International Journal of Research & Methodology in Social Science

Vol. 5, No. 4, p.- 1 - (Oct. – Dec. 2019). ISSN 2415-0371 (online). DOI: 10.5281/zenodo.3877594

The Intrinsic Beauty of the Penrose's Mosaics

Dante Roberto Salatino

About the author

Dante Roberto Salatino is a researcher of the Institute of Philosophy and of the Institute of
Linguistics - Lecturer in the General Psychology Department – Lecturer in the Philosophical
Aspects of Physical-Mathematical Science Department - Faculty of Philosophy and Letters -
Teacher and Researcher in Artificial Intelligence in the Mechatronics Career - Faculty of
Engineering - National University of Cuyo - Email for correspondence: [email protected]

ABSTRACT
The reason for this work was to reconsider our intuitive vision of the Penrose's mosaics, addressing
them from Transcurssive Logic (TL). The aesthetic, and even artistic-decorative effects that these
geometric developments generate, it is said, depend on their aperiodicity, being understood by it,
the possibility of expressing their structure through functions that are repeated indefinitely, but not
keeping the symmetry they have defined during over 170 years, for example, the crystalline
structure of matter. In these mosaics, the existence of an "intrinsic beauty" is the product of sticking
to a universal pattern, as the first cause of its particular appeal, beyond constituting a recreational
application of mathematics, or a source of inspiration for the discovery of quasicrystals.

Keywords: Roger Penrose, recreational math, quasicrystals, Transcurssive Logic.

CITATION:
Salatino, D. R. (2020). “The Intrinsic Beauty of the Penrose’s Mosaics” Inter. J. Res. Methodol.
Soc. Sci., Vol., 6, No. 1: pp. 1-14. (Oct. – Dec. 2019); ISSN: 2415-0371. DOI:
10.5281/zenodo.3877594

1.0 INTRODUCTION
One could say, without fear of being wrong, that Roger Penrose is, today at 88 years old, one of the
most original thinkers of our time. English physicist and mathematician, currently Emeritus
Professor of Mathematics at the University of Oxford. Member of the Royal Society of London
since 1972. Wolf Prize in Physics in 1988. Aventis Award, for the best scientific dissemination
book (The Emperor’s New Mind), in 1990.
A detailed examination of Penrose's work allows us to see how he manages to combine the
genuine aspects of physics with refined mathematical techniques. The contributions of this
particular scientist have been numerous. Thus, in the Theory of Relativity, through its Theory of the
Twistors of 1967, useful for mapping geometric objects in a tetra- dimensional Minkowski space. In
this way, he opened a window to explore non-linear, coherent and non-disturbing phenomena, in an
accessible, beautiful and geometric way, which allowed dealing with non-linear problems while
working with explicit solutions (Ward, 1998, p. 99 ). The purpose of this attempt was to find a
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quantum theory of gravity. Twistors are useful in field theory, in the calculation of scattering
amplitudes, in superstring theory, and the theory of partial differential equations (Atiyah et al.,
2017).

FIG. 1. A LIGHT RAY (photon) LIKE A TWISTOR

(Movement of fields without mass) (Adapted from Penrose, 1987, p. 351)

Perhaps, its most important contribution is the introduction of the "spin networks" (1971)
that tries to explain the quantum gravity of loops, a mixture of quantum mechanics and general
relativity conceiving space as a quantum combinatorial structure. Being this a quantum theory of
the rotation group and not the Lorentz group, Penrose was based on his Twistors (Thiemann, 2007,
p. 148) (Figure 1).
From 2005 to the present, he works on the theory known as "Conforming Cyclic
Cosmology" that tries to explain the expansion of the universe. He published several dissemination
books, including The Emperor's New Mind (1991); The shadows of the mind: towards a scientific
understanding of consciousness (1996); The road to reality: a complete guide to the laws of the
universe (2006).

