The work is what it means It is desirable to bear in mindâwhen dealing with the human maker at any rateâthat his chosen way of revelation is through his works. To persist in asking, as so many of us do, âWhat did you mean by this book?â is to invite bafflement: the book itself is what the writer means. Dorothy Sayers, The Mind of the Maker ââThe meaning of musicââââNo more than a sketchââââOn 'The Master and His Emissary'ââââOnly a mind opened to the quality of thingsââââTranslation is always a treasonââ meaningart
The quality without a name There is a central quality which is the root criterion of life and spirit in a man, a town, a building, or a wilderness. This quality is objective and precise, but it cannot be named. There are words we use to describe this quality: alive whole comfortable free exact egoless eternal But in spite of every effort to give this quality a name, there is no single name which captures it. Christopher Alexander, The Timeless Way of Building ââNo words to describeââââThis language without wordsââ beautylifemeaningspirit
The meaning of objects The meaning of objects is harder to grasp than that of words. The Interpretation of Microstructures of Metallic Artifacts meaningobjects
The meaning of music Once, somebody asked Robert Schumann to explain the meaning of a certain piece of music he had just played on the piano. What Robert Schumann did was sit back down at the piano and play the piece of music again. David Markson, Wittgenstein's Mistress ââThe work is what it meansââââNo more than a sketchââââOn 'The Master and His Emissary'ââ meaningmusic
A creature of bones, not words In building connections, [articulation work] builds meaning and identity, sorting out ontologies on the fly rather than mixing and matching between fixed and stable entities. Articulation lives first and foremost in practice, not representation; as its proper etymology suggests, it's a creature of bones, not words. When articulation fails, systems seize up, and our sociotechnical worlds become stuff, arthritic, unworkable. Steven J. Jackson, Rethinking Repair meaning
The shape of the sentence You've been taught to overlook the character of the prose in front of you in order to get at its meaning. You overlook the shape of the sentence itself for the meaning it contains, Which means that while you were reading, All those millions of words passed by Without teaching you how to make sentences. Verlyn Klinkenborg, Several Short Sentences About Writing meaningstructure
To build a folly To build a folly is essentially to do something a second time, something at an inopportune moment. That something is always the memory of something forgotten, about which we can paradoxically say "There it is again." Follies were misunderstood, purposeless constructions. They were often only small, extravagant gestures in a garden, easily whisking off the imagination to distant lands, a sort of time capsule built to awaken the memory and induce surprise in passers-by. They marked locations, organized secondary paths in a park, or simply predicted the arrival of better timesâa demarcation, a sacred spot, a mysterious trail, a hill whose tragic rocky nature begged for a tower, a party, or the arrival of summer. Smiljan RadiÄ, Death at Home ââDesigned to be ruinsââââFolliesââââThermal aediculaeââ meaningpurposeconstruction
Let the meaning choose the word What is above all needed is to let the meaning choose the word, and not the other way around. Probably it is better to put off using words as long as possible and get oneâs meaning as clear as one can through pictures and sensations. Eliezer Yudkowsky, Rationality: From AI to Zombies meaningwords
Taboo your words Albert says that people have âfree will.â Barry says that people donât have âfree will.â Well, that will certainly generate an apparent conflict. Most philosophers would advise Albert and Barry to try to define exactly what they mean by âfree will,â on which topic they will certainly be able to discourse at great length. I would advise Albert and Barry to describe what it is that they think people do, or do not have, without using the phrase âfree willâ at all. Eliezer Yudkowsky, Rationality: From AI to Zombies meaning
