[ Under Re-Construction for completeness ]

"I have often been asked, almost accusingly, why I speak of four functions and not of more or fewer. That there are exactly four was a result I arrived at on purely empirical grounds. But as the following consideration will show, these four together produce a kind of totality. Sensation establishes what is actually present, thinking enables us to recognize its meaning, feeling tells us its value, and intuition points to possibilities as to whence it came and whither it is going in a given situation..somewhat like the four points of the compass..provid[ing] a system of comparison and orientation..." [Italics mine]

From Psychological Types (1976 Edition: paragraph 958-59) by C. G. Jung (1931)

For communicating the sciences of health and the arts of healing to future generations, one model of explanation, clarification, and motivation appears consistently in world literature, science, and art. This model, identified as the "Vital Wheel," has been the primary carrier of the Five Element teachings, the Vital Tradition whose central message is that the health of the body and the health of the world are interdependent. At this site, the Vital Wheel will be expressed as a Maat, a mandala format named after the Ancient Egyptian Deity. The Vital Wheel is therefore the content and the organizing focus of the curriculum of The House of the Five Elements, a web based project now in progress in Charlottesville, Virginia under the direction of webmaster Clay Moldenhauer.

The vital wheel curriculum presented here is called "Schwasterra's Song," Song for short. Hopefully, Song will be followed by many others. It's purpose is to provide an on-going evaluative survey and appreciative review of the persons and cultures who have used the Vital Wheel to support their own vital traditions. Through this curriculum, this site hopes to provide resources and strategies to the global network of personal health and community life practitioners who are working to heal the effects of global Modernism on local indigenous life.


This Orientation page is a sample Vital Education model, created by stringing together selected Maats from Schwasterra's Song.


Music First, Alphabet Second

In the typical (American) school system, if there is a music program at all, music instruction follows by many years the teaching of " the alphabet," that is, the Alpha/Numeric Sounding and Sign System (ANS). In the Song environment, exposure to music and music symbols come first and then come ANS symbols.

This is because we want music to merge into ANS in order to establish a double-spine-continuity of programming which then merges very naturally into:

• Spine one : the keypad of the telephone (sound) and the calculator (sight),
• Spine two : the keyboard of the piano/synthesizer (sound) and the computer (sight),

which are the counter-parts to the telephone and the calculator on spine one.

See Footnote 1
START Footnote #1
This duo of keypad and keyboard, on their way to technologically becoming one, are discussed in [[ "Section 9.Work,Play - Unit 2." ]] These are the instruments sewing our planet together, and we must honor every child with an on-going apprenticeship with these tools.
STOP Footnote #1

The rule of thumb in Song is sensation, feeling, and intuition first, and then cognition last. So it's musical signs first, alpha/numeric sign system second. Show first, stimulating sensation, feeling, and intuition, and then tell, stimulating cognitional association. The traditional reversal of this order, tell first and then show, or no show at all, is the hallmark of [[ Mentalism ]] , the oppression of the three functions of human sensation, feeling, and intuition.


Editors Note : The dual brackets [[-X-]] surrounding the term "X" indicates that the term X will be hypertexted for further levels of information at some future date.


[[ Liberative Education ]] , in contrast to Mentalism, follows the "natural" order stimulating the "soft-wiring" of sensation, feeling, and intuition, and then the "hard-wiring" of cognitive associations. The order is natural because the experience of music starts in the womb. Therefore, we follow nature's pattern in our educational programming, introducing music-feeling patterns first, and then following up with the verbal-cognitive. We also strive to follow this natural pattern at the "macro level" of large curriculum design, and at the "micro level" of small group inter-action and study.

See Footnote 2.
START Footnote #2
The primary function of the School domain is to structure and implant the sense data of information of seeing and hearing, which it highlights to the exclusion of the other senses (smell, touch, taste) and to strengthen at the mental level the values and behaviors of the contiguous community which it serves.
STOP Footnote #2

Having suggested the various ills that follow as a consequence of starting ANS first, I will skip the typical "narrative pathology" and proceed with a proposal (plan): start with music signs(ms) first, and then lead into alpha/numeric signs as if alpha/numeric signs(ans) were members of the music family, i.e. alpha/numeric signs are musical notations just as are musical signs. One of the later payoffs of this approach is that the student is prepared for languages where tone is significant.

Our Song blueprint for this plan to go from music signs to ANS is suggested by

Maat : "The Family of Functional Signs",
© 2008 Clay Moldenhauer


a configuration derived from

Maat : Jung's Four Functions of Consciousness.
© 2008 Clay Moldenhauer


This approach is consistent with both Jung and the cognitive theory of multiple intelligences (MI) , to be covered in detail in the sub-section " Western Studies." Just for clarity, I should note that Howard Gardner, the author of MI theory, does not recognize several intelligences given below in the maat "Utilities Of Consciousness" (i.e.spatial. and durational);"intuitional" is his "Nature" intelligence, recently approved by him into the MI cognitive pantheon.

Maat :
Utilities Of Consciousness
© 2008 Clay Moldenhauer


See Footnote 3.
START Footnote #3
A full actual plan will not be found at this site. As of 2008, I will not have a full plan to offer, but trust that others will, using Song as a reference.
STOP Footnote #3

The best preparatory foundation for Song's teaching/learning sequence, suggested by these maats, is "Signing for the Deaf" (American Sign Language), initiated long before the kindergarten level. Non-verbal infants are capable of signing, which I have verified in my own family.

Maat : The 8 Signs Group (TBD = To Be Determined)
© 2008 Clay Moldenhauer


[[ Sign Language Resources - Under Construction ]]

Obviously, body-sign training would be helpful for many reasons: the deaf members of society have more "speakers" to sign with, children could do essential talk in a variety of situations, etc. For hearing students, and everyone, the message is this : meaning can take many forms: we can learn to read them all. And rather than impose the lock-step management structure (grades 1-12) on the skill of reading with all its traumas of pass/fail , we simply track each student's "reading" as an on-going activity for life, with a personal curve all his/her own.

