Singular Architecture is architecture aligned with Nature. Nature is holistic, and holistic environments are fabricated places within which we tell a story. Singular Architecture is an instrumental labyrinth of pathways and intersections. Walking through the labyrinth, the story told is one of resonating harmonic connection. When we breathe life into our architecture, our architecture will breathe life into us.

As intervention into artificial environments, it shapes places as medicinal tonics for culture. SA tectonics architecturally engage a continuum of energetic translation between people and place, from the microcosm within our bodies to the macroscope of spiritual space, shifting toward increasing potential energy.

--- Heather Hoeksema, Architect


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by Heather Hoeksema


'Singular' is a word which defines ideas within multiple fields of culture. It has been used to form civilizations and historical understandings of people. There are natural meanings and messages embedded in the word, as it's sounded and written, which have been distorted within its evolutionary course through modern English. In truth, with proper linguistic understanding, the use of the word 'Singular' can reshape an accurate understanding of the story of the architecture of culture. Storical is a gender neutral derivative of 'historical'. The stories of the past, present, and future have and continue to include both genders, as both man and woman continue to exist as simultaneous cause and effect of human cultures. Yet most of the stories of the past have been written by the masculine gender. So the question becomes 'In the wake of his story, what happened to the draft of her story?'. The resolution to this question resides in understanding use of the word 'Singular' in western civilization and reshaping it for future landscapes within our cultural architecture.

'Singular' is utilized to define our understandings of the past, present, and future predominantly in the cross referencing between linguistics and mathematics. Therein, it has been applied to define the dualistic balancing between philosophy and science. How it has been applied, and the underlying intent of its application, may never be understood fully. Still, unveiling the evolution of this omnipresent word is a beginning to unraveling how it can be used to forward the architecture of human cultures in the future. The bridge between mathematics and linguistics is mysterious in some respects, and quite precise in others. How the relationship between the two affects how humanity moves forward, in a healing way, is determined by our ability to calibrate a resonating balance in the place between. Understanding linguistics and mathematics as simultaneous codes and principles of Nature introduces the tools which we can apply to the cultural architecture of the future. The laws of Nature are scientific and philosophical, as should be humanity's approach to how it aligns sustainably with Nature. As reshaped knowledge of the idea of 'Singular' is applied to future cultural architectures, it opens windows of translation between people, stimulating harmonic resonance.



In terms of language, the 'singular' of a word is that which describes the number of a word, how many things to which are being referred in a line of communication. In the English language 'singular' is most frequently sighted as being sourced from the Latin word 'singularis'. Although 'singularis' in Latin is often defined as meaning 'one, alone, unique' these interpretations are in fact contemporary misconceptions. No one entity can exist in an isolated state, a vacuum. Nature shaped earth as a fabric of interconnection. Although the system of Nature omnipresent, it gifts living organisms with localization as a harmonic balance, synergetic with its decentralized calibrating system to counteraction individual isolation. Nature exists in a dualistic state, a resonating energy between and within beings. In its purest shape, it is a line of connection between two points. Communicating linguistically, in alignment with this intent of Nature, supports harmonic environments. The Latin etymology of 'singularis' is 'singulus'. Etymology defines the sequential origin of a word. 'Singulus' was derived from the base 'sim' originating in relationship to the Latin word 'simplus' which describes something of youth. The Latin language is based on declension, which is specific type of inflection which emphasizes number and gender. Declension defines a word as either masculine or feminine, with its suffix. 'Singular' is a feminine word in Latin. It's adjective derivation is 'simple'. Singular theory, as previously noted and in the forthcoming work, is sourced from the philosophical fabric of Occum's razor. This precipice which is based on laws of probability notes that the simplest answer, based on the least assumptions, is most probably the truest answer. The inverse is true. The most complicated evolution of a problem, based on exponential assumptions, is likely the least true. This critique of the use of the word 'Singular' is based on the fewest historical assumptions possible. It is based on the simplest interpretations of the laws of Nature.