The arbitrariness of the sign A key difference between verbal language and the modernist ideal of a visual âlanguageâ is the arbitrariness of a verbal sign, which has no natural, inherent relationship to the concept it represents. The sound of the word âhorseâ, for example, does not innately resemble the concept of a horse. Ferdinand de Saussure called this arbitrariness the fundamental feature of the verbal sign. The meaning of a sign is generated by its relationship to other signs in the language: the signâs legibility lies in its difference from other signs. Ellen Lupton & J. Abbott Miller, The ABC's of âČâ â: The Bauhaus and Design Theory ââGods of the Wordââ soundmeaninglanguage
The eye does not see The eye does not see things but images of things that mean other things. Italo Calvino, Invisible Cities meaningseeingimages
The utter nothingness of being Everything written symbols can say has already passed by. They are like tracks left by animals. That is why the masters of meditation refuse to accept that writings are final. The aim is to reach true being by means of those tracks, those letters, those signs - but reality itself is not a sign, and it leaves no tracks. It doesnât come to us by way of letters or words. We can go toward it, by following those words and letters back to what they came from. But so long as we are preoccupied with symbols, theories and opinions, we will fail to reach the principle. "But when we give up symbols and opinions, arenât we left in the utter nothingness of being?" Yes. Kimura KyĆ«ho, On the Mysteries of Swordsmanship ââThe Elements of Typographic Styleââ zenmeaningsymbolsbeingreality
Whereof one cannot speak My propositions are elucidatory in this way: he who understands me finally recognizes them as senseless, when he has climbed out through them, on them, over them. (He must, so to speak, throw away the ladder, after he has climbed up on it.) He must surmount these propositions; then he sees the world rightly. Whereof one cannot speak, thereof one must be silent. Ludwig Wittgenstein, Tractatus Logico-Philosophicus ââWhat can be put into wordsââ meaning
Not knowing quite what they mean "Do you understand all the symbolism?" "Not really, besides its being Venus and Cupid." "I didn't even know that, so you're one up on me. I wish I'd read more about ancient mythology," she continued. "But actually, I like looking at things and not knowing quite what they mean." Alain de Botton, On Love meaning
Things cannot be other than as they are âIt is demonstrably true that things cannot be other than as they are. For, everything having been made for a purpose, everything is necessarily for the best purpose.â â Professor Pangloss Voltaire, Candide purposemeaning
50 reds If one says âRedâ (the name of a color) and there are 50 people listening, it can be expected that there will be 50 reds in their minds. And one can be sure that all these reds will be very different. Josef Albers, Interaction of Color perceptionmeaning
No words to describe If there is no term for something, it might be thought that the commodity is of small importance. But it is just as likely that this something is of such importance that it is taken for granted, and thus any conveniences, like words, for discussing it are unnecessary. Donald Richie, A Tractate on Japanese Aesthetics ââThe quality without a nameââââThis is Waterââ meaningwords
That is not it at all It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen: Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say: That is not it at all, That is not what I meant, at all. T.S. Eliot, The Love Song of J. Alfred Prufrock meaning
A soft and fitful luster Who decided that the American public couldnât handle âa soft and fitful lusterâ? I canât help but think something has been lost. âA soft sparkle from a wet or oily surfaceâ doesnât just sound worse, it actually describes the phenomenon with less precision. In particular it misses the shimmeriness, the micro movement and action, âthe fitful luster,â of, for example, an eye full of tears â which is by the way far more intense and interesting an image than âa wet sidewalk.â Itâs as if someone decided that dictionaries these days had to sound like they were written by a Xerox machine, not a person, certainly not a person with a poetâs ear, a man capable of high and mighty English, who set out to write the secular American equivalent of the King James Bible and pulled it off. James Somers, You're Probably Using the Wrong Dictionary meaningwords
