Conduit

While aesthetics is a guiding principle in matters of artistic beauty and taste, metaphor is the warrant to taste and is used to form works of art and architecture. Aesthetics is also reasoning matters having to do with understanding perceptions. There fore it is appropriate to consider the aesthetic nature of architecture and metaphors.
William Wilson said that "a generous Age of Aquarius aesthetic that said that everything was art” It was during this time that we proposed that architecture is an art because it makes metaphors and held the lecture series at Yale University. Most definitions of aesthetics concern the appreciation of beauty or good taste including the basis for making such judgments. Without a theory of metaphors these judgments mostly deal with probability and are inductive or deductive, deductive when depending on accepted premises which is the commonplace of the metaphor or inductive using logical induction. Inductive reasoning is inductive inference from the observed to the unobserved. It was given its classic formulation by David Hume, who noted that such inferences typically rely on the assumption that the future will resemble the past, or on the assumption that events of a certain type are necessarily connected, via a relation of causation, to events of another type.
Early monographs justifying architecture as the making of metaphors were steeped in deductive reasoning since we could not find new information pertaining to metaphors. Many of my monographs included analyzing and explaining the syllogism:
• Art [F] is the making of metaphors
• Architecture is an art[F]
• Therefore architecture is the making of metaphors.
Till now we did nothing to reason why art [F] is neither the making of metaphors nor why architecture is an art. Since 1967 I proceeded to analyze the presumptions and find its many applications. This new information in Metaphor and Thought by Andrew Ortony first published in 1979, provides evidence to support inductive reasoning and to this end each axiom is its own warrant to the inferences of the above syllogism and the answer to questions of why metaphor is the stasis to any of the syllogism’s claims and implications.
In argumentation [A] it is noted that in induction there is no new information added. In both methods the metaphor is at their root and as such the basis of aesthetics and as such essential to understand the stasis to what makes all arts the making of metaphors and how that Wilson’s statement is true for everything as most are metaphorical s as well. The matter then is one of standards, social rightness and the ability any one or another work has an explanation of its form.
Architecture as the making of metaphors not only is the stasis to why architecture is art but also explains the formation of architectural aesthetic vocabulary.
The below is predominantly developed from a study of “Metaphors and Thought” by Andrew Ortony, [1] and, is in addition to over forty years of my work about “architecture as the making of metaphors. It is my hope that this monograph will introduce to aesthetics an architectural vocabulary to further the appreciation of works of architecture.

Monogenetic volcanoes have limited magma supply and lack long-lived sustained magma plumbing systems. They erupt once, often from multiple vents and sometimes over several years, and are rarely or never reactivated. Eruptive behavior is very sensitive to physical processes (e.g., volatile exsolution, magma-water interaction) occurring in the later stages of magma ascent at shallow crustal depths (<1 km), which yield a spectrum of eruptive styles including w e a k t o m o d e r a t e e x p l o s i v e a c t i v i t y, v i o l e n t phreatomagmatism, and lava effusion. Jagged Rocks Complex in the late Miocene Hopi Buttes Volcanic field (Arizona, USA) exposes the frozen remnants of the feeding systems for one or a few monogenetic volcanoes. It provides information on how a shallow magmatic plumbing system evolved within a stable non-marine sedimentary basin, and the processes by which magma flowing through dikes fragmented and conduits were formed. We have identified three main types of fragmental deposits, (1) buds (which emerge from dikes), (2) pyroclastic massifs, and (3) diatremes; these represent three different styles and intensities of shallow-depth magma fragmentation. They may develop successively and at different sites during the evolution of a mono-genetic volcano. The deposits consist of a mixture of pyroclasts with varying degrees of welding and country-rock debris in various proportions. Pyroclasts are commonly welded together, but also reveal in places features consistent with phreatomagmatism, such as blocky shapes, dense groundmasses, and composite clasts (loaded and cored). The extent of fragmentation and the formation of subterranean open space controlled the nature of the particles and the architecture and geometry of these conduit structures and their deposits.

