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 Interior Design and Arrangement"
Split Justification: Interior design induces calmness either through the objective visual characteristics of arrangement, form, color, and light that create a sense of order, balance, and aesthetic appeal; or through the non-visual sensory qualities (e.g., tactile textures, acoustics, thermal comfort, scents) that directly impact physiological and psychological comfort. These two categories are mutually exclusive in their primary sensory channels of reception and comprehensively exhaust the ways interior design elements contribute to calmness.
11
From: "Calmness through Visual Design and Perceived Order"
Split Justification: Calmness through visual design and perceived order fundamentally arises either from the inherent visual properties and characteristics of individual objects, surfaces, and features themselves (e.g., their color, form, visual texture, simplicity), or from the way these elements are arranged, grouped, and related within the overall space to create harmony, balance, and a sense of coherent order. These two categories are mutually exclusive, focusing on the individual visual components versus their relationships within the whole, and comprehensively exhaust the means by which visual design creates perceived order and calmness.
12
From: "Calmness from Compositional Principles and Spatial Organization"
Split Justification: Calmness derived from compositional principles and spatial organization fundamentally arises either from the harmonious arrangement and visual relationships of distinct, movable elements (e.g., furniture, decor, surface patterns) within a space, creating specific aesthetic compositions; or from the overarching layout, volumetric definition, and fixed architectural structure of the space itself (e.g., room proportions, wall placements, circulation paths, spatial zoning). These two categories are mutually exclusive, focusing on the visual order of objects within a space versus the inherent structure of the space, and comprehensively exhaust the means by which compositional principles and spatial organization contribute to calmness.
✓
Topic: "Calmness from Overall Spatial Configuration and Architectural Structure" (W7274)