Reference and Is-ness There are at least two aspects to what we have traditionally called the meaning of a word. One aspect is reference, and the other is something I will call âinherent meaningâ following Ullman (1963). Inherent meaning is âIs-nessâ meaning. Inherent meaning is a wordâs identity, and reference merely its resumĂ©, where it has gone and what it has done, an itemization of its contexts. âIs-nessâ is unifying. Each word has a single pronunciation, a single inherent meaning. But reference is divisive. It makes what was one thing â the word â appear to be many things â its senses. It is inherent meaning which gives all those multifarious senses the power of being a single word. Margaret Magnus, Gods of the Word meaningwords
The demand of a new word Why are these phonosemantic classes enough, and we need neither more nor less? Why are these consonants enough, and we need neither more nor less? What determines the need for a new word? How is this demand âfeltâ by a language? How did the metabolic pathways of American English recognize that âjerkâ and âtwerpâ and âpunkâ and ânitwitâ and âdorkâ and âassâ and âgoonâ and âtwitâ and âdodoâ and âbumâ and ânerdâ and âdunceâ and âturdâ and âboobâ and âchumpâ and âbitchâ and âbastardâ and âprudeâ and so on and so forth simply were not equal to the task? We had to add âturkeyâ and âsquirrelâ as well? Margaret Magnus, Gods of the Word wordslanguagemeaning
Apparency Half a century ago, Stern discussed this attribute of an artistic object and called it apparency. While art is not limited to this single end, he felt that one of its two basic functions was "to create images which by clarity and harmony of form fulfill the need for vividly comprehensible appearance." In his mind, this was an essential first step toward the expression of inner meaning. Kevin Lynch, The Image of the City artmeaningimagesharmonyform
Fish and water How does one speak about something that is both fish and water, means as well as end? Ursula M. Franklin, The Real World of Technology meaningwords
The word invents itself Posits certain neologisms as arising from their own cultural necessityâhis words, I believe. Yes, he said. When the kind of experience that you're getting a man-sized taste of becomes possible, the word invents itself. David Foster Wallace, The Pale King wordsmeaningnoveltyinvention
AI-art isnât art An Essay by Erik Hoel erikhoel.substack.com AI-generated artwork is the same as a gallery of rock faces. It is pareidolia, an illusion of art, and if culture falls for that illusion we will lose something irreplaceable. We will lose art as an act of communication, and with it, the special place of consciousness in the production of the beautiful. âŠJust as how something being either an original Da Vinci or a forgery does matter, even if side-by-side you couldnât tell them apart, so too with two paintings, one made by a human and the other by an AI. Even if no one could tell them apart, one lacks all intentionality. It is a forgery, not of a specific work of art, but of the meaning behind art. artconsciousnessbeautymeaningai
The Future Is Not Only Useless, Itâs Expensive An Article by Dan Brooks www.gawker.com This is how NFTs make me feel: like the future is useless but expensive, and world-altering technology is now in the hands of a culture so aesthetically and spiritually impoverished that it should maybe go back to telling stories around the cooking fire for a while, just to remember how to mean something. ââA particular deficiency of which they all partakeââ technologyfuturismmeaning
The Gifted Listener: Composer Aaron Copland on Honing Your Talent for Listening to Music An Article by Maria Popova www.brainpickings.org The poetry of music, Copland intimates, is composed both by the musician, in the creation of music and its interpretation in performance, and by the listener, in the act of listening that is itself the work of reflective interpretation. This makes listening as much a creative act as composition and performance â not a passive receptivity to the object that is music, but an active practice that confers upon the object its meaning: an art to be mastered, a talent to be honed. ââMusic and ImaginationââââTo see is to forget the name of the thing one seesââââThe core assertionââ musicpoetryartmeaning
On 'The Master and His Emissary' AÂ Quote by Ian McGilchrist www.ttbook.org People who make works of art, whatever they might be, have gone to great trouble to make something unique which is embodied in the form that it is, and not in any other form, and that it transmits things that remain implicit ...Works of art are not just disembodied, entirely abstract, conceptual things. They are embodied in the words theyâre in or in paint or in stone or in musical notes or whatever it might be. ââThe work is what it meansââââThe meaning of musicââââIf a book can be summarized, is it worth reading?ââ artmaterialmeaningform
