1
From: "Human Potential & Development."
Split Justification: Development fundamentally involves both our inner landscape (**Internal World**) and our interaction with everything outside us (**External World**). (Ref: Subject-Object Distinction)..
2
From: "External World (Interaction)"
Split Justification: All external interactions fundamentally involve either other human beings (social, cultural, relational, political) or the non-human aspects of existence (physical environment, objects, technology, natural world). This dichotomy is mutually exclusive and comprehensively exhaustive.
3
From: "Interaction with the Non-Human World"
Split Justification: All human interaction with the non-human world fundamentally involves either the cognitive process of seeking knowledge, meaning, or appreciation from it (e.g., science, observation, art), or the active, practical process of physically altering, shaping, or making use of it for various purposes (e.g., technology, engineering, resource management). These two modes represent distinct primary intentions and outcomes, yet together comprehensively cover the full scope of how humans engage with the non-human realm.
4
From: "Understanding and Interpreting the Non-Human World"
Split Justification: Humans understand and interpret the non-human world either by objectively observing and analyzing its inherent structures, laws, and phenomena to gain factual knowledge, or by subjectively engaging with it to derive aesthetic value, emotional resonance, or existential meaning. These two modes represent distinct intentions and methodologies, yet together comprehensively cover all ways of understanding and interpreting the non-human world.
5
From: "Interpreting Subjective Significance"
Split Justification: Humans interpret subjective significance from the non-human world in two fundamentally distinct ways: either through direct, immediate sensory and emotional engagement (e.g., experiencing beauty, awe, or comfort from nature or art), or through a more reflective, cognitive process of attributing abstract conceptual meaning, often through symbols, narratives, or existential contemplation (e.g., a landscape symbolizing freedom, an artifact representing heritage, the night sky evoking questions of purpose). These two modes are mutually exclusive in their primary focus (immediate reception versus reflective attribution) and comprehensively exhaustive, covering the full spectrum of subjective engagement.
6
From: "Direct Aesthetic and Emotional Experience"
Split Justification: All direct aesthetic and emotional experiences fundamentally manifest along a spectrum of physiological and psychological arousal. These can be dichotomized into those that are intensely stimulating and activate heightened states (e.g., awe, thrill, fear, overwhelming beauty) and those that are calming, soothing, or lead to states of reduced arousal (e.g., peace, comfort, serenity, gentle beauty, contemplative melancholy). These two categories are mutually exclusive in their primary impact on the human system and comprehensively exhaust the full range of direct aesthetic and emotional responses to the non-human world.
7
From: "Experiences of Calmness and Serenity"
Split Justification: All direct aesthetic and emotional experiences of calmness and serenity from the non-human world fundamentally arise either from a passive, open, and receptive engagement with it (e.g., observing a tranquil scene, listening to soothing sounds, feeling a gentle breeze) or from an active, purposeful interaction that cultivates or fosters a sense of peace or order (e.g., tending a garden, mindfully arranging elements, creating a serene space). These two modes are mutually exclusive in their primary form of engagement and comprehensively exhaustive, covering the full spectrum of how humans directly experience calmness and serenity from the non-human world.
8
From: "Calmness from Active Cultivation"
Split Justification: Humans actively cultivate calmness from the non-human world either by purposefully arranging, organizing, or designing non-human elements to create a state of perceived order, harmony, or aesthetic peace in their environment, where the calmness arises primarily from the resulting structure or composition; or by engaging in mindful, rhythmic, or repetitive interactions with non-human materials or tasks, where the calming effect arises primarily from the engaged process itself rather than solely from the final outcome. These two modes are mutually exclusive in their primary source of cultivated calmness (the static structure vs. the dynamic process) and comprehensively exhaustive, covering the full scope of how humans actively cultivate calmness from the non-human world.
9
From: "Calmness through Environmental Design and Order"
Split Justification: All design and ordering of non-human environments to cultivate calmness fundamentally pertains to either the enclosed spaces within built structures (interior environments) or the open spaces outside of built structures (exterior environments and landscapes). These two categories represent distinct physical realms for design and order, are mutually exclusive in their primary spatial focus, and together comprehensively cover the full scope of how humans achieve calmness through environmental design and order.
10
From: "Calmness through Exterior and Landscape Design"
Split Justification: Exterior and landscape design for calmness fundamentally achieves its tranquil effect either by emphasizing the organic forms, natural processes, and wildness of the environment to foster a sense of unforced harmony; or by imposing distinct human order, geometric structures, and defined compositions to create a sense of clarity, balance, and controlled serenity. These two approaches represent distinct design philosophies and aesthetic intentions, are mutually exclusive in their primary methodology for achieving calmness, and together comprehensively cover the full spectrum of how humans design exterior spaces for tranquility.
11
From: "Calmness from Formal and Geometric Landscape Design"
Split Justification: Formal and geometric landscape design fundamentally achieves calmness through two distinct categories of geometric principles: those based on straight lines, grids, and strong axes, which emphasize clarity, structure, and directness; and those based on curves, circles, and radial patterns, which emphasize unity, flow, and harmonious enclosure. These two approaches represent mutually exclusive primary design vocabularies within formal geometry and together comprehensively exhaust the ways geometric forms are organized to cultivate calmness in landscapes.
12
From: "Calmness from Curvilinear and Radial Design"
Split Justification: Curvilinear and radial designs fundamentally achieve calmness through two distinct mechanisms: either by creating clearly defined, often embracing or centrally focused, static spaces that offer a sense of security, containment, or contemplative order; or by establishing continuous, flowing, or radiating paths and forms that promote a sense of smooth progression, visual harmony, and uninterrupted movement through the landscape. These two approaches represent mutually exclusive primary design intentions and aesthetic outcomes, and together comprehensively cover the full spectrum of how curvilinear and radial geometry cultivates serenity in exterior environments.
✓
Topic: "Calmness from Defined Curvilinear and Radial Spaces" (W5994)