Different languages, ways of communicating via sound and writing, have assigned an amount or 'number' to things in different ways. Some, such as the modern English language, have distinctly split the idea of something being 'singular' or 'plural'. Ancient languages have, and some respects continue to communicate through 'dualism'. Proto Indo European language, over 3600 years old, is noted as the first language to do so. From this language, ways of communicating such as Sanskrit grew. This time period is important to note, as it corresponds with the development of human writing as a means of communication, originating as 'cuniform' which is more properly described as 'cunishape' as this definition originates from the root 'wedge-shaped'. 'Cunishape' was written in clay tablets, circles and strokes, invoking the sound rather than a pictorial description. Cunishape translations were script like, shapes conveyed for healing communication. They were dualistic translations of cross communication, notes of sorts to convey sensory experience. The earliest known records of cunishape are from the Sumerian culture. The Mesopotamian culture is also storically sighted as that which invented the wheel.

'Singular' translation initiates as a resonating fluctuation of 'dualities'. It posits that communicating through language is the opportunity to convey authentic experience through physiological resonance,as a sort of dualistic dialog. Modern typing has flattened language, desensitized humans from conveying experience in comparison to ancient languages. This has compromised the human ability to connect at a sensory scale, even at the scale of our molecular composition. When we voice sounds, our bodies resonate. We express experience. When we receive sounds, our bodies resonate. One could derive that the way modern language has evolved has flattened this linguistic sensory connection between people and the environment. By reversing the evolution of language, a process of 'reverse evolution', communication can begin to be redefined as a resonating dualistic experience. As communicating language returns to a resonating sounding dualistic experience, versus the split between the isolated singular and plural, it can stimulate dialog which is the simple purpose of voicing sound and receiving sound. Translating our experiences to others is a healing experience, and this quality of healing is amplified when our translation is physiological... simultaneously perceptual and physical. Translating with resonance communicates experience physiologically between people. Resonant connections stitch together matrices of communities. Resonant linguistics is natural language, aligned with the frequencies of Nature. As linguistics are reshaped in this holistic way, language becomes a medium through which people translate with such amplified physiological resonance that others are able to feel what they experience. As people translate with harmonic resonance, we lift each other to a higher plateau of sensory experience. We begin to empathize with each other, in living by both the principles and codes inherent in sympathetic Nature.

In modern English linguistics, a word 'ending' is the same as the 'suffix', and is placed after the stem of the word. It most frequently defines the case of the word, which is a value that reflects the function performed. The suffix essentially establishes a hierarchy within a sentence. Proto Indo European (PIE) languages are different in that a distinction is made between a suffix and ending. The suffix is considered a stem and emphasizes the inflective nature of the word, and the ending is actually at the end of the word which conveys the case and number. As a result of the modern shift of the suffix to the end of words, how a word designated case changed. The English language substituted 'case' with 'prepositions' dissecting words further and dissolving the inherent tonal inflection of ancient communication through deflection. Furthermore, nouns became 'objects' of prepositions. Culturally, this evolution of language resulted in the emphasis on objectification, from a philosophical and scientific stand point in terms of the sound and resonant meaning of communicating translation between people. Prepositions and postpositions most frequently establish relationships between people and place, and therefore determine whether the noun within a sentence is an object or subject. The advent of prepositions changed the relationship between pronouns for example, like 'he' and 'she', resulting in the noun becoming the receiver of the action and therefore emphasizing the objective quality, versus a subjective quality wherein the postposition temporal space relationship is after the noun making such pronouns the subjects. As PIE languages emphasized postpositions and inflection, void of prepositions, they emphasized subjects more than objects.

Literally and figuratively, the subjective nature of the language translated the idea of resonance of space, shaping placement. In relation to this critique the gender case of Proto Indo European languages and their correspondence to the use of vowels and consonants is significant, as these early ancient languages bridged the architecture between sound and writing in an advanced way. The way vowels and consonants were located in relations to each other made this ancient language a tonal language relating to physiological resonance and hence, the resonance it stimulated in the human body. Because of this, it can be understood as a more authentic translation of sensory experience than modern languages. In placing the 'suffix' in the space between the root and the ending, PIE linguistics spoke and wrote words in three parts, with resonating inflection shaping place in the space between.