2.0. CREATIVITY IN PENROSE ACCORDING TO TL

Human creativity emerges from the common substrate that constitutes the fundamental aspects that
underpin subjective reality. That "universal language" that indicates what aspects of behavior that
once integrated through the cognitive emerges on the surface as a specific behavior (Salatino,
2017).
Creativity can be equated to a true language, where the universal language ’mentioned with
frank biological roots, would behave like its‘ syntactic aspect ’. A natural language (Salatino, 2012)
characterizing the affections that strengthen both the volitional and the cognitive in our psyche,
would serve as a ‘semantic aspect’.
Finally, a conventional language enabled for communication in the sociocultural
environment would support its ‘pragmatic aspect’. It should be noted that the ‘backbone’ of the
generic language that represents creativity is in the close relationship that exists between the deep
elements of its three components (Salatino, 2017, pp. 279-280). Experiencing or the visceral
organization of knowledge through ‘universal language’, of biological origin. Intuitive or affective
integration of the basic elements through ‘natural language’, of psychic origin; and the creation or
social projection of feelings and motivations with the help of conventional language ’, of socio-
cultural origin.

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In Penrose, the creative aspect received an intuitive influence derived from at least three
important sources. One of them is the invaluable work of Maurits C. Escher, with whom he also
collaborated in some of his productions. Escher used the Penrose triangle in his lithograph
"Waterfall" (Figure 2), and the staircase designed by Penrose in "Ascending and Descending"
(Figure 3), among others.

FIG. 2. THREE TRIANGLES OF PENROSE IN “WATERFALL”

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FIG. 3. STAIRCASE OF PENROSE IN “ASCENDING AND DESCENDING”

Another source of inspiration for Penrose was the work of the German astronomer and
mathematician Johannes Kepler: Harmonices Mundi ("The Harmony of the World") published in
1619. In Book II, p. 57 deals with stellate polygons (mostly pentagonal) (Figure 4).

Figure 4 STELLATE POLYGONS (Kepler, 1619)

Finally, it is possible that Penrose was also inspired to make his mosaics in Albrecht Dürer.
In his book "De la medida" (About the measure), a scholarly treatise on geometry and its

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mathematical support, but also, on architecture, and painting with an exposition of the laws of
perspective, appear on pages 63 and 64 a series of mosaics made with pentagons and rhombuses
(Figure 5).

FIG.5 DÜRER MOSAICS (1535)

Beyond the sources of inspiration, other aspects contributed. Penrose's great mastery of
mathematics and his brilliant creative vocation led him to discover in 1974 a set of mosaics, that if
they were arranged in a particular way, the filling of space with them was not periodic.

3.0 APERIODIC MOSAICS

The mosaics were composed of two rhombuses, one wide and one narrow that could be repeated
infinitely. The non-periodicity of the mosaics was based on the fact that the ratio between both
rhombuses was an irrational number: the golden ratio (ϕ) (Huggett, 1998, p. 216).
This irrational number was first defined by Euclid over 2000 years ago (Elements, VI,
description 3, p. 228). The bicyclic PAU (Salatino, 2017) of Figure 6, states:
"Small is to the big like big is to the whole."

FIG. 6. GOLDEN RATIO'S PAU

We also see, in the previous scheme, that the number “5” is the key to the relationship.
Something that matches the type of symmetry that these mosaics show, and the quasicrystals that
we will address later.

3.1. Golden ratio

The golden ratio is present as a "universal pattern" in mathematics; in geometry; in nature (in the
shell of some mollusks (nautilus), in sunflower flowers, in some crystals, in the shape of DNA,
etc.); in the cosmos (spiral galaxies); in the painting (Leonardo, Velázquez, Dürer, Dalí); in music
(heptatonic scale, Béla Bartók, Claude Debussy); in architecture (Brunelleschi: Chapel of the Pazzi
(1441)); in the economy (behavior of financial markets (Prechter, 1996, p. 194)).

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The "divine proportion" as has named it the Franciscan and mathematical friar Luca Pacioli
(1509), seems to be the key to natural beauty since we can find it both in plants or fruits, The leaves
of the Begonia Escargot, the distribution of the seeds of an apple form a five-pointed star or
pentagram (Livio, 2003, p. 8) as in animals, and even in humans (auricular pavilion). But it is also
related to the "Fibonacci sequence" (Pisano (Fibonacci), 1857, p. 284), which represents a
fundamental mathematical structure. Before Fibonacci wrote his work in 1202, the sequence had
already been discussed by Hindu scholars, who had long been interested in the rhythmic patterns
that form from Sanskrit prosody (short and long syllables); therefore, both Gopãla (before 1135)
and Hemachandra (1150) mentioned numbers 1, 2, 3, 5, 8, 13, 21, ..., explicitly (Knuth, 1997, p.80).
There is no indication that Fibonacci realized that there was any connection between its
numerical series and the golden ratio (Herz-Fischler, 1998, p. 144). It was Johannes Kepler, in
1611, who discovered that the consecutive reason of the Fibonacci numbers converges towards the
golden ratio (1). That is to say that the regular bodies based on the number five, arise from the
"divine proportion" or the golden ratio, as it says in his essay De nive sexangula (hexagonal
snowflake):