For children to have had many years of sign language before 7 years of age would create a wealth of benefits in both student readiness and classroom management.The point here is that we are proceeding from "sounds" as equivocated by the body in soundless postures of hand and body (signing), to nice interfaces with dance, to sounds equivocated by circles and lines on a piece of paper. But even in saying this, I am reminded of the inherent "boredom" of simply putting marks on paper. In the absence of miracle techniques from "higher research," the teacher has to create and/or evoke the essential ingredient : interest : the vital mix of rhythm, material, and presentation to suit the student's curiosities. Structural Engentropy, I believe, will empower such teachers by first empowering the student.

Maats As A Vehicle To Multiple Subject Development.

If you get the drift of this, you can intuit that once we have introduced the musical signs (from whole note to 1/64), we can easy merge the student into an understanding of number fractions.,

Maat : Musical Duration Signs
© 2008 Clay Moldenhauer


Here is where we make a brief pass into Egyptian history.

[[ "Eye of Horus Fractions UNDER CONSTRUCTION ]]

The next step as musical signs merge with the alpha/numeric sign system is to let the circles and lines of musical signs "flex" into the other shapes of the alpha/numeric signs. How that is done exactly is "context-depend" so I have no recommendations here. While the "flex" programming is a variable that will be specified by the nitty-gritty talent and resources available to the students and teachers, for the over-all approach of Structural Engentropy we are using here, we need the guidance of Maat : "Alphabet Groups."

Maat : The Alphabet Group
© 2008 Clay Moldenhauer


Substantiative vs Value Issues: Clarification and Management.

I pause now in the expansion of this plan, which is my secondary goal, to reflect on some of the elements we are bringing together by means of the Structural Engentropy approach and the reasons for doing so, which is my primary goal.

Firstly, our over-arching attitude, our inner posture to the student, is that "the world" is the learning environment, not just the school, and that whatever is in the immediate environment can be used as a springboard or a window to some other interesting connections if the pattern can be exposed. This position is somewhere between the [[ John Holt ]] position that all formalized teaching is interference, and the school bureaucracy's position that school is the only real place of learning. Holt's loyalty is to the soul of the student, while the bureaucracy's is to the 9-5 day/September-to-June factory schooling-work system of modern western capitalism. To get from here to there, we must incorporate both. As a guide to our thinking on this matter, we use the Maat: "Five Delivery Systems of Social Functioning."

Maat : Five Delivery Systems of Social Functioning
© 2008 Clay Moldenhauer


Each System (each domain) is actually a dynamic tension between two complementary action-components of which the domain is the result. For example, the School Domain, on the macro level, is a result of the inter-action of two sub-forces : one, the teaching system as imposed by institutional affliated persons upon the learners, and two, the learning system which is created in reaction by the learners. This statement inversed is also true.

Maat : Seed and Emergent Curriculum Inter-dynamic [Under construction]

The first (teaching) component should be viewed as
[[ "seed curriculum," UNDER CONSTRUCTION ]] expressing the most significant aspects of "life's potential" as seen by the institutional agents , while the second (learning) component should be viewed as [[ "emergent curriculum"UNDER CONSTRUCTION ]] expressing "life's actualities" as experienced by the re-agents. Seed curriculum naturally tends toward the older generation and the academic, while emergent curriculum naturally tends toward the younger generation and the chaos of the market place. You can visit these curriculum now, or you can wait and enter them after this orientation through the Learner Introduction page

The School of the Five Elements curriculum* presents both as both staff and students are co-participants in the educational enterprise. The "tort" for bringing and holding these two successfully together is the teacher, the classroom and the lesson "track", and if the teacher is not given the power and resources to evolve both classroom and lesson track from day to day, the interaction moves very quickly from "interest"(health) to "boredom"(death).

For a topical view of both Seed and Emergent Curriculum , see :
[[ "Schwasterra's Song Documents and Graphics Library" UNDER CONSTRUCTION]]

Reading From The Same Sheet of Music.

Socrates clarified where the teachers ultimate loyalty must be put; however, historically, the modern educational institution has highlighted other issues. This is a long way of saying that individualized curriculum has never materialized in the public schools of the United states. But rather than move into the social/political issues, however, I will re-focus here on the management of the classroom and the lesson track as these are the places of greatest potential for Vital wheel/Structural Engentropy development to do just that : materialize individualized curriculum.

It is immaterial that history has shown that bureaucracies do not change from the top down. Communist Russia was the exception, in a limited sense, now that we know about [[
Charlie Wilson’s war ]]. If we empower the students with Structural Engentropy, the majority of the teachers will join, and the beaucracy will alter course simply to keep "control," and because their intentions are fundamentally good. Parents know how this works by heart.

So the compromise dynamic of the school curriculum proposed by Structural Engentropy for [[ Oz High School ]] , structurally, is the intentional evolution of two already existent curriculum explained above: the teaching curriculum, the seed, and the learning curriculum, the emergent, and to formalize these two curriculum and move them to equal "minister" status, which moves the student into partnership with the students ahead of them, the staff. Song embodies one seed and one emergent curriculum. The criteria for the content of these two curriculum is spelled out in the [[
Schwasterra's Song Introduction UNDER CONSTRUCTION ]] which you may visit now or at the end of this orientation.