The lesser emphasis on objectification in ancient linguistics is also evident in the use of 'case'. As noted, grammatical case relates nouns and pronouns to other words in a sentence. Modern English has only three cases; subjective, objective, and possessive. Ancient PIE languages originally sustained eight cases, from which linguistic analysis could conclude that these languages stimulated a higher frequency of relational connections between words. Words were continuous sound making shapes, and only thousands of years later did morphologic word form advance. This conclusion is further supported with the inflectional nature of these languages, as inflection engages a sound voicing and sound receiving relationship in communication between people. The possessive case did not exist in these ancient languages. Possessive case specifically describes 'ownership'. The notion of ownership, specifically in how it is related to gender equanimity in ancient Sumerian culture, was significantly different then it is in today's modern civilization. As language translated between men and women, in shapes of words and voices, light and sound became the mediums that shaped the way they related.

Another important grammatical case distinction between ancient PIE language and modern languages is that Proto Indo European language and many of its daughter languages were void of the of the possessive case. Possessive case linguistic structure utilizes pronouns, such as 'He' and 'She' to describe ownership, literally possession of some thing much of the time. Possessive case in some ways is a version of genitive case, although genitive case only at times indicates possession. In general, the word structure has one noun modifying another in some way. Possessive is more frequently distinguished as a noun with an apostrophe 's' owning another noun, objectifying a noun. When a pronoun is used, the possessive case is one of the few cases which distinguishes gender. Originally, it had two numbers, neutral and animated versus singular and plural. This suggests that 'number' was understood as a degree of energy, perhaps resonance, in some respects. Number later became singular and plural, yet also including duality. They had a number of words for 'shining'. Proto Indo European language had eight to nine cases, to which its high degree of inflection of sound is attributed. The high number of different cases stimulating inflection and the way of assigning number as an energy state, indicates a way of translating thought and feeling with amplified resonance evoking physiological experience of the message oscillating between and within giver and receiver. This is actually the nature of Singular translation, one of the beginnings of the Singular Story.

Linguistically, the Singular favors the 'unconditional'. It can be thought of as something that heals a condition. Singular resonance is void of isolated individuality, fluctuating between one and two, it heals the space between. With the vowels and consonants we sound and write in modern English, we consistently configure ways to compose. Yet modern syntax often prevails in separating word with particulation, which dismantles translations between one another. So how can we shape our communications as 'unconditional' and essentially healing the condition of modern word structure which favors possession, ownership, and gender separation which within the texture of cultural architecture ultimately perpetuates the ownership of Nature... the territorial product of modern civilization? Conditional sentences are black and white, objective factual representations of cause and effect. They are 'if..., ...then' statements with abrupt conclusion, primarily void of subjectivity. In linguistics, the opposite of 'conditional' is 'subjunctive' from the Late Latin origin 'subjunctivus' which means 'serving to join, connecting'. The subjunctive in English is a subjective expression or mood, one could say it is an expression of 'experience'. Subjunctive expressions bridge translation between giver and receiver of communication, and the words used shape such sentences with combinations of vowels and consonants engage a higher degree of inflection, stimulating physiological communication within the realm of probability and possibility. So people connect empathetically, aligning with the sympathetic frequencies of Nature, experiencing one another's experiences resonantly. People can engage with resonant connection, in a physiological Singular nature, and share the experience of her and his personal Singular Story with others with articulated composition of words chosen based on inflecting sound and light. Composed physiological sensory experience of all the senses follows. The 'Singular' heals that which is a 'condition' by shifting that of the modern objective toward the subjective nature of experience. Unconditional translation stimulates resonant translation which has the potential to heal, shaping a sense of place in the space between.



