the pre/trans fallacy [emphasis in original], namely, the confusion of prerational with transrational simply because both are nonrational" [emphasis added]. Similarly, there also existed an ambiguity "between premodern and modern cultures" as to "the direction in which the universe" was said to be unfolding.
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Poets that experimented with Cubo-Futurist ideals pressed the importance of deconstructing the rules and meaning of poetry, systematically attacking the previously popular Russian classical and symbolist poets due to their propensity to examine metaphysical, esoteric ideas that did not resonate with the common populace. Cubo-Futurist artists had a passion for the democratisation of poetry through the use of chaotic, common language (and concepts) that allowed for freedom of expression and interpretation by the average person. Like artists of the same movement, these poets were interested in creating “totally new words and a new way of combining them,” transforming and recreating poetry into a literary form that depicted their ideas of a modernised future. Poets of the Cubo-Futurist movement saw writing as a “laboratory or workshop” to renew language and literature, dissecting words and generating neologisms in order to shift contemporary understandings of poetry in order to display their interest in revolution and modernity. This practice is known as ‘transrational poetry’ (or zaum).
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