Who's In Charge Here

Later, in the section on Dr. James P. Comer's educational program in New Haven, Connecticut [[ Maggie's American Dream ]], I discuss the links between each delivery system (domain), with special attention to (1) the migration of the "Church" function for many young people into the "Street" domain, plus the accompanying weakness of "Home" for many of the same youth; and (2) the compensation proposed by Dr. Comer's plan for correcting this imbalance by moving both "Church" and "Home" functions up into the "School" domain.

For now, let us simply note that if we reflect on the maat " 5 Delivery Systems" in conjunction with another maat given below, the Maat: "Four Functions," we can generate the Maat "Five Centers of Child Reality." This sequence of maats establishes a tenable vindication for giving "intuition/feeling" its due in the curriculum programming, and we have a helpful "road map" or resources map for expanding the learning environment of the school toward the other delivery systems. That expansion is already under way in both the private sector and in the government schools.... MTF.

See Footnote 4.
START Footnote #4
"MTF" means "more to follow," which indicates the omission of material that will be included in the full version of Song.
STOP Footnote #4

Maat : The Four Functions
© 2008 Clay Moldenhauer


Maat : Five Delivery Systems of Social Functioning
© 2008 Clay Moldenhauer


Maat : Five Child Realities
© 2008 Clay Moldenhauer

Pasted Graphic

Referring now to the Maat: "Five Delivery Systems," I want to draw further attention to the School Domain (Quad. 2), and its choice to highlight the seeing/hearing senses, which we may call "mentalism" with a small "m" to distinguish it from the "Mentalism" with a large "M" characteristic of Western society in general. . [MTF]

Mentalism: Blessing and Curse

Our goal here is two fold: one, to point to changes that may facilitate needed encouragement and support for sensation types, feeling types, and intuition types, who I think comprise the majority of students "dropping out" ; and two, to demonstrate how Structural Engentropy (SE) can facilitate both analysis of the situation and the content of the remedy.

See Footnote 5.
START Footnote #5
"Dropping out" is the term coined by the educational industry to blame the victim, and obscure the problem. After years of institutional abuse and mis-handling, a student who is not a mentalist, who is not naturally prone toward language and math skills, finally burns out and quits. Who is quitting whom? Shall we say the floggings will continue until morale improves?
STOP Footnote #5

Mentalism in the schools stems from, I think, three factors : (1) the cosmic, (2) the universal, and (3) the terrestial. The first , the cosmic, is the phenomena of "hemispheric drift," where the favored energy flow in the brain has been in the left hemisphere for the last processional period of the planet's "yearly' processional cycle (and as the energy flux swings back toward the right brain, the conflict between the "leftees" and the "rightees" increases: a subject discussed elsewhere). The second, the universal, is the "generic brain structure phenomena": biological/cognitive structures in the total "brain" produce upon inner inquiry a preponderance of seen images and heard sounds (vs smells, tastes, etc.). And the third, the terrestial, can be called "Mentalism momentum" : the physical and psychological architecture of the dominating Anglo-European institutions, with the social/political migration of mentalist types into teaching/administrative roles. The first factor will be altered on nature's schedule; the second factor may not be alterable, but it can be denied sole monopoly in the teaching/learning curriculum. The third factor can be confrontationally emasculated by altering hiring practices and certification requirements. These changes all seem inherently difficult. I see Structural Engentropy, or something like it, as the strongest and the easiest possibility of emasculating "Mentalism," and using Mentalism's adequacies to build something better.

See Footnote 6.
START Footnote #6
Details regarding the cyclic "left-right" hemispheric walk thru time will appear in the full version of Song . Structural Engentropy is the "functional calculus of patterns " which reveals it. [[ The Biology of Belief ]] is work that have to inform SE in a more current version.
STOP Footnote #6

At the macro-level, as was mentioned before, we can begin by drawing the circle of teaching and learning to include more of the Home, Street, and Church domains. My immediate concern is, however, at the micro-level, in the classrooms and between students, and I want to show how Structural Engentropy merges as it re-aligns the teaching and the learning curriculum toward quadrant and octave patterns, patterns which "hold" the information, "express it" accurately, empower the student to create his/her own curriculum, and free the teacher to play the facilitator role natural to multi-subject development and individualized curriculum.

Association Is The Name of the Game

The driving mechanisms of Structural Engentropy are "association," and "orientation." Students learn to associate the particular target word as a member of a particularly related group. The target word's location in that group is its "home base" or "nesting location" wherever else it may appear in the corpus of the language. Association and orientation of terms is taught as "Semantic baskets" , a skill introduced in the [[
Doers Orientation ]].

The first level of challenge in Structural Engentropy development is to identify those clusters of words that have a unique internally functional connection, and then to Maat that connection. Song is the cornerstone of this endeavor. The second level of challenge is to uncover the various Maat's inter-relationships with new and intuited Maats, otherwise Structural Engentropy is just another stamp collecting game.

Each Maat is therefore a frozen image of a fundamental organic functional pattern of reality with no regard to whether the subject-matter tag of that reality reads "humanities," or "sciences," or "personal belief. "


The Pleiades: The Universe Is 7 Hands High

When the [[ the Pleiades ]] , the "seven sisters" star constellation of the northern hemisphere, was directly overhead in the winter sky, Native American peoples started the "long count" to the time of spring planting. As a reminder of this vital connection to the rhythms and harmonies of the universe, I call the seven basic Maats of Song "the Pleiades." Individually, each Maat name specifies an image and the particular items within that image, positing that configuration as the static nesting position of a specific cluster or family of items. The cluster carries the name of the Maat, which in some cases is the same as the term in the center circle of the image. The items (terms) in the outer circle (s) are the related family members of that Maat.