As linguistics is the basis for the philosophy of the 'Singular', mathematics is the basis for the science. In cross referencing linguistics and mathematics, hence the philosophy and science of Singular theory, codes and principles become integrated. Singular mathematics engages a matrix, an array of numbers that correlates physical geometric measurement with movement in time and space. Current mathematical theory actually defines a specific type of square 'singular matrix', although the understanding of this matrix introduces questions. Any square matrix has what is termed a determinant. A determinant in mathematics is considered a calculated object product of a square matrix. It is a representation of a square matrix, in one number. In the particular case of the 'singular matrix' the determinant is classified two ways in terms of modern science. The current predominant classification is '0'. In other words, a singular matrix can only have a determinant of '0' in modern terms. The other classification is 'undefined'. In other words, the determinant would be considered 'subjective'. The holistic definition shifts toward that which is 'undefined'. These two potential classifications are important in understanding the Singular Story.

The matrix is simultaneously a physical and perceptual map of experience. It scribes an experience which is walked on foot and perceived with the senses, as is the human experience on earth. The advanced understanding of the singular matrix in this critique clarifies that in fact the determinant resonates between the objective '0' and subjective 'undefined'. One could state that because the inverse of a dualing system is true, and because the singular matrix can in fact have an inverse if its determinant can be 'undefined', that the inverse of the singular matrix resonates between the two determinants as well. Furthermore, in bridging this mathematics with the philosophy of the 'Singular', it could be proofed that the modern logarithmic butterfly effect of the matrix moving toward chaos approaches, yet never reaches '0'. Hence, the return flight of the butterfly, the holistic butterfly effect, approaches the 'undefined' subjective classification of the determinant. Singular theory is based on the non-existence of empty space. Zero does not exist in time and space.

In simpler terms, the matrix map translates between the physical and perceptual experience. It translates between that which is real and that which is invisible. It translates the experience of resonance. Mathematically this is explained geometrically as a physical map and perceptual perspective, specifically two point perspective. The shift between the two, the translation between our movement across the ground plain of the earth and our perceptual sensations from environmental stimuli resonate in a physiological experience fluctuating between objective and subjective, never completely reaching the '0' object determinant and never completely subjectively 'undefined'. Traditionally mathematics is approached visually, and this threshold between the physical and perceptual is explained visually with the horizon line and vanishing points being the literal datums in perspective drawing. Specifically, in a two point perspective, a subject place can unfold as places are shaped in the space between objects. As windows between objects above and below the horizon line take shape, the holographic horizon line becomes the translator between the ground plane and perceptual horizon. Resonance stimulates flux and flex within the depth of field, giving us the opportunity to expand and contract our physiological experience in an echo, inducting with others even unseen in our surround.

As our understanding of the experience of resonance expands holistically, that which is visible can be described as invisible. We can explain environmental experience in the language of sounding resonance as well as vision in architecture, in a more sophisticated way. As light and sound resonate harmonic frequencies, we bridge the experiences of seeing and sounding, and our physiological sense resonating as we touch the ground with our two feet stimulating a harmonic lift from our first root energy center to our second. With this understanding of cultural coding of environments, along side philosophical principles, environments which stimulate the translation of resonating harmonic experiences between people are then shaped with the intent of healing connection between people.

Important to the 'Singular' concept of mathematics is the non-existence of absolute '0' as a representation of a vacuum of empty space. Directly related is the differentiation between modern relational sequencing and ancient relational sequencing. Relational sequencing is represented in the additive numeration: 1:1:2:3:5:8... where as two numbers are added together equaling the next. Modern mathematics includes a '0' at the beginning making the sequence 0:1:1:2:3:5:8... where as the ancient sequencing was, and is, void of '0'. In understanding this in relation to time and space, the ancient relational sequence supports the potential harmonic resonance between two. In other words, when '0' is voided from the sequence space becomes a place of potential.

... 8: 5: 3: 2: -/+1 : +/-1: 2: 3: 5: 8 ...

In theory, understanding sequencing in this holistic way gives rise to understanding molecular composition and how returning the elements on earth mathematically to a healthier initial state for sustainable growth is an effect of natural harmonics. The most important molecular composition on earth is water, composed of Hydrogen (2 atoms) and Oxygen (1 atom), elements 8 and 1. The scientific cross connection between harmonic resonance and organic life is a product of the mathematics of Nature.