A brief foray into vectorial semantics An Article by James Somers jsomers.net One of the best (and easiest) ways to start making sense of a document is to highlight its âimportantâ words, or the words that appear within that document more often than chance would predict. Thatâs the idea behind Amazon.comâs âStatistically Improbable Phrasesâ: Amazon.comâs Statistically Improbable Phrases, or âSIPsâ, are the most distinctive phrases in the text of books in the Search Inside!âą program. To identify SIPs, our computers scan the text of all books in the Search Inside! program. If they find a phrase that occurs a large number of times in a particular book relative to all Search Inside! books, that phrase is a SIP in that book. mathmeaningwordsnotetakingsearchchance
The way an oyster does A Fragment by Kay Ryan www.csmonitor.com Her poems, [Kay Ryan] says, don't begin with a simple image or sound, but instead start "the way an oyster does, with an aggravation." An old saw may nudge her repeatedly, such as "It's always darkest before the dawn" or "Why did the chicken cross the road?" "I think, 'What about those chickens?' " she says, "and I start an investigation of what that means. Poets rehabilitate clichés." poetrymeaningcliché
The primacy of interpretation over sensation AÂ Fragment by Mark Liberman languagelog.ldc.upenn.edu Our memory of exact word sequences usually fades more quickly than our memory of (contextually interpreted) meanings. More broadly, the exact auditory sensations normally fade very quickly; the corresponding word sequences fade a bit more slowly; and the interpreted meanings last longest. These generalizations can be overcome to some extent if the sound or the text has especially memorable characteristics. (And the question of what "memorable" means in this context is interesting.) memorysensesmeaningspeechwords
The body image AÂ Quote The body image is informed fundamentally from haptic and orienting experiences early in life. Our visual images are developed later on, and depend for their meaning on primal experiences that were acquired haptically. ââMetaphors We Live ByââââGods of the WordââââThe Eyes of the Skin: Architecture and the Sensesââ bodymeaning
Meaningness AÂ Website by David Chapman meaningness.com The word âmeaningâ has two quite different meanings in English. It can refer to the meaning of symbols, such as words and road signs. This book is not about that kind of meaning. People also speak of âthe meaning of life.â That is the sort of meaningness this book is about. So I apply âmeaningnessâ only to the sorts of things one could describe as âdeeply meaningfulâ or âpretty meaningless.â meaninglife
The Timeless Way of Building AÂ Book by Christopher Alexander www.patternlanguage.com ââMind of no mindââââThe quality without a nameââââAn objective matterââââBitternessââââThe most precious thing we ever haveââ+27 More ââSome emptiness in usââââDeliberate actsââââNo kindââââpatternsof.designââââA Pattern LanguageââââNon-architectsââââThe Side View #17: Susan Ingham & Chris AndrewsââââThe usages of lifeââ architecturemakingbuildingurbanismbeautyconstructionzen
The quality without a name There is a central quality which is the root criterion of life and spirit in a man, a town, a building, or a wilderness. This quality is objective and precise, but it cannot be named. There are words we use to describe this quality: alive whole comfortable free exact egoless eternal But in spite of every effort to give this quality a name, there is no single name which captures it. ââNo words to describeââââThis language without wordsââ beautylifemeaningspirit
An objective matter We have been taught that there is no objective difference between good buildings and bad, good towns and bad. The fact is that the difference between a good building and a bad building, between a good town and a bad town, is an objective matter. It is the difference between health and sickness, wholeness and divided ness, self-maintenance and self-destruction. In a world which is healthy, whole, alive, and self-maintaining, people themselves can be alive and self-creating. In a world which is unwholesome and self-destroying, people cannot be alive: they will inevitably themselves be self-destroying, and miserable. ethics
Bitterness The quality which has no name includes these simpler, sweeter qualities. But it is so ordinary as well, that it somehow reminds us of the passing of our own life. It is a slightly bitter quality. melancholy