“Of the two regular solids, the dodecahedron and the icosahedron, the former is made
up precisely of pentagons, the latter of triangles but triangles that meet five at a point.
Both of these solids, and indeed the structure of the pentagon itself, cannot be formed
without the divine proportion [golden section] as modern geometers call it. It is so
arranged that the two lesser terms of a progressive series together constitute the third,
and the two last, when added, make the immediately subsequent term and so on to
infinity, as the same proportion continues unbroken. It is impossible to provide a perfect
example in round numbers. However, the further we advance from the number one, the
more perfect the example becomes. Let the smallest numbers be 1 and 1, which you
must imagine as unequal. Add them, and the sum will be 2; add to this the greater of the
1’s, result 3; add 2 to this, and get 5; add 3, get 8; 5 to 8, 13; 8 to 13, 21. As 5 is to 8, so
8 is to 13, approximately, and as 8 to 13, so 13 to 21, approximately.” (Kepler, 1611, p.
12).

We can express the above, mathematically, as follows:

f +1
lim n =ϕ (1)
n→∞ f n

The apparent, objective or quantitative beauty (if desired), which Penrose's tessellated or
mosaics show us, seems supported by a natural phenomenon. But there is no doubt that there is
something else. That “extra”, qualitative or subjective aspect that, according to our perspective, is
what defines the universal beauty that conveys these forms, and that we will try to unravel it from
the transcurssive vision.

FIG. 7. UNIVERSAL BEAUTY’S PAU

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References: Numbers: Fibonacci sequence - : Fibonacci spiral

S: subject - O: object - V: evident transformation – SP: superficial
PR: profound - ∇: transformation not evident

Figure 7, presents in a PAU (universal autonomous pattern, Salatino, 2017) structural, the
algebraic group that constitutes the determinants of “extrinsic beauty”, that is, the one that is in
sight and that is sufficient to mobilize our sensitivity when we contemplate any of these aesthetic
constructions. The element that interrelates both the Penrose mosaics and the Fibonacci succession,
as we have already seen, is the golden ratio. The latter, because it converges on it, while the former,
show it when they grow up, that is, when they diverge. Also, they have intentionally superimposed
on the diagram, a series of squares whose surfaces follow the progression of Fibonacci, and an
approximation to the golden spiral (Fibonacci spiral) generated by drawing circular arcs that
connect the opposite corners of the squares adjusted to the values of the succession, successively
attaching squares of sides 1, 2, 3, 5 and 8; and that it has a counter-clockwise direction, just like the
deep level of the PAU.
Although, the scheme we are analyzing is not exhausted in the previous recitals. There is
"something else." That extra element (∇) tries to represent the main conditioning of an "intrinsic
beauty", which is ultimately who determines the attractiveness of what we can appreciate in these
mosaics, and the reason for this work. It is worth highlighting some other detail in the preceding
diagram, for example, that the square of side 5 is the only one that is fully included in the deep level
of the PAU. Recall that the number "5" is the heart of the golden ratio, but also an indicator of the
fivefold symmetry of aperiodic tessellations.

4.0 WHAT REPRESENTS ∇ (nabla)?

We propose that Penrose tessellations constitute an adaptive dynamic system; something similar to
a living being (Salatino, 2009). To speak of living beings is to speak, according to classical biology,
of open systems, which exchange substances and energy with their surroundings. The concept of
openness contributed in a formidable way to the understanding of the functioning of biological
beings that showed behaviors that did not fit at all, with the thermodynamic behavior governed by
the second principle of closed systems; something similar to what happens with the aesthetics of
aperiodic tessellations. So transcendent was this new vision that gave rise, by the hand of Wiener in
1948 (1998), to Cybernetics as the science that explains the functioning of physical systems based
on biological regulation and control processes (homeostasis).
Cybernetics, however, only contemplates formal (ideal) systems, which are capable of
maintaining a steady-state, that is, of correcting deviations that occur in compliance with a pre-
established norm or purpose, by interacting with their environment.
The analysis of the proposed system needs different cybernetics that allows explaining and not only
describing the operation of the deep real aspect (∇) that we have proposed as the determinant of the

