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Spatial models in
"natural" and authentic "cultural" environments.
___________________________________

Each culture or tradition for many centuries has been working out its
own channel of regular communication with the environment and the
outer world.
It was the local, special way of interaction with the surrounding
space, which was based not just on discursive, logical way of its
understanding or perception, but naturally on a "spatial "one.
It is important to point out, that spatial/visual type of perception
was extremely important aspect of the collective world vision and
experience throughout the whole humane history.

When we are using so widely spread term "world vision", that means,
already, that the visual/spatial aspect of perception is being involved.
In general, these traditional ways or methods of spatial interaction,
having particular local specialty, were in principle quite similar in
different cultural traditions and were based on the "global" universal
patterns.

In order to follow the healthiest paths of collective self development,
most of the cultures have been organizing their "cultural", humane
environment, with the help of the most harmonious, ordered forms
and schemes, inherited from the outer, "natural" one.
It means, that culture itself was working as the self - organizing system,
which was choosing the most suitable systems of symbols and codes,
aiming to organize the inner cultural environment in order, as well,
to interact successfully with the outer natural one.

Intentional ordering and harmonizing of humane environment since
the ancient times was supposed, as well, to keep the correspondence,
that means inner essential similarity, with the nature and it elements.
Natural forms and structures in this case were involved in creation or
patterning of cultural forms and spaces, to particular extent,
making them follow their internal and external laws.

We are not so much aware, sometimes, that self organization and
inner order of the natural forms and elements is in essence defined by
the common evolutionary laws and conditional existing of various
forms inside the matter, whether they are living or not. Since the
ancient times, humane orientation towards the cultural order within the
natural environment was helping to discover some essential common
natural laws and stimulating their metaphorical reflection in traditional
collective notions, mythological systems and their visualizations.

These laws and structures also are interpreted in authentic artifacts
from different geographical and historical contexts and their
compositional structures. It was defined by Heraclites in the fifth
century B.C., that art is a form of humane knowledge, which is
interpreting the nature according to the laws of mathematical
harmony.

It is well known, that mostly, natural forms, such as planets, fragments
of landscapes, human's and animal's bodies, minerals are
containing within themselves harmonicas proportions,
which can be expressed mathematically, in a "digital " form.
They are structured as if the nature, while constructing them, was
using itself the most complex and perfectly configured digital
programming systems.

Structural elements of natural forms are organized according to
the mathematical proportions, but not in a simple just an ordinary way.
When we are analyzing proportioning and symmetry in nature,
a structure of a flower, a tree or a humane face, it is easy to discover,
that the symmetry in nature is not a dry and simplified Aristotle's symmetry,
which can be described by some simple mathematical formulas.
It looks, as if, it was shaped according the newer, latest complex
computer formulas, which can be completed only with the help
of the most advanced digital equipment .

On the other hand, shapes of fractals, which are graphically,
visually, interpreting some of these advanced contemporary mathematical
formulas, related to self modifying systems, are resembling the structures of
plants and minerals, elements of landscapes. Natural evolutionary processes
in the same way can be compared to a sophisticated computer processing,
which aims to find out the most suitable ways of its development, ordered
and functional combinations of elements, harmonious proportions and sizes.
The famous proportional systems of the antic traditions, were based on
the proportional laws, which has been invented with the help of the natural
forms or just copied from some of them.

As it has been noted before, according to the natural environment's
structures, authentic cultures, were using similar principles of spatial
organization, such as rhythmic and proportional similarity of the elements,
symmetry, structural unity. One of the main important intentions was
the constant maintenance of harmonious relations with the surrounding
environment. It means,that the suitable communicational codes were
supposed to resemble by their structural principles the elements of
the environment itself.

Obvious similarity of the folk art motives in different cultures and historical
periods, can be explained easily by the unity, similarity of the environmental
natural "motives", its basic structures, which were inspiring their authors.
They were also containing the principles of symmetry, harmonious
proportions, rhythmic rows, which were, in a way,
the metaphorical expressions of the structural principles of the matter itself.

Such an authentic "cosmology", which was reflecting the surrounding
space and its elements, was far from the concrete descriptive truths, but its
visual messages were containing the symbolic meanings, transmitting
the information about the inner and outer essential spatial structures.
In particular extent authentic visual predicates were representing the structural
foundations, spatial/temporal laws or were coordinated with them.