The Pleiades are a unique group of Maats which are [[ "Measures." ]] They serve two purposes : reference templates for the construction of other Maats, and reference points for navigating thru [[ "Schwasterric Space." ]]

See Footnote 7.
START Footnote #7
The [[-X-]] dual bracket sign or an underlined off-color word is a signal that if you are reading this material in Hypertext format , and you are to click the cursor over the sign to enter into other nested information related to "X" term enclosed. If you are not in hypertext, then just ignore these signs. The [[-X-]] dual bracket sign is also used to indicate that the term inside is being nested with material not yet available; that is, the information is "Under construction."
STOP Footnote #7

The Pleiades (Maats 1-7)
© 2008 Clay Moldenhauer


[[ Schwasterric Space ]]

"Schwasterric Space" or the "Schwasterric grid" is a functional metaphor that is in development in conjunction with the development of the Maats of Song. The theory of Schwasterric space posits the presence of an intricate maze of subliminal connections of human apprehensions within the natural world, everything that is or has been apprehended and experienced. Alan Kay of the Apple Computer Corporation tells us that Vanhauser Bush once called this phenomena "trails of association in knowledge."

From the "view point" of Schwasterric Space, Maat 1, the human hand, is a microcosm of "what is." Maat 6, the four functions of consciousness, in contrast, is another cross section of the same reality at a different level. If you consider the Pleiades as group, you will note how they have compressed certain selected "learnings" into a seven pod seed. Can we say "all" cultures teach this information in one form or another?

Any of the seven seedlings can produce all seven again once their relationship is learned. Each Maat also acts as entry way into further related material which can be expressed as Maats as well. This will be discussed later under the terms [[ "maaticulation," ]] and [[ "humor and charm" ]].

The significance of the Pleiades is this : on the one hand, it is a contemporary restatement of the ancient adage that "humankind is the measure of all things," and, on the other hand, it is the modern assertion that "humankind is the measurer of all things". If one is true the other must be also. The two modern streams of human consciousness, the vital-humanistic and the mechanistic-scientific, or the solar and the lunar, are therefore joined in the "Pleiades."

[[ Structural Engentropy ]]

The Song approach to learning at some point in the future, in a more comprehensive expression, will be called [[ Structural Engentropy ]]. That is my ultimate goal. This work, Song, is the first step toward it. [[ "Maat" ]] , the primary term in this work, is a re-use of the ancient Egyptian word "Maat" which denoted the force of nature, or Principle/Force of unifying Consciousness-Love-Wisdom ensouling the earth. Current Egyptian informants tell me that Maat is understood as the stern and exacting "Orderer." Sources such as "Black Athena" which we will examine elsewhere, tells us that the Greek teachers of the past who studied in the Egyptian schools translated this meta-terrestrial principle by the word [[ "Gaia" ]] now in vogue.

[[ "Schwasterra ]]," on the other hand, is a coined term, synthesized by myself from modern linguistic elements already in the English corpus : (1) the German term "schwa," which is the name for the unstressed central vowel sound for most unstressed syllables in English ; (2) the Sanskrit word "swasti" meaning "well being, or "benediction," as in [[ "swastika" ]] ; and (3) the Latin word "terra" meaning "earth," as in "terrestrial."

The term Schwasterra therefore names the same cosmic Principle/Force as the word Maat, Gaia, or even "Christ," but with a more contemporary overtone, and no reminders of Greek rationalism or Christian dogma. With the term Schwasterra, I am pointing to ideas related to Cosmic/Universal dimensions, and with the term maat, I am pointing to the terrestial business of keeping everything in order. These explanatory remarks bring me to what is the content, method and the objectives of Song.

The explicit content of Song is many disparate subjects under one framework of organization and appreciation : the "Schwasterric grid." This framework is offered as a design model for the synthesis of various subjects on every developmental level of ability. The method of Song is "thematic harmonics," strict image/idea formatting, and recursive return to the same point thru another media. The objective of Song is both simple and impossible, but I can reach an approximation : to demonstrate the creation of a self-reenforcing, self-generative system of curriculum design that is synergistically related to the basic patterns of Reality.

Maat: Guide Image for the Maat Maker

At its most objective, mechanistic level, Song teaches a system for creating and over-laying schemata of unified ideas or groups of related data in order to stimulate the holistic faculties of our consciousness. The methods used are several, the primary one being the "patterning" of maats which aids, mnemonically, the retention of significant data ; and, creatively, the generation of new knowledge by means of the phenomena of [[ "conjunctive transparency" ]]. As Song becomes more generalized, it becomes an investigative framework for organizing aspects of the unknown, and shepherding them into the known.

None of this speaks to the influence of the Song's content on the investigator who, to reach a firm grasp of Schwasterric principles, may have to alter or expand his or her attitude on the subjective level to contemplate the possibility that creation is an ordered whole after all.

The [[
Documents and Graphic Titles List UNDER CONSTRUCTION ]] may be helpful in getting a quick scan of Song. The inventory of Maats included in this attenuated version provides a string of "Snap-shots" that comprise the work. More Maats are available to me than are listed in the inventory, or that are given in this document Song 1.0, but they will be forthcoming once the work is embodied in an on-going project beyond myself. However, anyone can create their own "Song" from this work, as all the necessary elements and rules as I have discovered them are present here in this Learner introduction .

Maats, Sun and Moon, and the Pythagorean Theorem

The first four Maats of the Pleiades are taught as the Lunar group, while the last three are taught as the Solar Group. There are both ancient and modern documents that suggest the significance of this Sun-Moon distinction, and we will examine these various documents in their proper contex. Below is a poetic condensation of this Sun-Moon distinction as an example of the [[
multiple uses of poetry in Song UNDER CONSTRUCTION ]] discussed at length elsewhere. That is to say, Song makes aggressive use of brief and "synthetic collective" poems to capture and hold modularized information packets, and from the poem, easily memorized, the student is taught to unfold the lessons components buried within the terms of the poem.