The matrix represents a logarithmic growth system. The further this system folds and stretches into object form from its original point, the less predictable the outcome of events become within the system. This increases the potential for chaos. This knowledge is per the science of what is termed the 'modern' butterfly effect. Logically, the inverse is true. The return flight to the initial point reduces the unpredictable nature of an energetic system, diffusing the potential for chaos. This is the intent of 'Singular' theory, as described by the 'holistic' butterfly effect. In mapping a return to original natural harmonic frequencies, aligned with Nature, we reduce the chances of chaos. The singular matrix can be inverted, contrary to modern thinking. Modern exponential folding and stretching toward chaos can invert into unfolding and infolding the modern objective into a subjective map guiding the return flight of the Singular butterfly. How humans translate, how we harmonically resonate through sound and sight in a healing way, initiates this tectonic shift.


Architecture ~ In the place between

Nature is omnipresent, and the cultural architecture of how we live within Nature affects its system holistically. Like throwing a pebble into a glassy pond, everything we do has a ripple effect. Every sound we make, every mark of light we stroke to convey our experience to another translates beyond our immediate environment affecting those near and far. Our actions embody all physiological senses, at the base of which is physical touch. Humanity is connected through the fabric of Nature, with Nature, as we ground within the surface of earth.

The fabric of our human body minds is threaded with the fabric of our environment. We continuously translate inductively across the space between, shaping shared place. As our feet touch the ground, we conduct with Mother Earth. As we touch one another, we conduct our experience to each other with amplified resonance. Our human bodies sustain various frequencies across the variety of mediums composing our organic composition. These energy centers are organized in seven locations threaded together with our figuring eight mobius coil of energy intersecting across and above our heart center. Composed primarily of water, our bodies calibrate as the water in our the atmosphere of our cellular matrix interconnect with the fabric of Nature around us. Our skin is translucent, as energy and molecules move across this membrane calibrating with our surroundings.

As we translate between each other, in spoken and written word, we give and receive energy. Ideally, this giving and receiving is of a harmonic resonance lifting each other to a higher frequency of presence. This happens in a healing way when we align with the frequencies of harmonic resonance. As we exist simultaneously as objects and subjects, we are in a place to give and receive harmonically. This duality opens windows of translation, in place and time. As resonant translations happen in the space between two, that space resonates with a sense of place. The fluctuation between one and two, between the objective and subjective resonates with potential harmonic healing. This translation experience shapes the cultural architecture of people, holistically from the inside out. The culture of holistic architecture begins with the shared experience between two, resonating harmonically in the place between.

Each of us grounds with earth, resonating in the transom of our root pelvic arch and lifting vertically as we take a stand. In this lift, we translate from this root arch to our second energy center... our pelvic butterfly. This translation resonates harmonically in the frequencies of gold, from notes C to D. As we ground with earth's surface, we connect through its energetic fabric with others, with our human nature. This is a physically conducting connection across the ground plane, the foot map of the Singular matrix. As we perceptually stitch with the atmosphere above the ground, we expand in melody and harmony through our upper energy centers spiraling reaching with induction toward others in an inflecting energetic map. Our original harmonic resonating experience was the beginning of our life, the side by side resonance of our parents' DNA strands in an astral spindle, cascading in recombination into the DNA of our first cell then shaping our embryonic disk. That original frequency is our first harmonic experience. As we stand within the womb of Mother Earth, we replay such frequency that initiated our life... our beginning, our personal initial point. As we resonate with this initial love, harmonic connection with another discovers us time after time. This Singular Architecture transcends through the fabric of Nature.


