UNDERSTANDING THE ENGAGEMENT VECTOR AN EXPlANA ION IN THREE PARTS

I. HISTORY

IN THE BEGINNING WAS THE GRID.

I. HISTORY. T

D

PACE

BEING HIGHLY CAFFEINATED, IT SEEMED TO ME THAT PACE AND SCAL WERE NOT, IN REALITY, S PARABL .

AND THE VECTOR OF ENGAGEMENT WAS BORN ...

u.J LINKING PACE AND SCALE INTO A SINGLE

:3 MOTION OF DEEPENING ENGAGEMENT.

V'\

PACE

I. HISTORY. T

IT SEEMED TO MAKE SENSE TO OTHER HIGHLY CAFFEINATED MINDS - PERHAPS BECAUSE FLAWED AS IT WOULD PROVE TO BE, IT REVEALED FIVE DISTINCT MODES OF ENGAGEMENT.

I. HISTORY. TEFl E E

HE F VE MODES OF ENGAGME T

NAMING

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PHYSICAL ENGAGEMENT

EXPLORING

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PACE

I. HISTORY. TEE T D L PED

WHICH TULSI LATER PRESENTED AS A MOTION FROM PLACE TO SELF

PLAC

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EXPLORING

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PACE

I. HISTORY. T

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BUT THE VECTOR WAS FLAWED: ENGAGEMENT DOES NOT MOVE CONTINUALY TOWARD SMALLER AND SMALLER SCALE AND SLOWER AND SLOWER PACE.

I. HISTORY. T

AND SO THE REVISED VECTOR WAS BORN.

NAMING

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PHYSICAL ENGAGEMENT

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EXPLORING

I. HISTORY. T

REPLACING THE MOVEMENT FROM PLACE TO SELF WITH ...

I. HISTORY. T

AN OSCILLATION BETWEEN PLACE AND SEL,

NAMING

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I. HISTORY. T

NAMING

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AND PACEWITH DURATION.

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II. THE V MODES

II. THE FIVE MODES.

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THE FIVE DISTINCT MODES OF ENGAGEM NT ARE MORE THAN RATIOS OF SCALE AND PACE. RATHER, EACH MODE OF ENGAGEMENT UTILIZES A DIFFERENT TYPE OF INTELLIGENCE WITH A PARTICULAR LANGUAGE.

II. THE FIVE MODES.

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DURATIO

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MODE : SYMBOLIC INTELLIGENCE

DESCRIPTION, MAPS, REPRESENTATION HIGHEST FORM: ESSENTIAL ACCURACY

I 'WHAT 15 THE FIRST THING TO BE DONE

IN ORDER TO PROMOTE A RENEWAL IN DISASTEROUS (JR(UMSTAN(ES?'

., WORDS MUST BE SET ARIGHT

II. THE FIVE MODES. P

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MODE 2: AESTHETIC INTELLIGENCE

VISUAL IDENTITY, HARMONY, BEAUTY, NATURE, DESIGN

HIGHEST FORM: IDENTIFICATION, AND HENCE, COMPASSION A human being is a part of the whole cal/ed by us

universe I a part limited in time and space. He

experiences himself, his thoughts and feeling as

something separated from the rest, a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restriding us to our personal desires and to affedion for a few persons nearest to us. Our task must be to free ourselves from this prison by widening our

circle of compassion to embrace aI/living creatures and

the whole of nature in its beauty.

II. THE FIVE MODES. P

NAMING

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MOD 3: KIN STH TIC INTELLIGENCE

OPPORTUNITY, EXCITEMENT, CHALLENGE

Teachers open the door, hut you must enter hy yourself

HIGHEST FORM: PRACTICE

We are what we repeatedly do. Excellence men, is not on oa, but a habit.

II. THE FIVE MODES. PL

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MODE 4: ETHICAL INTELLIGENCE

EXPANSION, COMPREHENSION, BELIEF

Exploration is really the essence of the human spirit.

HIGHEST FORM: INHABITATION

A human being is a part of the whole called by us universe, a part limited in time and space. He experiences himself, his thoughts and feeling as something separated from the rest, a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restriding us to our personal desires and to affedion for a few persons nearest to us. Our task must be to free ourselves from this prison by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty.

II. THE FIVE MODES.

NAMING

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DURATIO

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MODE 5: OBJECTIVE INTELLIGENCE

SOBER, RESPONSIBLE, AWARE

HIGHEST FORM: BALANCED INTERDEPENDENCE

A sophisticated human can become primitive. What this really means is that the human's way of life changes. Old values change, become linked to the landscape with its plants and animals. This new existence requires a working knowledge of those multiplex and cross-linked events usually referred to as nature. It requires a measure of resped for the inertial power within such natural systems. When a human gains this working knowledge and resped, that is called "being primitive."

III. TH E CYCLE

IIHe who controls the present, controls the past. He who controls the past, controls the future."

ENGAGEMENT, OR THE INTERACTION OF PLACE AND SELF, IS CYCLICAL.

III. THE CYCLE.

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PLACE REPLACES PLACE

PHYSICAL ENGAGEMENT

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III. THE CYCLE. I E

AN IDEA OF WHAT WILL BE EXPERIENCED

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PAST INFORMS FUTURE PLACE REPLACES PLACE

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EXPERIENCE

WHAT HAS BEEN EXPERIENCED

STEWARDSHIP

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THAT'S PRETTY MUCH IT, EXCEPT FOR THIS LAST IMAGE, WHICH INTRODUCES TWO FURTHER LAYERS, SPHERES AND SIDES. I'M NOT GOING TO TRY TO EXPLAIN THE SENSE OF THESE.

III. THE CYCLE. T

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AN IDEA OF WHAT WILL BE EXPERIENCED

S FUrUR E CES PLACE

NAMING SYMBOLIC

STEWARDSHIP

OBJECTIVE

AESTHETIC AESTHETIC

EXPLORING /

ETHICAL

EXPERIENCE

WHAT HAS BEEN EXPERIENCED

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MODE OF ENGAGEMENT TYPE OF INTELLIGENCE

THE V WEAVERS