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subjective processes that underlie an “intrinsic beauty”. To better understand this real dynamic, we
will need some concepts:

4.1. Frontier (Morin, 1986, p. 235): Separation of the levels of the system, although it does not
refer to a net limit but to an active unit of double identity since it means both distinction and
belonging, being simultaneously, opening and closing. A filter that lets pass but at the same time
slows down. It is there where disjunction and conjunction occur simultaneously. The one that
allows a steady-state, but that is far from the homogeneous and static equilibrium of the cybernetic
homeostat.

4.2. Stationary non-equilibrium state (Prigogine and Nicolis, 1977, p. 4): It is the only
mechanism capable of keeping a system active. That is, through a particular processing of the
dynamics, it can sustain a stable organization despite the important disturbances that come from the
environment. In this way, a “stable disequilibrium” situation is generated that prevents the system
from being subjected to an “isolation” state. In the tessellated, it would be equivalent to the
appearance of ruptures, gaps or overlaps that to mess up their disposition.

4.3. Feedback and Recursion (Morin, 1986. p. 215): The typical of an active organization is
change; But that change must have some typical aspects, for example, it must be cyclic. There are
two types of cyclic behavior: 1) on the one hand the one that operates on the surface, in the
evidence, and making the exit a new entry, tries to correct a deviation. Linear causality made
manifest by feedback. This behavior would be characteristic of periodic mosaics or tessellations
(explicit beauty). 2) on the other hand, that type who works in depth, where the end of the process
"nourishes" the principle. "The final states or effects produce the initial states or causes." Circular
causality that is fulfilled by a recursion. According to the hypothesis defended in this work, this
behavior would be that of Penrose's tessellations.
The PAU of universal beauty that we have proposed is a double cycle. On the one hand, one
who has the phenomenal (superficial) countenance of retroaction (SVO), and the other, the
generative (profound) recursion (O∇S). It brings together in the same dynamic "morphostasis" or
evolutionary constancy of form and "morphogenesis" or the creation of new forms. It unites in
short, birth, existence and autonomy.

4.4. Negative feedback (Wiener, 1998, p. 133) and Positive feedback (Morin, 1986, p. 252):
Negative feedback is the mechanism that is responsible for compensating the deviations of a given
state. It tends to the constancy, to the organization, to the stable disequilibrium, to the conservation
of the forms (morphostasis) by a repetitive process of rejecting the disturbances. Basis of the
periodicity.
The positive feedback, in the opposite direction to the previous one, produces accentuation
and amplification of a deviation and acceleration of a process by itself, on itself. It promotes
disorganization through a tendency that can be both destructive (as considered by classical
cybernetics), as "creator" of forms (morphogenesis) and sustenance of a story or evolution.
The regulation of our PAU carries in itself large complex antagonisms (opposite,
complementary and concurrent); an assembly of negative and positive feedback (Figure 8).

FIG. 8. COMPLEX REGULATION OF PAU

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References: −: negative feedback; +: positive feedback

Traditional regulation and control have to do with conceiving this feedbacks as exclusive.
The regulation of the dynamic organization of our system contemplates them as concurrent
(heterarchical).
Negative feedback alone is typical of systems that do not evolve (periodic tessellation).
Positive feedback alone is typical of those systems that go directly to its destruction (invalid
Penrose tessellations, with interruptions or overlaps (Hill et al., 2005)). Obligately, to evolve, we
need both at the same time. How is coexistence possible? How is it possible that the same process
that promotes disorder, disorganization, and destruction, is genesic?
Coexistence is understood since we explain the simultaneity of the superficial (the apparent
and quantitative) and the profound (the deep and qualitative) in reality. The disorganization of the
organization does not deny it, as neither does the O (object) deny the S (subject) in a
polycontextural universe (Salatino, 2009) but transforms it, reorganizing it.
This reorganization favors the complexity of two different ways but based on the same
phenomenon: the catastrophe. The "touch of the limit", the transient uncontrol of positive feedback
in its growing trend.
(a) Development: represents self-organized structural complexity through fluctuations
(Wagensberg, 1989, p. 42). A damped sinusoid, typical of negative feedback, marks an asymptotic
curve of infinite approximation that dynamically represents the apparent change that identifies
periodic tessellations, which respect the Fibonacci sequence. This “pulsed” and discreet emergence
of the deep is typical of the phenomenon, of what is presented and appears but that at the same time
is damped (it goes extinct 'by leaps' in time) which means that the deviations with respect to a stable
disequilibrium status is becoming smaller and this at the same time tells us that errors are being
corrected by diversion, "subtracting" the differences found, hence the negative feedback (Figure 9).