Singular Stories

Humans have told Singular Stories since the beginning of time, beginning with sound and light. One of the first known writing systems was devised by the Sumerians in ancient Babylonia during mid 3000 BC. This writing system termed in English as 'cuniform' is more correctly termed 'cunishape' linguistically, as the light inscribed into clay tablets was drafted in simple two dimensional shapes. Most notable about this period in the story of writing is the first evidence of authorship. Sumerian culture originated as a polytheistic culture in which multiple gods were worshipped. The royalty was composed of kingships, and priests and priestesses in many respects were elevated even higher in status. The most notable example of this is found in this evidence of 'authorship'. This world's first author was Enheduanna, the daughter of king Sargon who having brought Central and South Mesopotamia together under one kingdom is considered the world's first emperor. It is this king who appointed his daughter as High Priestess. She was the first to hold the title of priest. As such, the cunishape ascription for such a title is 'En'. As the highest noble priestess Enheduanna wrote scribes directing the growth of the culture, composed hymn chants guiding the spirituality of ancient Babylonia, and assisted in navigating the political climate including the temple architecture of the empire. The evidence of her authorship is in the shape of two seals and a translucent alabaster disk enscribed with her name, archaeologically excavated from the royal cemetery at Ur and her home. Enheduanna linguistically fabricated the cultural architecture of the first empire of the world, with her writing and speaking cross pollinating her many roles within the ancient culture stitching together a Singular story. Her works elevated the powers of Nature, as her perspective conveyed in her writing engaged a certain spiritual peace.

Singular stories were written well before the time of Enheduanna. With the growth of Minoan culture on the ancient Mediterranean island of Crete, writing began slightly earlier than in Enheduanna's ancient Sumer, around 3600 BC. Initially, Minoan writing was also drafted in wet clay as in Sumer, likely with pointed reeds. This ancient writing system advanced beyond the Babylonian scribes in the respect that these authors are thought to have been the first to use ink, evolving beyond 'cunishape' writing in clay tablets. Evidence of ink found in two cups is archeological proof. Extensive archeological pottery found glorifying the octopus in ink pictures is another. Octopi use ink as a defense against intruders. The Minoans were thought to have used cuttle fish ink for their work, the octopus being more of an inspiration than an ink source. Crete being an island culture, the discovery of ink in sea creatures like the eight legged octopus is a simple explanation for the evidence of the Minoan culture's use of ink for drafting pictures and signs on clay and ceramics. The Minoan written language consisted of sign shapes evolved from pictorial hieroglyphs, reading primarily left to right and at times right to left, translating the stories of this ancient goddess worshipping culture in an exclusive system termed 'Linear A'. Minoan culture was one of peace. Evidence conveys life lived in harmony with Nature. The advent of ink, corresponding to the pictorial appreciation of the eight legged octopi, also became the source for what is considered the emblem of this cultural architecture... the classical eight circuit labyrinth. There are many myths dissuading from the true story of the labyrinth and the nature of the thriving, peaceful culture on Crete prior to 1400 BC... at which time the mainland Mycenaean patriarchy from which the Minoans originally escaped, conquered them with brute force. Prior to this time, the Minoans fabricated the first known labyrinth, which depicted the shape and meaning of the octopus. Octopus ink gave this culture freedom in the ability to write, to record the Singular Story. It empowered the culture. It shaped the cultural architecture. The circuitry of the classical labyrinth is in deed no mystery. Having seven circuits with a circulating twisting eighth in the center, it corresponds human birth experience. With one path in and the same path out, it embodies the physiological nature of birth happening in the human womb. Within our human bodies, we lift through our seven chakras to our eighth twisting mobius coil of healing energy. This rebirth experience is also represented in the labyrinth. The labyrinth represents life. Furthermore, the first labyrinth fabricated by the Minoans represented the protection of life. Much more possible than any myth unfortunately iterated in history books was that the labyrinth was ceremonial as well as a place of refuge for the women of the island of Crete as they faced Mycenaean threats. Ancient writing depicts the octopus as representing a battle between the sun and waters, and as the sun was the feminine to the masculine moon in ancient culture. This suggests that the octopus was thought of as a protector in the Minoan culture as Mycenaean ships approached the island in attempts at territorialism. This first labyrinth on earth, connected to a sequence of underground caved pathways, was simultaneously a refuge and trap which if entered without consent would lead to the invader's demise. This is a Singular Story.

