Without our direction-generating consciousness, the environment has no or an infinite number of centers. Our observer position determines the center of the perspective structure of our visual space. Every change in one’s own point of view in this spatio-temporal system of order brings with it a new perspective on the object of observation. Our line of vision activates the center of our brain’s knowledge network, to which the entire associative context of the situation is aligned.
While the position of the words determines the message of the sentence, we determine the overall message of a descriptive work by the arrangement or composition of its parts. By defining our perspective, we convey our point of view to the viewer and give them their reading direction. The author of a descriptive work is therefore always the subject in the design process, who inscribes his or her perspective on the object in order to solve the problem associated with the production purpose. In the process of interpretation, on the other hand, the viewer is confronted with the designer’s perspective through the work and invited to explore his world of ideas. Every descriptive work of our natural or cultural environment is therefore ambiguous and opens up an infinite number of perspectives for us to form a point of view and question our point of view.
Our ability to change our current point of view determines our scope for thought and action. This is the only way we can keep discovering new perspectives. The development perspective of the natural and cultural space is presented to us today against the background of an evolutionary principle of creation. The observation of living beings gives us perspectives on the morphogenesis of their organism, just as products give us perspectives on their purpose. Biospheres show us perspectives on the ecological conditions of their creation, just as cities reveal to us perspectives of society on the conditions of coexistence.
