We should note that all of these places of thermal extremes (Finnish saunas, Japanese hot baths, American beaches and mountains) have their opposites close at hand. There are possibly two reasons for having the extremes right next to each other.
The first is physiological: the availability of extremes ensures that we can move from one to the other to maintain a thermal balance.
The second might be termed aesthetic: the experience of each extreme is made more acute by contrast to the other.
Works of art which have great life often have intense contrast within: rough/smooth, solid/void, loud/silent, empty/full. It is the difference between opposites which gives birth to something. Contrast is what often gives other principles their degree of life – the intensity of the boundary, the markedness of the alternating repetition.
Contrast strengthens centers by making each a deeper entity of itself, and thereby giving deeper meaning to both. It is, at its simplest, what allows us to differentiate. But meaningless contrast remains meaningless. It is only when centers are actively, mutually, and meaningfully composed that it acts to deepen the whole.
In any control system that is functioning properly, the methods used to control a signal won’t be correlated with the signal they’re controlling.
Worse, there will be several variables that DO show relationships, and may give the wrong impression. You’re looking at variables A, B, C, and D. You see that when A goes up, so does B. When A goes down, C goes up. D never changes and isn’t related to anything else — must not be important, certainly not related to the rest of the system. But of course, A is the angle of the road, B is the gas pedal, C is the brake pedal, and D is the speed of the car.