Dividing the discipline’s metaphors between technical and conceptual is a reality not fully explored, nor I believe never noticed. In addition to the multidisciplinary relevance and general use of metaphors, metaphoric axioms, arguments in favor of the stasis of why interior design is an art the two realities of the metaphor work separately and together in six  creative ways.  Many of my monographs included analyzing and explaining the syllogism:
• Art[I]  is the making of metaphors
• Interior design  is an art[I]
• Therefore interior design is the making of metaphors.
Art [I] is only when skill is applied with intent and advanced development of some skill.
Till now we did nothing to reason why art [I] is the making of metaphors, nor why interior is an art [I]. Since 1967 I proceeded to analyze the presumptions and find its many applications. This new information in Metaphor and Thought by Andrew Ortony first published in 1979, provides information to support inductive reasoning and to this end each axiom is its own warrant to the inferences of the above syllogism and the answer to questions of why metaphor is the stasis to any of the syllogism’s claims and implications.
The six priciples explain the stasis in terms of metaphor’s two technical and conceptual dimensions.  Both are valid separately and even more acceptable in combination.  But how do they two operate and how does knowing this benefit design, use and evaluation of built works?
The technical is that all art [I], including interior design, expresses one thing in terms of another by its inherent and distinct craft. On the one hand there is the designer who acts as the owsnere’s surrogate  and on the other the fountain of conceptual metaphors which expresses ideas as built conceptual metaphors other wise known as interior desings. Techne is actually a system of practical knowledge as a craft or art informed by knowledge of forms. 
For  example,  the craft of managing a firm ofinterior designers where even virtue is a kind of technê of management and design practice, one that is based on an understanding of the profession, business and market. In this case the technai are such activities as drafting, specifying, managing, negotiating, programming, planning, supervising, and inspection.  By association with these technai, we can include decorationg, funiture selection, color coordianation, writing, and painting.  So much so that the study and practice of design is devoid from the humanities and downplays theories of design;  developing rather the crafts, skill and understandings needed to plan, sketch, draw, delineate, specify, write, and design.
Contemporary interior design is replete with axioms, principles and theorems guiding the geometry, applications of science, use of engineering, and formal logic to produce technical metaphors and justly excluding a whole conversation about the conceptual part of the built metaphor.

In another time when kingdoms created their dynasty’s iconic buildings, the architect and artisans took their ques from the reigning monarch. In our modern pluralistic society the free reign of ideas and opinions as to contexts and their meanings are diverse. As the doctor takes the Hippocratic oath, the lawyer vows to defend all so there is one whose call is to capture the ethos (4.0 The Oxford English Dictionary, is defined as "the characteristic spirit, prevalent tone of sentiment, of a people or community” ) of his time into built metaphors, he is called architect. Not only is my childhood quest relevant but the essence of the responsibility of today’s architect who not only reasons the technical but individually reasons the conceptual. It is to the architect that society turns to be informed about the shape and form of the context in which life will be played. With this charge the need to know that we know and do by reasoning what science verifies by the scientific method to know that we know about the buildings, parks, and places we set into the environment. It is a public and private charge included in the contract for professional services but unspoken as professional life’s experience; to prove the relevant, meaningful and beneficial metaphors that edify encourage and equip society as well as provide for its’ health, safety and welfare. So it is critical to realize, control and accept as commonplace that the role of the architect is to do much more than build but build masterfully.

Twenty eight dominant axioms and 54 sub-dominant axioms (total of 82) are evidence of the case that architecture is an art resolved that architecture was the making of metaphors because it (architecture) made metaphors, personified by metaphor stasis’ two technical and conceptual dimensions. Both are valid separately and even more usual in combination. But how do these two work, and, how does this knowledge benefit design, use and evaluation of built works? The axioms were derived by examining Andrew Ortony’s Metaphor and Thought’s evidence and works by Paul Weiss, William J.J. Gordon and the Yale lecture series titled architecture as the making of metaphors. . Prior monographs were steeped in deductive reasoning since there was no new information (evidence) pertaining to metaphors. Therefore the previous articles included analyzing and explaining the syllogism:
• Art [G] is the making of metaphors
• Architecture is an art [G]
• Therefore architecture is the making of metaphors.

