Three Axes


Major and Minor Windows
To interpret what I have shown here, one must understand the meaning of the main web pages that we navigate through. There are two important windows, with the major window showing examples of how I map twenty-eight aesthetic experiences in a three dimensional grid and the minor window showing five "aesthetic rings".  Please don’t let the verbiage written here confuse you, for in a nutshell it is very similar to bar graphs you see everywhere in your life’s experiences. So if you find the spatial explanations cumbersome then please just look at the windows as a kind of graphs.  The major window shows the location of each experience within a three dimensional (Cartesian) space. There are eight zones within this space and my question to you is; how would you categorize each of these zones or what is common among the experiences that reside in these zones.  These zones are labeled 1a, 1b, 2a, 2b, 3c, 3d,4c and 4d and can be seen in the image below. The major window shows two sides of this three dimensional cube flattened onto your computer screen (see below).  The axes of this three dimensional grid (shown above) can be described by a gradation of ideas that travel along the lines representing each dimension.  Let's start by looking at the ideas along our "x" dimension.  We have a line with the idea of an aesthetic experience showing "the aesthetics of utilitarian purpose" at one end and the aesthetics of purposelessness" at the other end.  On our "y" axis we have at one end "the aesthetics of direct experience" and at the other end "the experience of thinking." And finally on our "z" axis we have "an expression requiring mental ability (design)" on one end of the axis and on the other we have "an expression requiring physical ability (craft)" The axis shown above resides inside the cube shown below with the lines of the axis projected to the walls of the cube (I think that it may be easier to understand by just looking at the sequence of images below)

Orthogonal Space 1

The image below shows two view looking into the cube

Orthogonal Space 2

Here are the two views flattened out on your computer screen

Orthogonal Space 3




The image below is the major window



Polyaesthetic Grid

The image below shows how you can click on the aesthetic experience in order to view the minor window showing the aesthetic rings.


Beethoven Example

Aesthetic Rings
The five "aesthetic rings" show a mapping of importance for each aesthetic category of the experience being observed.  The importance bar shows how the importance of each aesthetic category is depicted by a color code. The color shown in each category is indicative of the importance correlated by the percentage delineations inside the "importance bar".  For example red (less than 10%) is not important and purple (almost 100%) is very important.


Importance Bar


Realm Ring
This first ring addresses the realm of "nature" (direct sensory experience) or "conceptual" (the realm of the mind). What I mean by "conceptual" is to notice that while you are having an aesthetic experience the beauty or emotional experience does not come from the object itself but comes from an idea or concept that the object points to. In other words the aesthetic is in a concept 'outside' of the direct experience of the aesthetic object.  The object makes you think and it is in the thinking that you have the aesthetic experience.  An example: Let us say that you are happily married and you are gazing at your very common looking wedding band.  Let us also say that you are having a wonderful experience while gazing at this traditional ring.  Notice that the majority of beauty in this experience is not caused by the beauty of the gold band for it is just as common as any other gold band. The beautiful experience is cause by the concept for which the gold band points to - primarily the concept of how wonderful your spouse is and how lucky you feel to be married to your spouse.
The other category in the realm ring is “natural”.  What I mean by natural is that the experience comes directly from nature.  Witnessing an event happening in nature would yield 100% in the importance bar and would cause you to color the nature segment purple.  Viewing Monet's water lilies would be an example of art that I feel would yield a high importance for nature.


Nature Ring

The Lexical Ring
The lexical ring focuses on language and points at the importance of 'verbal language', 'textual language', and 'poetic language'. There can obviously be areas that overlap – for instance, ‘poetic language’ can obviously have importance depicted in both the verbal and textual segments of the lexical ring, yet, I feel it can also be found in other aesthetic areas such as aural and visual languages.


Lexical Ring

The Science Ring
The science ring has four main categories of importance however those  categories can be broken down into sub categories. Below is a list breaking them into sub categories.

Applied Science = Engineering, Medicine

Natural Science = Physics, Chemistry, Biology, Astronomy, Oceanography, Material Sciences, Atomospheric Science, Earth Science

Social Science = Anthropology, Archaeology, Business Administration, Criminology, Development Studies, Economics, Geography, History, Law, Linguistics, Political Science, Sociology, International Relations, Communications and Psychology

Formal Science = Logic, Mathematics, Computer Science, Information Theory, Systems Theory, Decision Theory, Statistics, and Linguistics


Science Ring

The Sensory Ring
There are five sense segments in the sensory ring depicting the importance of each of the five senses in relation to your aesthetic experience.  These are labeled as: visual (eyes) aural (ears) sapid (tongue) tactile (body) olfactory (nose)


Sensory Ring

The Intention Ring
This ring is used to map the importance of the perceived intention of the aesthetic expression.  For example: Was the intention to teach or was it to display personal power or was it for commercial success?


Intention Ring

Here is an example of Beethoven’s ninth Symphony – notice how I have placed the most importance in the aural category and a minor importance in Social Science (Psychology, Sociology, Anthropology) and even a lesser importance in the commercial area although I imagine that Beethoven would probably have put more importance in this category than I did.

Beethoven's Ninth


Cultural Magnitude
I have coined a term that I call “Cultural Magnitude” and what it describes is the size or magnitude of the culture for which the expression identifies or illuminates. Does the expression actually identify a culture?  ‘Pure’art always seems to fall into categories of expression within cultures delineated as ‘civilizations of people’.  Therefore most art would fall in categories of large cultural magnitude.
I believe that science tries to create expressions that are universal in their intent and not ‘owned’ by any culture even though at a philosophical level it may be impossible.  Yet, in the vernacular, we don’t make science solely for the Chinese or Egyptians … or any other culture for that matter. We make it with the expectations that it will work for anyone. That said, we can look at the other side of the coin and notice that all scientific thought is created in a cultural setting.  Cultures do create science but do the scientific concepts identify the culture? Does the decimal point bring thoughts of Hindus? When learning calculus do you get visions of England or Germany? When you ponder Pascal’s triangle do you thinks of the Chinese, Persians or French? Do these cultures ‘own’ these ideas?  What culture ‘owns’ these scientific ideas? Is it the group of scientists that create it or is it the universe that practices it? It is certain that you can study the cultures that surround the scientific concepts but again the big question is: Does the concept express the culture? If it is truly a universal concept then it expresses no culture even though a culture produced it.  If you think of culture as being any small group of people, then it can be said that a scientific concept may express the thought process of the group of scientists that produced it. Therefore the cultural magnitude is very small due to the cultural size being small. This prompts the question:  How difficult would it be for you to determine, if you were not told, what culture created the aesthetic expression. 

To determine the value of "cultural magnitude" that I assigned to each expression, we must notice that each expression has a colored arrow which connects the textual label describing it to the box icon to which the "aesthetic ring" link is attached. The color of this arrow corresponds to a gradation of value in the "cultural magnitude" bar which resides between the two main mappings in the major window.  If the arrow is red then my judgment is that it has a small 'Cultural Magnitude'.  Furthermore, the bluer the arrow is the larger the 'Cultural Magnitude'. The magnitude varies between 0 and 100 percent.



Cultural Magnitude






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