FIG. 9. NEGATIVE FEEDBACK OF THE SUCCESSION OF FIBONACCI MORPHOSTASIS

References: ϕ: golden ratio

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In the PAU the previous “subtractions” are not lost but are transformed. They are
“accumulated” at the deep level (transformation not evident) and when a certain limit or threshold is
reached, the hidden becomes evident. Negative feedback is made positive by dragging the entire
system out of balance (Wagensberg, 1989, p. 42). By exceeding a "critical distance" from
equilibrium, the system ceases to be linear (losing the cause/effect proportionality) which indicates
that there is more than one alternative to approach a stable state again. In it becoming or evolution,
the system is faced with a dilemma.
It can be reorganized according to what is stated in its ‘interior’ and its dependence on the
environment (adaptation). This task is carried out by 'subtracting' complexity from the environment
and through intermediate structures (similar to dissipative structures (Prigogine, 1977, p. 4))
“process” this instability that harasses it, generating a certain order from the disorder ( evolves and
'survives'). Moving on to a new level of stable disequilibrium of greater complexity, where the
negative feedback returns to rule and begins all over again after a certain time. A process that is
called morphostasis, and explains very well how periodic mosaics are formed, which only develop
and grow.
(b) Evolution: represents the mechanism of the emergency, of the creation of new structures
or morphogenesis; from the emergence of aperiodic mosaics. The superficial triad (SVO) that we
have proposed in the PAU, is not the only one that exists in this polycontextural system (Salatino,
2017). This arrangement has the possibility of being arranged in six different ways. Penrose's first
generation of tessellated originated from three basic patterns, which then by combination, gave the
six that formed this series (Figure 10).

FIG. 10. FIRST GENERATION OF PENROSE

References: SVO: germ (Adapted from Grünbaum and Shephard, 1987, p. 531)

The TL explains the emergence of new forms through ‘mating’ between two superficial
triplets, giving something similar to a ‘fertilization’. The production of a ‘discontinuity’ in the
complex structure of the PAU promotes functional excision between the superficial (the
phenomenal) and the profound (the genesic). The trigger of the fertilization process is the same as
in the case of development, with the difference that here the positive feedback process does not

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stabilize but instead manages (given its excessive violence) to cause a fissure in the structure of the
PAU, 'releasing 'the deep level. Obviously, in this case, the "father" ceases to exist as a real
structure ("dies") but in turn continues to "live" in the son, (the mosaic) becoming effective
simultaneously, the two trends of positive feedback: destruction and the creation (Figure 11).

FIG. 11. POSITIVE FEEDBACK OF PENROSE'S TESELATES MORPHOGENESIS

References: ϕ: golden ratio

Subsequently, Penrose produced a second aperiodic generation that only had two elements
(comet and dart), but originated from the same pattern (Penrose, 1978) (Figure 12).

Figure 12 PAU OF THE SECOND GENERATION OF PENROSE

References: S: subject - O: object - V: apparent transformation

∇: transformation not apparent - ϕ: golden ratio

As can be seen in the previous figure, Penrose started from a square whose sides have a
length equivalent to the golden ratio (ϕ). By tilting the square to the right 18º, a rhombus whose
internal angles are multiples of 36º is generated. He divided the major diagonal according to ϕ
(1,618), and then joined the point obtained with the obtuse vertices. Then, each of the rectilinear
segments measures 1 or ϕ. The minimum angle is 36º and the other angles are multiples of it
(Gardner, 2008, p. 6). This PAU, when split, gives rise to the two complementary elements that will

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form different aperiodic mosaics, such as the one shown in the upper right corner of Figure 12.
There we can see a series of small white spheres that certify the aperiodicity of the mosaic. We can
assure it because we have represented the basic elements with the colors of light, that is, the dart
with the primary colors, and the comet with the secondary ones. The only way to get a correct
mosaic is by attaching the vertices that have complementary colors. When the primary and
secondary colors add up, they give white, while the existence of spheres of any other color would
detect a poorly formed mosaic. The adequate fit of the basic elements in a proportion equal to the
golden ratio, corroborated by the formation of “patches” with multiple symmetries of “5” (red
decagon) gives foundation to the intrinsic beauty that these compositions possess.

