It indicates how aesthetics might have developed. Evidently the impulses do not come from preconceived human ideas, but from a disposition of the objects to autonomously express what we call 'pro-portion' or 'categorical polarity'. The fact that we deal with these objects in a pluridisciplinary approach, including religious considerations to some extent, makes this study particularly interesting. It shows a close relation between aesthetic criteria and the religious world view, an aspect which can be traced throughout the histories of art and religions, but which never appears so intrinsically interwoven as in the present case, giving art, architecture and aesthetics the priority in the formation of the corresponding ontology. In view of conventional discussions of aesthetics, the results of the present study are striking in various ways.
All descriptions are objective.
The sources shown have a very clear structural disposition. They can be 'intersubjectively controlled'. The approach thus can be considered scientific. We have managed to describe this 'irrational structure' in its interpretation of categorical relations and termed it 'categorical polarity'. Categorical polarity is antithetical to the analytical sciences.