That's why "sacred" and "pragmatic" in this ordered and complex system
was not considered to be something different. Intention of the "anti entropy"
is supplying the ordering principles of inner construction, organizing
symbolically precise and conceptually fit composition of authentic artifacts.
In fact, authentic compositional structures has been defined by the natural
environment itself, its structures and the conditions of surviving within it.
Their balanced modes were the symbolical expressions of the
self-modifying principles of space and matter. These structures, as well, were
based on variety and differentiation of forms and their balance inside the
natural environment.

Normally, we can reflect the evolutionary processes within matter, study its
various forms with a help of the modern science and its methodology, make
descriptions with the help of scientific languages and researching, use the
instrumentation of chemistry, biology, geology, physics and other
disciplines. While doing it, we, sometimes, are not so much concentrated on
general essential "material" laws, structural principles and the paths of its
inner development.

We can investigate, for example, with the help of topography some natural
landscapes, going deeper into the facts, names and details, without the true
awareness of the essential principles of their creation and existence.
They seem for us to be rather elementary or obvious, and that's why, not so
important for paying our extra attention.

The primary information about the basic structures and
their development sinks under the surfaces of the ordinary descriptive
information, and a very concrete data, but vice versa, they are permanently
existing in cosmologically simple and naive, from the superficial point of
view, authentic schemes.

Top - bottom, right - left, south-north, day-night, heaven-earth,
sun - moon - the simplest systems of coordinates which were the starting our
spatial /temporal perception in the childhood.
These primal systems are not leaving our mind later, in the later periods of
our personal or collective live.
But further on, when we are becoming grownups, they are becoming
meaningless, being blocked by different other coordinates, cultural or social.

Vice versa, particular universal primal spatial schemes are permanently
represented in most of authentic symbolical structures, interpreted in
ornamental compositions of artifacts, and their geometrical constructions.
It seems, they are supposed to remind permanently the owners about their
presence within the global or local spatial dimensions and about the
necessity of maintaining some balance inside this system.

In this way, the solar and earth symbols in the applied art' s ornamentation
of different regions are reminding about the the main sources of energy and
life, which are supporting all the processes inside global and private,
individual space. Practically, in all traditions the enormous attention have been
paid to some primal spatial schemes, simple patterns, which are including
circles, squatters, crosses, triangles, rhythmic structures,
interpreting in different way universal spatial symbols and coordinates.

Sometimes, we are concentrating our attention on ontological "truths",
some basic structural laws of existence and creation of surrounding world
only in the context of the collective cultural experience, which brings
us to them through the systems of symbols and imaginary metaphors.
Such systems, in this case, are becoming specially important both in
individual and collective sense.

Each culture is choosing itself the objects and spheres for collective
concentration and reflection, and is creating itself the new spatial/temporal
paradigms. By this, particular cultural circumstances and events sometimes
are being invoked. For example, the choice can be expressed in the
concentration on the common matters or objects and along with this on the
balance and essential primary order of matter and space, on the inner unity
and connection of their elements.

Or it can be withdrawn by the collective "media visions" of the catastrophes
and disorders in the natural and psychological environments.
All the types of these concentrations can bring corresponding results.
That's why, keeping in mind importance of collective authentic spatial/temporal
notions, we can expect, that culture, which has been self-confident enough,
to leave completely behind, neglect, or to distort completely
the basic predictable forms, along with the essential collective mythologies,
and notions is taking a risk to lose its historically established easy and
healthy connections and relations not only with its cultural pasts, but with the
environment itself.

Each culture is choosing itself the objects and
spheres for collective concentration and reflection, and is creating itself the
new spatial/temporal paradigms. By this, particular cultural circumstances
and events sometimes are being invoked. May be, the concentration on the
common matters is going on and along with this on the balance and essential
primary order of the "world" and space, or on the essential unity and
connection of its element.

In another case it can be withdrawn buy the collective "media visions"
of the catastrophes and disorders in the natural and psychological
environments. All the types of such concentrations can
bring corresponding results. Surrounding space is definitely connected with
the our inner, psychological one, whether it is personal or collective.

That means, the distortion or disconnection of at least one part of this
system can finally lead to disbalance of the both. It can be leading to the loss
of some important cultural predicates, structural principles of organizing,
modifying the space and the ways of an interaction with it.

Methods of spatial interaction which have been selected and worked out by
many generations, predecessors in the process of the direct communication
with the natural environment and overcoming an entropy within it.
Conventional anthropology is used to juxtapose the terms "natural chaos"
and "cultural order". In fact as many of descriptive sciences it ignores the
complexity of qualities in the both these environments, which in particular
dimensions can exchange the meaning. qualities and components, as in the
well known computer based chaos theory.