Singular stories have happened all around the world. Within the North American continent one of the most fascinating Singular stories began in the American Southwest. The story of the ancient Navajo tribe tells of their people coming from Nature. The story of the Navajos defies historical evolution. As the souls of the underworld came from the earth, the great mother sun and father moon came together and Navajo life began. From a linguistic and mathematical stand point, the most extraordinary aspect of this Anasazi culture is the ability to communicate solely with sounded word, without need for written word. Only near the 20th century did they develop and alphabet and written language system to align with the times. Prior, the cultural architecture of the Navajo was told through sounded stories. As a result, their story grew through resonant sounding inflection aligned with nature around and within them. They translated, and still do translate, within the cultural architecture through harmonic resonance using vocal chords to sound and inner ear labyrinths to listen all the while resonating physiologically with vibration throughout their bodies. As the human inner ear labyrinth cross connects in vibrating frequency through the pineal sphere of the brain, communicating in pure sound stimulated and still stimulates the Navajo ability to project probabilities in alignment with logarithmic mathematical resonance. This is simple science, of Nature and the human body. This is also why the federal government quarantined their services to develop code during the second world war. They were the only ones capable of developing code talk that was unaable to be deciphered. This was a gift after they had been territorialized by the colonialists. The Navajo culture is shared yet matriarchal. They diverted engaging in wars. They lived and still live honoring peaceful interaction. With this most sophisticated understanding of translation, authentically evolved in alignment with the laws of Nature, the cultural architecture of these most powerful native people in the world engages the Singular Story of peace.



So where does this place 'Singular' existence within the cultural architecture of present day? As linguistic and mathematical rules of the modern world have distorted the essence of the word 'Singular' how do we return to the holistic Nature of things? At the basis of this movement is enforcing the absolute truth of respecting Nature. As modern civilizations have heightened the territorial ownership of Nature, human nature has devolved contrarily. If in fact the desire is to grow sustainably with earth, which is now true, Nature as is was perceived by the ancients needs to be recognized as more powerful than humanity. As at the end of the day, it will survive each and every one of us. Yet the human race still imagines it can colonize. It thinks it can explore in the name of adventure, escape to the outer regions of space after the earth is no longer useful... assuming humanity will impregnate the earth. Yet Mother Earth, like the classical labyrinth, will defy impregnation by unwanted intruders. It is in the encoded principles of her Nature without question. The closer the human race comes to challenging this basic truth, the closer it comes to extinction.

The solutions are simply presented to us in every breath we take, our inhale of Oxygen and exhale of CO2 as we levitate in an atmosphere of H2O. The codes and principles of sustainable growth reside in the laws of Nature, in our Singular breath. Absolute disallowance of territorialism of Nature is the beginning to sustainable growth, simultaneously scientifically and philosophically. The absolute disallowance of territorial ownership of natural resources, the woman, and expansive space is required to evade human extinction. In the return to living holistically with Nature, we begin to reshape global cultural architecture. We stitch a tectonic fabric as a medicinal for the artificial imposition of the passed human race. Embodied and embossed in this fabric, this holistic labyrinthine instrument, are the musical frequencies realigning us with the harmonic resonance of Nature. The architecture of this instrument shapes a Singular environment. So as we unfold the modern object into a subjective map resonating between the two, we turn our environment toward its initial harmonic resonance. We draft a map and fabricate this labyrinth. We fabricate the instrument and begin to play its strings, singing along with harmonic resonance translating authentically between one another and our surroundings. We calibrate life and death on earth by the laws of Nature. We redefine the modern deformed definition of 'Singular' on our own terms, shaping the light and sound of written and spoken word by these laws of Nature generating healing scientific harmonic resonance in the frequencies of gold, lifting through energy spirals of the human body, beginning with the translation from 1 to 2. From this lift, we translate harmonic resonance in a continuum, expanding with melody, shaping shared place in the spaces between. We retell the Singular Story authentically, true to origin as it was in the beginning.