Early monographs were steeped in deductive reasoning since we could not find new information pertaining to metaphors. This included analyzing and explaining the syllogism:
• Art[I]  is the making of metaphors
• Architecture (design)  is an art [I]
• Therefore architecture (design) is the making of metaphors.
Till now we did nothing to reason why art [I] is the making of metaphors nor why architecture is an art. Since 1967 I proceeded to analyze the presumptions and find its many applications. This new information by Andrew Ortony first published in 1979, provides information to support inductive reasoning and to this end each axiom is its own warrant to the inferences of the above syllogism and the answer to why metaphor is the stasis to any of the syllogism’s claims and implications. The axioms are presented in labeled paragraph and subparagraphs format for easy reference and applications.
Keywords:
metaphor, architecture, thought, commonality, commonplace, dubbing, cognitive, knowing, stasis, art , [I]  linguistic analogy, equilibrium, equipoise, topoi, top-down, frame conflict, appreciate, conduit, parte, design system, modified culture, mapping, structure, domain, signs, apparatus, spaces, volumes, shapes, forms, metaphorical mappings, invariance principle, alive, dead, onomatopeics, surrogates, appetite, desire, mind, indirect use, direct use, vision, gestalt, formulae, grand design, psychological, processes, metaphor comprehension, memory, mnemonics, encoding, mapping, categorizing, inference, assimilation, accommodation, attribution, inferential import,  structured programming, stability, referential specificity, general acceptance of terms, vividness thesis, difference, identity, comparison sensible, communications.

Mt. Merapi, Indonesia, is one of the most active and dangerous volcanoes in the Torrid Zone. This volcano has erupted frequently and has produced pyroclastic flows following the collapse of the summit lava dome. We used Synthetic Aperture Radar (SAR) data acquired by JERS-1 and RADARSAT-1 satellites from April 1996 to July 2006 to clarify the distribution patterns of the pyroclastic flow deposits. The extent of the deposits, termed P-zones, was accurately extracted by ratio operation and low-level feature extraction from SAR intensity images. These images highlighted temporal changes of the distribution area, perimeter, flow distance, included angle, and collapse direction. To validate the image-processing results, reflectance spectra of the rock samples collected after the eruption in June 2006 were measured in a laboratory. The reflectance spectra of all samples showed similar characteristics to the reference spectra, which were derived from atmospheric correction of Hyperion sensor image data covering the lava dome at the summit. Therefore, P-zones were confirmed to be the pyroclastic flow deposits originating from destruction of the lava dome at the summit. The image-processing results clarified that the extent of the distribution areas, perimeter, flow distances, and included angle of the P-zones were variable among the eruptions, while the collapse direction had a constant pattern. The collapse pattern followed a clockwise change from the south toward the west. By comparing the ratio maps of Bouguer gravity anomaly data in two periods, the change was interpreted to originate from the inclination of the conduit and the formation of shallow and deep magma reservoirs.

Mt. Merapi, Indonesia, is one of the most active and dangerous volcanoes in the Torrid Zone. This volcano has erupted frequently and has produced pyroclastic flows following the collapse of the summit lava dome. We used Synthetic Aperture Radar (SAR) data acquired by JERS-1 and RADARSAT-1 satellites from April 1996 to July 2006 to clarify the distribution patterns of the pyroclastic flow deposits. The extent of the deposits, termed P-zones, was accurately extracted by ratio operation and low-level feature extraction from SAR intensity images. These images highlighted temporal changes of the distribution area, perimeter, flow distance, included angle, and collapse direction. To validate the image-processing results, reflectance spectra of the rock samples collected after the eruption in June 2006 were measured in a laboratory. The reflectance spectra of all samples showed similar characteristics to the reference spectra, which were derived from atmospheric correction of Hyperion sensor image data covering the lava dome at the summit. Therefore, P-zones were confirmed to be the pyroclastic flow deposits originating from destruction of the lava dome at the summit. The image-processing results clarified that the extent of the distribution areas, perimeter, flow distances, and included angle of the P-zones were variable among the eruptions, while the collapse direction had a constant pattern. The collapse pattern followed a clockwise change from the south toward the west. By comparing the ratio maps of Bouguer gravity anomaly data in two periods, the change was interpreted to originate from the inclination of the conduit and the formation of shallow and deep magma reservoirs.

The authors present the case of a 20-year-old man who, 3 months after his initial injury, underwent repair of a 1.7-cm defect of the ulnar nerve at the wrist; repair was performed with an acellular nerve allograft. Given the absence of clinical or electrophysiological recovery at 8 months postrepair, the patient underwent reexploration, excision of the “regenerated cable,” and rerepair of the ulnar nerve with sural nerve autografts. Histology of the cable demonstrated minimal axonal regeneration at the midpoint of the repair. At the 6- and 12-month follow-ups of the sural nerve graft repair, clinical and electrophysiological evidence of both sensory and motor reinnervation of the ulnar nerve and associated hand muscles was demonstrated. In this report, the authors describe a single case of failed acellular nerve allograft and correlate the results with basic science and human studies reporting length and diameter limitations in human nerve repair utilizing grafts or conduits devoid ...