In this case, the components of these terms are being replaced as well:
not natural "chaos" is being fought by the cultural "order", but it seems,
that in essence, the awareness of the natural self modifying
evolutionary order is helping on a new level to transform and to turn into
the order "cultural chaos".

Olga R. Ziangirova
Consultant:
Dr. Ing. Georg Trogemann

	Spatial models in "natural" and authentic "cultural" environments. ___________________________________ Each culture or tradition for many centuries has been working out its own channel of regular communication with the environment and the outer world. It was the local, special way of interaction with the surrounding space, which was based not just on discursive, logical way of its understanding or perception, but naturally on a "spatial "one. It is important to point out, that spatial/visual type of perception was extremely important aspect of the collective world vision and experience throughout the whole humane history. When we are using so widely spread term "world vision", that means, already, that the visual/spatial aspect of perception is being involved. In general, these traditional ways or methods of spatial interaction, having particular local specialty, were in principle quite similar in different cultural traditions and were based on the "global" universal patterns. In order to follow the healthiest paths of collective self development, most of the cultures have been organizing their "cultural", humane environment, with the help of the most harmonious, ordered forms and schemes, inherited from the outer, "natural" one. It means, that culture itself was working as the self - organizing system, which was choosing the most suitable systems of symbols and codes, aiming to organize the inner cultural environment in order, as well, to interact successfully with the outer natural one. Intentional ordering and harmonizing of humane environment since the ancient times was supposed, as well, to keep the correspondence, that means inner essential similarity, with the nature and it elements. Natural forms and structures in this case were involved in creation or patterning of cultural forms and spaces, to particular extent, making them follow their internal and external laws. We are not so much aware, sometimes, that self organization and inner order of the natural forms and elements is in essence defined by the common evolutionary laws and conditional existing of various forms inside the matter, whether they are living or not. Since the ancient times, humane orientation towards the cultural order within the natural environment was helping to discover some essential common natural laws and stimulating their metaphorical reflection in traditional collective notions, mythological systems and their visualizations. These laws and structures also are interpreted in authentic artifacts from different geographical and historical contexts and their compositional structures. It was defined by Heraclites in the fifth century B.C., that art is a form of humane knowledge, which is interpreting the nature according to the laws of mathematical harmony. It is well known, that mostly, natural forms, such as planets, fragments of landscapes, human's and animal's bodies, minerals are containing within themselves harmonicas proportions, which can be expressed mathematically, in a "digital " form. They are structured as if the nature, while constructing them, was using itself the most complex and perfectly configured digital programming systems. Structural elements of natural forms are organized according to the mathematical proportions, but not in a simple just an ordinary way. When we are analyzing proportioning and symmetry in nature, a structure of a flower, a tree or a humane face, it is easy to discover, that the symmetry in nature is not a dry and simplified Aristotle's symmetry, which can be described by some simple mathematical formulas. It looks, as if, it was shaped according the newer, latest complex computer formulas, which can be completed only with the help of the most advanced digital equipment . On the other hand, shapes of fractals, which are graphically, visually, interpreting some of these advanced contemporary mathematical formulas, related to self modifying systems, are resembling the structures of plants and minerals, elements of landscapes. Natural evolutionary processes in the same way can be compared to a sophisticated computer processing, which aims to find out the most suitable ways of its development, ordered and functional combinations of elements, harmonious proportions and sizes. The famous proportional systems of the antic traditions, were based on the proportional laws, which has been invented with the help of the natural forms or just copied from some of them. As it has been noted before, according to the natural environment's structures, authentic cultures, were using similar principles of spatial organization, such as rhythmic and proportional similarity of the elements, symmetry, structural unity. One of the main important intentions was the constant maintenance of harmonious relations with the surrounding environment. It means,that the suitable communicational codes were supposed to resemble by their structural principles the elements of the environment itself. Obvious similarity of the folk art motives in different cultures and historical periods, can be explained easily by the unity, similarity of the environmental natural "motives", its basic structures, which were inspiring their authors. They were also containing the principles of symmetry, harmonious proportions, rhythmic rows, which were, in a way, the metaphorical expressions of the structural principles of the matter itself. Such an authentic "cosmology", which was reflecting the surrounding space and its elements, was far from the concrete descriptive truths, but its visual messages were containing the symbolic meanings, transmitting the information about the inner and outer essential spatial structures. In particular extent authentic visual predicates were representing the structural foundations, spatial/temporal laws or were coordinated with them. That's why "sacred" and "pragmatic" in this ordered and complex system was not considered to be something different. Intention of the "anti entropy" is supplying the ordering principles of inner construction, organizing symbolically precise and conceptually