5.0 QUASICRISTALS
A quasicrystalline state is the third form of solid matter along with crystalline and amorphous
matter (Trebin, 2003). The crystals are ordered and periodic structures. Amorphous substances, on
the other hand, are disorderly and not periodic. Quasicrystals, meanwhile, are ordered structures
that are not periodic.
A non-periodic arrangement, as we said, is characterized by the lack of translational
symmetry in it. Experimentally, aperiodicity is revealed in the diffraction pattern of these solids,
which is different from the symmetry of order 2, 3, 4, or 6 that crystals present.
The first quasicrystal was discovered by Dan Shechtman of the Israeli Technological
Institute in 1984, who for this discovery received the Nobel Prize in Chemistry in 2011.
Penrose's contribution ten years earlier, with his aperiodic tessellation, gave the possibility
of explaining some of the particular physical properties of these solids (Figure 13).

FIG. 13. DIFFRACTION PATTERNS OF ELECTRONS IN DECAGONAL QUASICRISTALS

References: (a) Basic cobalt - (b) modification Al70Ni15Co15

Arrow: Decagon (Adapted from Trebin, 2003, p. 18)

Figure 13 shows the diffraction patterns of electrons in the decagonal axis of Cobalt (a), and
of AlNiCo alloy (Acronym for Aluminum-Nickel-Cobalt, used to make powerful permanent
magnets) (b). In (a) there is a low dispersion and the formation of fundamental reflections (the
superimposed PAU, formed by pentagons). In contrast, in (b) the typical modification in the
reflection patterns that occur when the alloy (arrow) is generated is shown. Here a "Penrose
Decagon" formed with comet and darts has been superimposed.

6.0. CONCLUSIONS
As a final reflection, we believe it can be enriching to propose a comparison between Penrose's
tessellations and some of Escher's works. A story that has been repeated many times points out how
the Alhambra decisively influenced the creations of the Dutch artist. But both in Islamic art, and in

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Escher's works, repetition plays an important role. In this work, we have highlighted that Penrose's
innovation is found in the discovery of mosaics or tiles in which non-repetition is fundamental.
Hence the central idea we have pointed out, about aesthetic and even decorative derivations, based
on mathematical functions and geometric figures. But, this meaning arises when there is an
intelligent contemplation, that is, not naive of the observer.
In a certain sense, Penrose presents us with an analogous path, although in the opposite
direction to that of Maurits C. Escher, This is because his interest is oriented towards science. Over
time, the discoveries of certain properties of geometry, lead him to "unveil" certain forms that are,
although, at first glance unsuspecting, not mathematical, they are not "seen." If a parallel could be
made, taking into account his disciplinary training, Penrose is closer to H. Coxeter or H. Poincaré,
than to Escher. However, the derivations of his work, due to the aesthetic effects it generates,
certainly bring him closer to the artist from the Netherlands. But, without a doubt, Escher is at the
crossroads and is the key reference for these geometers.
Two dimensions reveal the empathy between Escher and Penrose. The first is in the
recognition of the harmonic order that underlies the structure of reality, which always and above all,
that they will keep in unison, is mathematical. The other refers to the "Platonic element" present in
the generation of geometric figures, which implies, according to Penrose: "Access or discover a
deep truth, rather than demonstrate." As one of the deepest connoisseurs of his work, Martín
Gardner, has stated: “Penrose's results in mathematics and physics - and I have only mentioned a
small part - arise from a permanent admiration for mystery and the beauty of being!” (Gardner,
2008, p. 10).
A contribution has been made regarding the understanding of the meaning of the aesthetic
and artistic-decorative effects of Penrose's aperiodic tessellations, by addressing them as an
adaptive dynamic system, similar to a living being. In these mosaics, the existence of an "intrinsic
beauty" (hidden) is proposed and demonstrated, which like a kind of "genotype" as a qualitative
universal pattern that determines the "quantitative natural beauty" or "phenotypic" (which it is
visible) that grants him another universal pattern such as the golden ratio. A disposition in total
harmony with Transcurssive Logic.

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