The most precious thing we ever have In our lives, this quality without a name is the most precious thing we ever have. And I am free to the extent I have this quality in me. life
When our forces are resolved When a personâs forces are resolved, it makes us feel at home, because we know, by some sixth sense, that there are not other unexpected forces lurking underground. He acts according to the nature of the situations he is in, without distorting them. There are no guiding images in his behavior, no hidden forces; he is simply free. And so, we feel relaxed and peaceful in his company. Each of us knows from experience the feeling which this quality creates in us. And for this reason, each one of us can also recognize this quality when it occurs in buildings. ââThe doctrine of salvation by bricksââââA sense reflected in the plansââ happiness
Patterns of life If I consider my life honestly, I see that it is governed by a certain very small number of patterns of events which I take part in over and over again. Being in bed, having a shower, having breakfast in the kitchen, sitting in my study writing, walking in the garden, cooking and eating our common lunch at my office with my friends, going to the movies, taking my family to eat at a restaurant, having a drink at a friendâs house, driving on the freeway, going to bed again. There are a few more. There are surprisingly few of these patterns of events in any one personâs way of life, perhaps no more than a dozen. When I see how few of them there are, I begin to understand what huge effect these few patterns have on my life, on my capacity to live. If these few patterns are good for me, I can live well. If they are bad for me, I canât. life
Fabric And finally, the things which seem like elements dissolve, and leave a fabric of relationships behind, which is the stuff that actually repeats itself, and gives the structure to a building or a town. connectionurbanismpatterns
They are the atoms of our man-made universe Further, each pattern in the space has a pattern of events associated with it. We realize then that it is just the patterns of events in space which are repeating, and nothing else. Nothing of any importance happens in a building or a town except what is defined within the patterns which repeat themselves. Each building gets its character from just the patterns which keep on repeating there. Each neighborhood is defined, too, in everything that matters, by the patterns which keep on repeating there.
Forces of conflict A pattern which prevents us from resolving our conflicting forces leaves us almost perpetually in a state of tension. For, if we live in a world where work is separated from family life, or where courtyards turn us away, or where windows are merely holes in the wall, we experience the stress of these inner and conflicting forces constantly. We can never come to rest. We are living then, in a world so made, so patterned, that we cannot, by any stratagem, defeat the tension, solve the problem, or resolve the conflict. In this kind of world the conflicts do not go away. They stay within us, nagging, tenseâŠThe build-up of stress, however minor, stays within us. We live in a state of heightened alertness, higher stress, more adrenaline, all the time. ââFucking up the worldââ
The multiplicity of living patterns The more living patterns there are in a thingâa room, a building, or a townâthe more it comes to life as an entirety, the more it glows, the more it has this self-maintaining fire, which is the quality without a name. ââThe right overlapââââEach element performs many functionsââ complexity
To fly past each other In our own lives, we have the quality without a name when we are most intense, most happy, most wholehearted. This comes about when we allow the forces we experience to run freely in us, to fly past each other, when we are able to allow our forces to escape the locked-in conflict which oppresses us. But this freedom, this limpidity, occurs in us most easily when we are in a world whose patterns also let their forces loose. Just as we are free when our own forces run most freely within us, so the places we are in are also free when their own forces themselves run free, and are themselves resolved. The quality without a name in us, our liveliness, our thirst for life, depends directly on the patterns in the world, and the extent to which they have this quality themselves. Patterns which live, release this quality in us. But they release this quality in us, essentially because they have it in themselves.