This is a parallel methodolgy to maats, and a narrative-discursive twin to it. The following poem (The Lunar Four) is an example.

The Lunar Four
© 2008 Clay Moldenhauer

The Lunar Four
Opens the Door.
The Solar Three
Become what is me.

What is shown
Is only Seven.
What is known
Is known in Heaven.

Later in Song, this distinction of "sun-moon" will be instrumental in decoding many non-Western culture teachings involving the "Four Directions," the octave of nature, or the magic seven, as well as Wallace Budge's interpretation of the ancient Egyptian world view, a world view that evolved into both the periodic table of modern chemistry and the major stream of the modern psychological movement.

Philosophically*, the Lunar Four represent a focus and mastery of the sensible, material world energies while the Solar Three represent the complementary focus and mastery of the subtle, spiritual world energies. [[ Pythagorus ]] , I intend to show, formalized and represented the individual's successful integration of these two universal energies as a mathematical equation symbolized by the 3-4-5 right triangle: three, the solar force; four, the lunar force; and five, the Human/Divine force of perfected inner synthesis. Thus "3 + 4 = 5" was a useful "trade mark" for suggesting, and masking, what it was that he taught and who he was that taught it. Pythagorus's contributions will be reviewed in more detail in the section on the game [[ "Tangrams" ]] .

* See Footnote 8.
START Footnote #8
Or "Theosophically," or "Theologically."
STOP Footnote #8

{Graphic : GOES HERE}

Song : The First Text on Structural Engentropy

This orientation to Song is also an introduction to Structural Engentropy, and is of necessity a composite document rather than just a review of a specific educational approach. That is because Song, as the first explication of Structural Engentropy, must document the most important Maats found to date, elucidate the criteria and the process of making and generating Maats, and argue the cogent reasons for bringing such an approach to the home schooler or the public school classroom. It must also, as a ground-breaking and educational document, present and use the media of its exposition, the hypertext environment, and so examples of both current state of the art, and examples of yesterdays mistakes will be found here in profusion. Editors notes are sometimes posted to bring this aspect of Song to your attention.

The version number on Song (that is, the site) posits the inevitable changes coming as well as the acceptance of them as the bugs get worked out. Also, it must be obvious that Song will have a CMI (Computer Managed Information) component to track, store, monitor, and generate Maats and their relationships. The various media of Maats will be discussed in [[ the Appendix ]].

Structural Engentropy: Entropy and Engender Added to Structural

Approaches to classroom education similar to [[ Structural Engentropy ]] have been called "structuralism" by other writers, and I will look briefly at [[ Myers-Briggs, Piaget, Boulding, McCarthy, Gardner, Hirsch, Conant, Adler, etc. ]], as I build the case for Structural Engentropy (SE). To set Structural Engentropy apart from other structuralist approaches, I add the term "engentropy," coined from "entropy" and "engender," to the term "structural" to communicate what SE is uniquely about. I will venture no definitive summaries here about adequacies/inadequacies of Structural Engentropy or other approaches, but will do so in the sections relevant to the subject matter being maated which includes the other structural approaches.

But briefly, Structural Engentropy, more than any other structuralist approach, allows the explorer to "experience" and demonstrate in modern terms two facts of sentient life: one, that all phenomena of human experience are connected; and two, that "becoming" (Life) and "change" (Death) are simultaneous qualities inhering in all items of observation. These two functional principles require a system of material organization and educational presentation that is not limited by the Anglo-European tradition with its extreme emphasis on mental cognitivity of post-Greek European civilization, specialist subject matter divisions, and gate-keeper defences of learned information. And best of all, it can be expressed in drawings in the sand.

In contrast, Song incorporates any subject matter of the world that is maatable, in fact, seeks maatable material out, placing a premium on Maats that uncover inter-cultural similarities. As a special case, we will trace via the Maats in [[ Section "3.History Near and Far - Unit 1" ]] the evolution of the western world's most valuable image-idea: the perfection of the "integrated individual," or the "whole person," or the "holy person," or the "person in Christ". As a sample of this, let us look at a Structural Engentropy classroom and how it is set up to facilitate the creation of individualized curriculum, the foundation for the "whole person."

The Structural Engentropy Classroom : Individual Curriculum At Work

An up-and-running view of an Structural Engentropy classroom would see reference Maats and countless other subject matter Maats posted on the walls, hanging as mobiles from the ceilings, etc., and upon inquiry, on the computer screen. Each student evolves his/her own body of Maats ("personals"), and each classroom evolves its own collective body of Maats ("locals"), primarily from student projects. All are uniquely tagged ( via CMI software) so that they are not homogenized in the computer or in people heads.

Song and The Computer : A Bit of History

I started the methodolgy of Song in the mid 1960's, but the content of Song evolved as I found more material examples of the five element teachings. With the advent of the Macintosh Computer in the late "80's, I envisioned Song as a public document in hypertext. "Guide " software (© Owl Software) was the only economical, hypertext software available at the time, but unfortunately, that software was abandoned by Owl. Mosiac and Netscape took up where "Guide" left off, and evolved as the Internet's World Wide Web Web evolved. Sample portions of Song 1.0 are now available on the Web, and they may be available later in CD-ROM format as a part of Internet 96 World Expo, Inc's publication of the [[
Internet 96 World Expo UNDER CONSTRUCTION ]] project, or in [[ Copernicus. ]]. You are now reading Sing 2.0 or later.

Hypertext documents are perfect for Song because they embody the associative aspect of the mind, and are therefore integrally appropriate for the unique methodology of Song. For obvious patent reasons, not all of the unique functions of the methodology can be spelled out here, but enough is given in Song 1.0 to allow any intelligent person to take off and in short time intuit a great deal for him or herself.

