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 Heightened Aousal and Intensity"
Split Justification: All experiences of heightened arousal and intensity can be fundamentally differentiated by their hedonic valence: whether they are primarily felt as pleasurable, desirable, or intrinsically good, or as aversive, undesirable, or intrinsically bad. This dichotomy of positive versus negative valence is mutually exclusive and comprehensively covers the full range of intense affective responses to the non-human world.
8
From: "Experiences of Intense Positive Arousal"
Split Justification: ** Humans experience intense positive arousal either through a feeling of their individual self transcending its boundaries, expanding, or connecting with something vast, profound, or awe-inspiring (e.g., wonder, feelings of cosmic connection or sublimity), or through a profound, concentrated, and deeply personal pleasure, joy, or exhilaration that primarily centers on their internal subjective state and immediate sensory experience (e.g., ecstasy, intense delight, rapture). These two modes represent distinct subjective qualities and impacts on the sense of self, being mutually exclusive in their primary focus and comprehensively exhaustive of the full range of intense positive arousal derived from the non-human world.
9
From: "Experiences of Intense Personal Delight"
Split Justification: Humans experience intense personal delight either by profoundly absorbing and gratifying their senses through the qualities of external non-human stimuli (e.g., exquisite taste, captivating beauty, harmonious sound), or by intensely activating and experiencing their own physical vitality, movement, and capabilities, leading to peak internal states (e.g., the thrill of peak performance, joy of uninhibited movement, rapture of physical creation). These two modes are mutually exclusive in their primary focus (receptive sensory input vs. active bodily sensation) and comprehensively exhaust the ways intense personal delight is experienced.
10
From: "Delight from Sensory Gratification"
Split Justification: All delight from sensory gratification arises either from the fundamental, inherent pleasantness of individual sensory attributes themselves (e.g., the sweetness of fruit, the warmth of sunlight, the softness of velvet, the purity of a color), or from the appreciation of how these attributes are organized, combined, and relate to each other to form harmonious, cohesive, or aesthetically pleasing patterns and structures (e.g., the melody of music, the composition of a painting, the balance of flavors in a dish, the intricate design of an artifact). These two modes represent distinct sources of sensory delight, being mutually exclusive in their primary focus (raw attribute vs. relational structure) and comprehensively exhaustive.
11
From: "Delight in Structured Sensory Harmony"
Split Justification: All delight from structured sensory harmony arises either from the harmonious arrangement and interrelation of elements perceived simultaneously within a space (e.g., visual composition, tactile balance, integrated flavor profiles), or from the harmonious unfolding and interrelation of elements perceived sequentially over time (e.g., musical melody, rhythm, dynamic sequences). These two modes of structural organization are mutually exclusive in their primary dimension of perception and comprehensively exhaust the ways structured sensory harmony is experienced.
12
From: "Delight in Spatial Sensory Harmony"
Split Justification: All delight in spatial sensory harmony arises either from the appreciation of arrangements and compositions found inherently within the natural non-human world (not created or intentionally ordered by humans), or from the appreciation of arrangements and compositions that are intentionally created, modified, or organized by human intervention within the non-human world. These two categories are mutually exclusive in their primary origin (spontaneous nature vs. human artifice) and comprehensively exhaustive, covering all forms of spatially structured sensory delight.
✓
Topic: "Delight in Designed Spatial Harmony" (W6794)