When a building has this fire And when a building has this fire, then it becomes a part of nature. Like ocean waves, or blades of grass, its parts are governed by the endless play of repetition and variety, created in the presence of the fact that all things pass. This is the quality itself. beautynaturearchitecture
Modularity One of the most pervasive features of these buildings is the fact that they are âmodular.â They are full of identical concrete blocks, identical rooms, identical houses, identical apartments in identical apartment buildings. The idea that a building can - and ought - to be made of modular units is one of the most pervasive assumptions of twentieth-century architecture. Nature is never modular. Nature is full of almost similar units (waves, raindrops, blades of grass) - but though the units of one kind are all alike in their broad structure, no two are ever alike in detail. The same broad features keep recurring over and over again. And yet, in their detailed appearance these broad features are never twice the same. naturearchitecturemakingdetailsmodularity
It is going to pass The character of nature canât arise without the presence and the consciousness of death. When we make our own attempt to create nature in the world around us, and succeed, we cannot escape the fact that we are going to die. This quality, when it is reached, in human things, is always sad; it makes us sad; and we can even say that any place where a man tries to make the quality, and be like nature, cannot be true, unless we can feel the slight presence of this haunting sadness there, because we know at the same time we enjoy it, that it is going to pass. naturemelancholydeath
The gate To reach the quality without a name we must build a living pattern language as a gate. beauty
The patience of a craftsman Here there is no mastery of unnameable creative processes, only the patience of a craftsman, chipping away slowly; the mastery of what is made does not lie in the depths of some impenetrable ego; it lies, instead, in the simple mastery of the steps in the process, and in the definition of these steps. makingcraftpatience
An infinite variety The people can shape buildings for themselves, and have done it for centuries, by using languages which I call pattern languages. A pattern language gives each person who uses it, the power to create an infinite variety of new and unique buildings, just as his ordinary language gives him the power to create an infinite variety of sentences.
Each pattern is a rule Each pattern is a rule which describes what you have to do to generate the entity which it defines. It is a three-part rule, which expresses a relation between a certain context, a problem, and a solution. There is an imperative aspect to the pattern. The pattern solves a problem. It is not merely âaâ pattern, which one might or might not use on a hillside. It is a desirable pattern; and for a person who wants to farm a hillside, and prevent it from erosion, he must create this pattern, in order to maintain a stable and healthy world. In this sense, the pattern not only tells him how to create the pattern of terracing, if he wants to; it also tells him that it is essential for him to do so, in certain particular contexts, and that he must create this pattern there. It is in this sense that the system of patterns forms a language. problems
The network of connections Each pattern depends both on the smaller patterns it contains, and on the larger patterns within which is is contained. Each pattern sits at the center of a network of connections which connect it to certain other patterns that help to complete it. It is the network of these connections between patterns which creates the language. connectionnetworks
The grammar of the language An ordinary language like English is a system which allows us to create an infinite variety of one-dimensional combinations of words, called sentences. A pattern language is a system which allows its users to create an infinite variety of those three-dimensional combinations of patterns which we call buildings, gardens, towns. It tells us which arrangements of words are legitimate sentences, in a given situation, and which are not. And, furthermore, which arrangements of words make sense in any given situation, and which ones donât. It narrows down the total possible arrangements of words which would make sense in any given situation. Second, it actually gives us a system which allows us to produce these sentences which make sense. So, it not only defined the sentences which make sense in a given situation; it also gives us the apparatus we need to create these sentences. It is, in other words, a generative system, which allows us to generate sentences that are appropriate to any given situation.
Rules of thumb Of course, these patterns do not come only from the work of architects or planners. Architects are responsible for no more than perhaps 5 percent of all the buildings in the world. Most buildings, streets, shops, offices, rooms, kitchens, cafes, factories, gas stations, freeways, bridges⊠which give the world its form, come from an entirely different source. They come from the work of thousands of different people. Each of them builds by following some rules of thumb. And all these rules of thumb - or patterns - are part of larger systems which are languages. Every person has a pattern language in his mind. This is true of any great creative artist, as of the humblest builder. At the moment when a person is faced with an act of design, he does not have time to think about it from scratch. Even when a person seems to âgo back to the basic problem,â he is still always combining patterns that are already in his mind. It is only because a person has a pattern language in his mind, that he can be creative when he builds. The rules of English make you creative because they save you from having to bother with meaningless combinations of words. A pattern language does the same.