As you notice, the process of monitoring numerous maats with the various informations begins to boggle the brain in one sense and to clear it in another. Song's optimum environment may very well be the computer, the machine that gave birth to maats, with a special hyper-text-database/maat-manipulation software program that has been envisioned but as yet unwritten. So, for now, the next stage of Song development will probably be smart software that will provide database features and intelligent functions to manipulate maat contents.

As Above,So below

Song's situation, I think, is a microcosm of the computer "revolution." Most of what I am doing now on computer is something that I did before on paper, but only with a computer I can do it faster, both production and mistakes. In effect, the revolution may only be a "speed-up." The associative aspect-of-the-mind potential hasn't come forward, and so the "rest-of-us" community is still waiting for the computer program that can interact with our intuitive and mental intelligence. The human interface of the Mac, the Web of the Internet, and the design and content of Song together may provide the platform for a real revolution, one which I would call "Structural Engentropic Programming.

See Footnote 9.
START Footnote #9
Apple Computers promised us a revolution in knowledge processing and learning, but the reports continue to say neither teachers nor the majority of students are any freer from the drudgery of the 3 R's than before. Some of the exceptions like the solution of the "4 Color Problem" , bar coding, and space exploration are of real interest, but still they have little impact on "human ecology" except in their uses for the military control of populations which is where computers started. See the history of IBM and the Nazi regime of Germany.
STOP Footnote #9

What was Guide Like

"Hypertext, " as in Guide the fore-runner of Mosiac, Netscape, Explorer and its grandchildren, works like this. If there is an image on the page (in text form, or in graphic form) which requires further elaboration, instead of increasing the detail at that point in the mainstream of thought, the web writer can "potentiate" or "activate" that particular image by "nesting" within it any number of further levels of detail. Then or later, the reader can choose to burrow into the nest by clicking on the highlighted word or image and see on the screen what is in the nest. Thus the reading of potentiated images is "detail-enhanced" by choice. Or the reader can continue reading on the "ground level." (With Guide, a potentiated text is "signalled" by the text/print being typed in some different "text-type." or color ( e.g. boldface, italic, underline, or outline ) from what the ground level text is. A potentiated graphic image, on the other hand, in some browsers is signalled only by the appearance of some unique bordering of the image, or a change in the cursor if the reader floats the cursor over the image..

Who Decides What

Whether or not Song makes it to the level of "Structural Engentropy Programming," or the "inter-breeding" of Maats, is a decision of the users. But periodic conventions within each class and among classes could choose which of the Maats are really worth saving, or for submitting to an elected "Council" for semi-permanent status ("nationals'). By convention, some Maats like the "Pleiades" would obtain "Reference Status" ("Universals").

International Councils could publish "Star Charts" of Maats, Maats that have proven to be authentic insights into patterns of reality. The evolution of Structural Engentropy would probably generate variant Maat systems, with different "Star Charts" analogous to the non-Euclidian geometries. Ah, I wait for the days of [[ “Semantic Astrology.” ]]

Lesson Plans

In the classroom, the day to day operation moves forward on a dual tracked lesson plan : one track the teacher's input, and one track the student's. A "lesson plan record" is both a log of the path any particular student has made for , say, a week's time, and the goals he/she has charted for him/herself. The locus is the created Maats, and the stored notes on file, or in computer, about the "trip."

Each student will ideally have a control booth which will include a map (The "Class Galaxy" ) of the classroom's trips ( "wanderings" ). Quadrant and Octave systems are used at every level of activity. Special symbols on the Maats differentiate personal Maats from local Maats from national Maats, etc. in the Galaxy. The Structural Engentropy classroom and the Maat organization teaches a great deal indirectly, and serves as a kind of digestive system for the student's high pressure specialist classes, i.e. the specialist material becomes data "to play with" in Structural Engentropy class. This kind of approach is truly individualized instruction, which also means if the student has no interest in it that day, he/she has other options to choose from. MTF.

An Aside With The Educator

Since 1975, I have been doing personal research on, and teaching in indirect ways, the Maats of "Schwasterra's Song." Maats are an amazing way to organize interdisciplinary studies. All of the maats I have found can be taught from the "The Pleiades," the Seven reference Maats for maat technology.

Like any new insight, Song has had its preparatory influences and follow-through developments. Developments, however, are a mixed blessing; they build the insight, but they also can obscure the process, which in some cases is more important than the results themselves. So the "rule of the ring finger" is that Maats is a heart centered activity to help the mind, and to help build a foundation for counseling students about values (quadrant 3 and 4).

Keep Maats Out of the Grading System

Maats can be turned into a chore for you or your students if you try too hard. The best way to avoid that is to be playing with your own Maats from time to time so you have something to share. So it follows naturally that there would be no grading system imposed on the development of anyone's Maats. Each individual will adapt a system of discrimination to keep their maat work interesting, including the integration of other people's. If that doesn't happen, the student is to be helped to choose another activity.

See Footnote 10.
START Footnote #10
The hardest nuts to crack are sometimes the bright A students because they have so much ego investment in the grading system and the security it has provided them. Ungraded situations leave them vulnerable to doubts that the busy work keeps at a distance. But, too, such "work-alcoholics" may be "feelers/intuitives" secretly praying for relief. It is in the "close encounter's" of [[ cut-out-writing ]], or the keypad/keyboard work where in sitting next to them that the secrets may come tumbling out. And if you love them, or if you are afraid of them, they will smell it on you, just like a horse does.
STOP Footnote #10