Mt. Merapi, Indonesia, is one of the most active and dangerous volcanoes in the Torrid Zone. This volcano has erupted frequently and has produced pyroclastic flows following the collapse of the summit lava dome. We used Synthetic Aperture Radar (SAR) data acquired by JERS-1 and RADARSAT-1 satellites from April 1996 to July 2006 to clarify the distribution patterns of the pyroclastic flow deposits. The extent of the deposits, termed P-zones, was accurately extracted by ratio operation and low-level feature extraction from SAR intensity images. These images highlighted temporal changes of the distribution area, perimeter, flow distance, included angle, and collapse direction. To validate the image-processing results, reflectance spectra of the rock samples collected after the eruption in June 2006 were measured in a laboratory. The reflectance spectra of all samples showed similar characteristics to the reference spectra, which were derived from atmospheric correction of Hyperion sensor image data covering the lava dome at the summit. Therefore, P-zones were confirmed to be the pyroclastic flow deposits originating from destruction of the lava dome at the summit. The image-processing results clarified that the extent of the distribution areas, perimeter, flow distances, and included angle of the P-zones were variable among the eruptions, while the collapse direction had a constant pattern. The collapse pattern followed a clockwise change from the south toward the west. By comparing the ratio maps of Bouguer gravity anomaly data in two periods, the change was interpreted to originate from the inclination of the conduit and the formation of shallow and deep magma reservoirs.

Conduits are ubiquitous and critical pathways for many fluids relevant for geophysical processes such as magma, water, and gases. Predicting flow through conduits is challenging when the conduit geometry coevolves with the flow. We theoretically show that the permeability (k) of a conduit whose walls are eroding due to fast phase change increases linearly with time because of a self-reinforcing mechanism. This simple result is surprising given complex feedbacks between flow, transport, and phase change. The theory is congruent with previous experimental observations of fracture dissolution in calcite. Supporting computational fracture dissolution experiments showed that k only slightly increases until the dissolution front reaches the narrowest conduit constriction, after which the linear evolution of k manifests. The theory holds across multiple scales and a broad range of Peclet and Damkohler numbers and thus advances the prediction of dynamic mass fluxes through expanding conduits in various geologic and environmental settings. Plain Language Summary Geological conduits are ubiquitous present in the subsurface. In many situations, these conduits may enlarge through time due to erosion of its walls by dissolution and melting. This leads to strongly coupled flow and reactive transport processes where the flow dictates the wall's erosion and vice versa. As the conduit expands, so does its permeability and thus flow. Thus, predicting fluid flow and relevant transport processes through expanding conduits is challenging. In this study, we presented a theory for the linear time dependence of permeability for expanding conduits. The theory is congruent with previous observations from fracture dissolution in calcite. An additional series of our own computational experiments also aligns with the theory. The theory will be of interest to geoscientists and engineers in many fields such as hydrology, glaciology, and petroleum engineering, to name a few.

Mt. Merapi, Indonesia, is one of the most active and dangerous volcanoes in the Torrid Zone. This volcano has erupted frequently and has produced pyroclastic flows following the collapse of the summit lava dome. We used Synthetic Aperture Radar (SAR) data acquired by JERS-1 and RADARSAT-1 satellites from April 1996 to July 2006 to clarify the distribution patterns of the pyroclastic flow deposits. The extent of the deposits, termed P-zones, was accurately extracted by ratio operation and low-level feature extraction from SAR intensity images. These images highlighted temporal changes of the distribution area, perimeter, flow distance, included angle, and collapse direction. To validate the image-processing results, reflectance spectra of the rock samples collected after the eruption in June 2006 were measured in a laboratory. The reflectance spectra of all samples showed similar characteristics to the reference spectra, which were derived from atmospheric correction of Hyperion sensor image data covering the lava dome at the summit. Therefore, P-zones were confirmed to be the pyroclastic flow deposits originating from destruction of the lava dome at the summit. The image-processing results clarified that the extent of the distribution areas, perimeter, flow distances, and included angle of the P-zones were variable among the eruptions, while the collapse direction had a constant pattern. The collapse pattern followed a clockwise change from the south toward the west. By comparing the ratio maps of Bouguer gravity anomaly data in two periods, the change was interpreted to originate from the inclination of the conduit and the formation of shallow and deep magma reservoirs.