Ordinariness We have a habit of thinking that the deepest insights, the most mystical, and spiritual insights, are somehow less ordinary than most things - that they are extraordinary. In fact, the opposite is true: the most mystical, most religious, most wonderful â these are not less ordinary than most things â they are more ordinary than most things. And it is because they are so ordinary, indeed, that they strike to the core. ââThe natural thing to doââ beautyspirit
A genetic process The mere use of pattern languages alone does not ensure that people can make places live. The fact is, that the creation of a town, and the creation of the individual buildings in a town, is fundamentally a genetic process. So long as the people of society are separated from the language which is being used to shape their buildings, the buildings cannot be alive.
Discovering patterns In order to discover patterns which are alive we must always start with observation. Try to discover some property which is common to all the solutions which feel good, and missing from all the ones which donât feel good. Knowledge of the problem then helps shed light on the invariant which solves the problem. Sometimes we find our way to this invariant by starting with a set of positive examples. At other times, we may discover the invariant by starting from the negative examples, and resolving them. Occasionally, we do not start from concrete observation at all, but build up the invariant by purely abstract argument.
How things ought to be It is hard to give up preconceptions of what things âought to be,â and recognize things as they really are. ââThe way of thingsââ wisdom
You must make the language first It is the structure and content of the language which determine the design. The individual buildings which you make will live, or not, according to the depth and wholeness of the language which you use to make them with. One you have it, this language is general. If it has the power to make a single building which lives, it can be used a thousand times, to make a thousand buildings live.
It must constantly be re-created A language is a living language only when each person in society, or in the town, has his own version of this language. To reach this deeper state, in which each person has a pattern language in his mind as an expression of his attitude to life, we cannot expect people just to copy patterns from a book. A living language must constantly be re-created in each personâs mind. As he modifies his language, and improves it, depends it, throughout his life - he does it, always, by creating, and improving rules which he invents. Once people share a language in this way, the language will begin evolving of its own accord. The language will evolve, because it can evolve piecemeal, one pattern at a time. As people exchange ideas about the environment, and exchange patterns, the overall inventory of patterns in the pattern pool keeps changing. Of course, this evolution will never end. evolution
Repair Within the larger language, it is impossible for any act not to help repair the larger whole. It is impossible for any act of building to remain an isolated act: it always becomes a portion of the flux of acts which is helping to maintain the whole. Even the laying of a brick, to mend a wall, will not only be used to mend that wall, but will be used to help repair the seat, the terrace, or the fireplace which that wall helps to form. ââ104. Site Repairââ repair
The process of unfolding The sequence of the patterns for a design - as generated by the language - is therefore the key to that design. The process of unfolding goes step by step, one pattern at a time.
Chopped and disfigured The details of a building cannot be made alive when they are made from modular parts If the builder wants to build the room from modular four-foot panels, he must change the size of the rooms, and change their shape, to fit his panels. In such a building system, it is impossible for a person to create a plan which reflects the larger subtleties of site or plan. Each plan will always be chopped and disfigured to make it fit the building details. To make the building live, its patterns must be generated on the site, so that each one takes its own shape according to its context. ââWhat's suitable for each unique conditionââ modularity
Until we leave the gate behind And yet the timeless way is not complete, and will not fully generate the quality without a name, until we leave the gate behind. Indeed this ageless character has nothing, in the end, to do with languages. The language, and the processes which stem from it, merely release the fundamental order which is native to us. They do not teach us, they only remind us of what we know already, and of what we shall discover time and time again, when we give up our ideas and opinions, and do exactly what emerges from ourselves. At this final stage, the patterns are no longer important: the patterns have taught you to be receptive to what is real. It is the gate which leads you to the state of mind, in which you live so close to your own heart that you no longer need a language. This is the final lesson of the timeless way. ââThe natural thing to doââ zenending