Cut-Out Writing

One key activity, especially for generations of adults and children whose nervous system is already "de-sensitized" by left brain mentalism, is a cut-and-paste activity I call "cut-out writing" or “concrete poetry,” now available [[ on the web ]] and in [[ magnitized frig voculary words ]]. Cut-out writing is and was a critical aspect of the process by which I arrived at a vision of the Song in the late-1960's. It should continue to play an enjoyable role in pre-Schwasterric thinking and activity. Cut-out writing can be "taught," but what is learned is nothing in particular but a receptivity to playing with words and symbols loosely and artistically. Later, when concept words are introduced as measures of quantaties and qualities, there is not the frozen-left-brain-mind-fix of how words are supposed to look or work or mean on the page, or even who is to say so. This "left-brain mind-fix" also freezes other things as well, but this is [[ another topic. ]]

See Footnote 11.
START Footnote #11
Cut Out Writing is in [[ "Synergy,Self":Unit 2: ]] not included in this introduction.
STOP Footnote #11

To introduce you to the subject of cut-out writing, I have provided a fictionalized account of my independent discovery of it in [[ "Cut-Out Writing: Breaking The Bonds of Orion," ]] nested in section "Synergy, and Self - Unit 2" . Following this story, you may read of other explorers of this domain, which is a kind of "no-minds-land" of the half graphic, half semantic realm, where poetry and the soul appear to enjoy each others company. I was surprised to discover that many other people have found this domain in the last 200 years, perhaps independent of each other, including Thomas jefferson, Walt Whitman, Picasso, and Anne Waldman. Many have responded to its artistic potential, using it for both personal growth and commercial enterprise.

Help for the Left Brain

My belief is that cut-out writing is a good activity at any level of education. It helps to stimulate the right hemispheric side of our nervous system, the side whose other functions include the integration of image/wholistic information, and it "de-energizes" the semantic/particularized information going to the left brain. As cut-out-writing inputs to both hemispheres, we feel light, balanced, playful, and child-like.

This one activity then is an excellent "pre-Song" experience because, like Song , the setting is a relaxed one of exploration. In such settings, lacking the pressures and heavy expectations of more challenging academics settings, unexpected emotional and personal things will naturally come up. And you are there to hear it, to accept it for just what it is without rushing in immediately with moral judgements. Unless of course, you hearing about abuse, and there you have guidlines.

Subject Matter and Counseling

So cut out writing, and Song, is asking for the next and warmest step in the educational process without which our children feel strangely empty, even if we get them "academically ready." I am talking about heart and soul, in the present tense, and not as a subject for which they have come to you to hear or read about.

The opportunity which Song presents the educator is the opportunity to allow real communication to occur. You may wish to attach the heart/soul material of Song to some particular person in history, as Song does, but unless the child feels it from you, the emptiness is augmented. It is this emptiness that, I believe, is one sourse of the drug traffic, and the Stock market deals, and the whole host of social ills that are plagueing our communities.

The emptiness of course is your's also, and the primary reason the teacher and the schools have stayed away from the bottom half of the circle, i.e. heart and soul quadrant, is that we have been afraid of it. See [[
"Maat 5 : The Five Bodies ." ]] Perhaps you have discovered as I have, the child's pain and confusion stimulates my own, and if I have no ultimate answer for my own, how can I have an answer, a healing, for someone's else's? Such is the catch-22 of the heart, and the mystery. But usually the child is not really asking for an ultimate answer, but only some relief, and that is usually possible by your giving [[ Full Presence. ]].

See Footnote 12.
START Footnote #12
See for example, Henri Nouwen's The Wounded Healer, and other texts on the subject in the [[ Appendix. ]]
STOP Footnote #12


I am including in my view here everything from irritations with shoe strings to parental sexual abuse. Although the "schooling tradition" never states it, everyone tacitly and silently expects you, the teacher, to hear it all, and keep the lid on it. Be that as it may, the tradition has been in place longer than it has proved useful, and our children are asking for better treatment. They are asking for true spiritual friendship where adults can make time for them, or in some instances will go the distance to risk themselves and their job to protect them from abuse.

Presence is the Only Relief

Today's "standards" of relationships are much higher than they were 30 or 40 years ago, but many people are still walking around with those old standards still fixated inside. The compass is set on a North that is no longer there. Family contact is very important.

See Footnote 13
START Footnote #13
Dietrich Bonhoffer's prediction of a higher watermark of ambient compassion has on the whole proved true, and the stirrings of the Russian soul to rid itself the current regime is further evidence of the rising water of love in the world
STOP Footnote #13

Today's generations of children and young people are asking us to be present to them, fully present, and to do our own homework with our pain and emptiness so we can be present to their's. A "dead poet's society" posture, so to speak.

See Footnote 14.
START Footnote #14
"The Dead Poet's Society" is a movie starring Robin Willims who plays the role of an "off-beat" English teacher trying to awaken the spark of life in a stuffy all boys prep-school. It is the best movie so far to dramatize the pre-Viet Nam generation of students and the few teachers who tried to prepare them for the difficult decisions ahead. We will look at this topic in a later section via "values clarifications" with Admiral Walt Zumwalt's family and the Agent Orange dilemma.
STOP Footnote #14

From Design and Content To Relationship

Song is an instrumentality to keep the tender posture and the "subject factory" going at the same time. And its graduated and scheduled application follows the rule of all "good medicines : too much, too soon can be an intolerable purity. By building in the [[ "Emergent" half ]] of the curriculum, Song is saying to the children your voice counts... MTF.

See Footnote 15.
START Footnote #15
The issue of self-esteem has been side-tracked by the mentalists into the question of performance and grades because a recognition of self-esteem's roots in emotional health and spiritual confidence would require them to address both in the classroom. In my opinion, the schooling tradition lost its right to grade student performance when it reinterpreted the results of tests as measures of student effort or motivation only, rather than the results of both environmental conditions/teaching effectiveness and student effort or motivation. The hidden hypocracy is buffered by continued "grade inflation," faculty indifference to cheating, and a 50% drop out rate that is always being reduced by creative math formulars from cental office. The [[ "attachment" movement ]] will change all this at the root.