fit composition of authentic artifacts. In fact, authentic compositional structures has been defined by the natural environment itself, its structures and the conditions of surviving within it. Their balanced modes were the symbolical expressions of the self-modifying principles of space and matter. These structures, as well, were based on variety and differentiation of forms and their balance inside the natural environment. Normally, we can reflect the evolutionary processes within matter, study its various forms with a help of the modern science and its methodology, make descriptions with the help of scientific languages and researching, use the instrumentation of chemistry, biology, geology, physics and other disciplines. While doing it, we, sometimes, are not so much concentrated on general essential "material" laws, structural principles and the paths of its inner development. We can investigate, for example, with the help of topography some natural landscapes, going deeper into the facts, names and details, without the true awareness of the essential principles of their creation and existence. They seem for us to be rather elementary or obvious, and that's why, not so important for paying our extra attention. The primary information about the basic structures and their development sinks under the surfaces of the ordinary descriptive information, and a very concrete data, but vice versa, they are permanently existing in cosmologically simple and naive, from the superficial point of view, authentic schemes. Top - bottom, right - left, south-north, day-night, heaven-earth, sun - moon - the simplest systems of coordinates which were the starting our spatial /temporal perception in the childhood. These primal systems are not leaving our mind later, in the later periods of our personal or collective live. But further on, when we are becoming grownups, they are becoming meaningless, being blocked by different other coordinates, cultural or social. Vice versa, particular universal primal spatial schemes are permanently represented in most of authentic symbolical structures, interpreted in ornamental compositions of artifacts, and their geometrical constructions. It seems, they are supposed to remind permanently the owners about their presence within the global or local spatial dimensions and about the necessity of maintaining some balance inside this system. In this way, the solar and earth symbols in the applied art' s ornamentation of different regions are reminding about the the main sources of energy and life, which are supporting all the processes inside global and private, individual space. Practically, in all traditions the enormous attention have been paid to some primal spatial schemes, simple patterns, which are including circles, squatters, crosses, triangles, rhythmic structures, interpreting in different way universal spatial symbols and coordinates. Sometimes, we are concentrating our attention on ontological "truths", some basic structural laws of existence and creation of surrounding world only in the context of the collective cultural experience, which brings us to them through the systems of symbols and imaginary metaphors. Such systems, in this case, are becoming specially important both in individual and collective sense. Each culture is choosing itself the objects and spheres for collective concentration and reflection, and is creating itself the new spatial/temporal paradigms. By this, particular cultural circumstances and events sometimes are being invoked. For example, the choice can be expressed in the concentration on the common matters or objects and along with this on the balance and essential primary order of matter and space, on the inner unity and connection of their elements. Or it can be withdrawn by the collective "media visions" of the catastrophes and disorders in the natural and psychological environments. All the types of these concentrations can bring corresponding results. That's why, keeping in mind importance of collective authentic spatial/temporal notions, we can expect, that culture, which has been self-confident enough, to leave completely behind, neglect, or to distort completely the basic predictable forms, along with the essential collective mythologies, and notions is taking a risk to lose its historically established easy and healthy connections and relations not only with its cultural pasts, but with the environment itself. Each culture is choosing itself the objects and spheres for collective concentration and reflection, and is creating itself the new spatial/temporal paradigms. By this, particular cultural circumstances and events sometimes are being invoked. May be, the concentration on the common matters is going on and along with this on the balance and essential primary order of the "world" and space, or on the essential unity and connection of its element. In another case it can be withdrawn buy the collective "media visions" of the catastrophes and disorders in the natural and psychological environments. All the types of such concentrations can bring corresponding results. Surrounding space is definitely connected with the our inner, psychological one, whether it is personal or collective. That means, the distortion or disconnection of at least one part of this system can finally lead to disbalance of the both. It can be leading to the loss of some important cultural predicates, structural principles of organizing, modifying the space and the ways of an interaction with it. Methods of spatial interaction which have been selected and worked out by many generations, predecessors in the process of the direct communication with the natural environment and overcoming an entropy within it. Conventional anthropology is used to juxtapose the terms "natural chaos" and "cultural order". In fact as many of descriptive sciences it ignores the complexity of qualities in the both these environments, which in particular dimensions can exchange the meaning. qualities and components, as in the well known computer based chaos theory. In this case, the components of these terms are being replaced as well: not natural "chaos" is being fought by the cultural "order", but it seems, that in essence, the awareness of the natural self modifying evolutionary order is helping on a new level to transform and to turn into the order "cultural chaos". Olga R. Ziangirova Consultant: Dr. Ing. Georg Trogemann