A contemporary mandala made from a photograph of tree fungi.See:Mandala
On another level it meant that what Plato saw a a description of the cave experience was also an orientation of perspective internally as well recognition in the external world of at the source of the sun propelling experience as it’s motivation.
Such an attempt to describe all of nature according a plan was a simple desire to identify what follows as a example of what the intent of Plato wished to express, in my point of view. This was not just an external notation of the meaning of outward manifestation but was also a recognition of the internal description of what we as souls were motivated to express in our own architectural designation of experience so as to learn and understand.
Some of the things I have learnt over the years has to do with understanding how returning to a “basic underlying structure toward the reality of subjective interpretation” was a method of some meaning when spoken of in terms of mandalas presented to the observing mind for observation while in a deep subjective state. Total involvement and then recognizing from “another perspective[who is this observer]” could explain how such expression could by designation of character was sought to signified in our adoption of form.
Laboratory display of distillation: 1: A heating device 2: Still pot 3: Still head 4: Thermometer/Boiling point temperature 5: Condenser 6: Cooling water in 7: Cooling water out 8: Distillate/receiving flask 9: Vacuum/gas inlet 10: Still receiver 11: Heat control 12: Stirrer speed control 13: Stirrer/heat plate 14: Heating (Oil/sand) bath 15: Stirring means e.g.(shown), anti-bumping granules or mechanical stirrer 16: Cooling bath.
Early types of distillation were known to the Babylonians in Mesopotamia (in what is now Iraq) from at least the 2nd millennium BC. Archaeological excavations in northwest Pakistan have yielded evidence that the distillation of alcohol was known in Pakistan since 500 BC, but only became common between 150 BC – 350 AD. Distillation was later known to Greek alchemists from the 1st century AD, and the later development of large-scale distillation apparatus occurred in response to demands for spirits. According to K. B. Hoffmann the earliest mention of “destillatio per descensum” occurs in the writings of Aetius, a Greek physician from the 5th century. Hypatia of Alexandria is credited with having invented an early distillation apparatus, and the first clear description of early apparatus for distillation is given by Zosimos of Panopolis in the fourth century. Primitive tribes of India used a method of distillation for producing Mahuda liquor. This crude and ancient method is not very effective.See:Distillation
While I have sometimes alloted it to an experience of an event and memory historically describing patterned, this is a distillate of the experience that is like a “mind map” if you like, as to what explodes on the surface of observation repeated in all the coverings of lines, as experience. Who is observing?
Why I held for so long to those lines which describe Euclid’s postulates as an experience further extrapolated to become a toposense of experience in movement. Much as, “grokking” the world, is to consume and digest to describe it’s historical lineage as a movement of sorts, to describe life in this way.
Installation view of Kaleidoscope (2001) at ZKM, Karlsruhe © Courtesy Greene Naftali Gallery, New York © the artist Metal, mirror foil, foam core, tape
The kaleidoscope was perfected by Sir David Brewster, a Scottish scientist, in 1816. This technological invention, whose function is literally the production of beauty, or rather its observation, was etymologically a typical aesthetic form of the nineteenth century – one bound up with disinterested contemplation. (The etymology of the word is formed from kalos (beautiful), eidos (form) and scopos (watcher) – “watcher of beautiful shapes”.) The invention is enjoying a second life today – as the model for many contemporary abstract works. In Olafur Eliasson’s Kaleidoscope (2001), the viewer takes the place of the pieces of glass, producing a myriad of images. In an inversion of the situation involved in the classic kaleidoscope, the watcher becomes the watched. In Jim Drain’s Kaleidoscope (2003), the viewer is also plunged physically inside the myriad of abstract forms, and his image becomes a part of the environment. Spin My Wheel (2003), by Lori Hersberger, also forms a painting that is developed in space, spilling beyond the frame of the picture, its projected image constantly changing, dissolving the surrounding world with an infinite play of reflections in fragments of broken mirror. The viewer becomes one of the subjects of the piece. (Not the subject, as in Eliasson’s work, but one of its subjects.)
See: The End of Perspective-Vincent Pécoil.
While subjectively living the experience it may seem that nothing more can be of use as one describes that experience is and amounts too. So it’s conclusiveness helps to steer the mind to events as an outcome of and a direction set in life.
So the basic pattern is never separate from while from another point of view such polytopes construction would have appear in lines distinct of itself to point out that a motive force is further enshrined in the outward expressiveness of this movement toward the real world manifestation as an object of experience. Cosmologically real for the soul in an outward expressiveness held in the body form.
This is not a “ego centric orientation,” but a recognition of the energy as it is propelled outward by the soul’s desire to be part of the reality and experience this world affords us.