STOP Footnote #15

Thus, the schedule makes time for them to be with each other, as well as with instructors, for the kind of inter-actions that support growth and undermine subservience. For the other pluses of Song's structure, the work speaks for itself.

Humor and Charm: Analytical and Synthetic Thought

How the maats are brought together is not complicated, but two operations deserve special attention : [[ Maaticulation ]] on the large scale, and [ "Humor" and "Charm" ]] on the small. Humor is the process by which we separate the data items out, or reduce an item list to a cluster of items to be gridded ; "charm" is the process by which bring the data items together. For instance, the word "color" can be humored into "hue" and "intensity." [No maat provided here]. Then the term "hue" humors into "chroma" and "tint," while the term "intensity" humors into "texture" and "tone." [No maat provided here]. Now to get these four entities back together into a Maat we must charm them into a lay-out using the Schwasterric image. Thus we have "Maat : Color - Humored and Charmed" below.

Maat : Color - Humored and Charmed
© 2008 Clay Moldenhauer


Humor is the power of separation, of analysis, while charm is the power of fusion, of synthesis. Humor is brain power, analytical and intellectual. Charm is soul power, synthetic and intuitional.

[[ Reference Maats : The Pleiades ]]

If something seems obscure, you're right. There's something else involved, and that's a criteria by which we place each element in its "appropriate" quadrant on the grid. For this kind of proper "parking" we need the "Pleiades," Seven Maats which, in a sense, function as the "rules" of Maat making. Did we also make those Maats, the Pleiades ? That's a delightful question that will have to wait until we are more acquainted with Maats in general and the Schwasterric gridding process. [[ DOER
Orientation ]] is a warm up on this subject. For now, let's examine the word "color" and its Maat.

Of What Use Is A Dictionary

To humor "color" into its component elements is somewhat different than looking in a dictionary for meanings. A dictionary assists us in discovering a word's pronunciation ( phonology ), its history ( etymology ), or its meanings and variant forms ( semantics and morphology ). But a dictionary is a rather humorless affair, to make a pun on the word "humor" as I mean it here.

A dictionary would tell us that the laughter sense of "humor is an outgrowth of one's ability to perceive and appreciate, in a light hearted way, the differences in words, people or things" ; to be able to be surprised by them without being affronted by them as well. But "humor," as we mean it here, has to do with discovering other words that signify the component forces of the focus word, in this case, component forces of the one force signified by the word "color." Note that our attitude toward any focus word which we are humoring into "smaller" units is a "vital" one, i.e., we are examining a force whose symbol is the given (focus) word, as sounded or as written ( imaged ) on the paper.

Thus, in this case, we say that "color" is the focus word which represents a force in nature, in a community of "speaking" beings, etc., and that as we explore its meanings in our individual self, as well as in the collective self of the "humor Thesaurus," we discover that focus word's (that force's) component forces. This kind of thinking or attitude is the foundation for later ideas about primary and secondary conditions of physical phenomena, perception, magic, consciousness, etc..

Perhaps it may be said at this point that the attitude which we hope to stimulate here towards words, spoken or written, is that they have force in them, that they are manifestations of power, and they have an effect on both the speaker and the perceiver at many levels of apprehension.

In typical European and American (Anglo) thinking and feeling, this idea is on the edge of foolishness. But this Anglo attitude is what looks foolish when you see a group of indigenous people standing somewhere in silent dignity, in peace with their surroundings, while the Americans present are typically jabbering about anything and everything like a group of chickens about to be be-headed.

And that is exactly what is needed: to have some of that energy all locked up in their heads, in Mentalism, trickled down into the rest of their body. Typical Anglo education creates this problem and sustains it by locking the primary energy flow in the left brain hemisphere ; this "locking- in" is accomplished through curriculum over-dosed with analytic/symbol/number crunching, life styles of unbalanced diets, candies and sodas laced with caffeine, environments of cigarette smoke, and stressful, competitive judgmental, uninformative grading systems. And this is the 25 words-or-less list of causes.

Children trapped in such environments are stuck most of the time in convergent thinking, which is the forward speed of the left brain hemisphere. Its job is convergent, focused, analytical thinking. To get some relief with divergent thinking, some activity for the right brain hemisphere, we want to build right hemisphere activities, synthetic thinking and "charm," into the curriculum, and try to dump the junk-food life styles listed above.

Taking Responsibility For Your Thoughts

So it behooves us therefore to encourage this "right-livelihood" attitude about "words," an innate skill and pleasure which enhances life. This pedantic reflection seems in one sense an expression of common sense ; in a deeper sense, it comes as a reminder that despite the "tinker-toy" fun we are having with words here, "words" need to be viewed as vital forces and when conditioned by the heart, serve one Master or another, to quicken life or to slow it down. (Its either White magic, or something else.)

When they have no connection at all with the heart and the rest of the body, as in extreme Mentalism, they serve the interests of who knows who, and the vital force of both the speaker and the perceiver is inevitable diminished. Later in Song, we will look at "words" from the point of view of vector analysis to discover some surprising aspects of the words of the English language. These comments also take us very close to spiritual teachings that are discussed in the Sections [[ "Medicine Wheel," ]] and [[ "The Christ " ]].

[[ "Section 1. Western Studies - Unit 1" ]] begins our sample of global curriculum in earnest with a brief review of the split in the Anglo/European psyche, fore-shadowings of Maats in other curriculum, and the adequacies and inadequacies of encyclopedic approaches to holding information. A topical Inventory of Maats will be completed in a fuller version of Song, but a limited version is be available here in [[
Schwasterra's Song Documents and Graphics Library UNDER CONSTRUCTION ]]

© 2008 Clay Moldenhauer