The older one is baffling. It then dawns on me that the older piece is an inside-looking-out metaphor. A gestalt mirroring the structurally imprisoned feelings faculty, students, and administration shared about the educational system the old building we are about to demolish represents.

A similar idea appears in Professor Voulkos's work. The enclosure, or lack of it, was central to his challenge of whether there was an in or outside.

His practice of gestalt questioned the notion of separateness by poking holes in his pieces, bringing the inside out and the outside in––concepts that echo Henry Moore and falls directly in line with Dadaists and Kurt Schwitters's conceptions. Fascinated by the revelation and intent on preserving campus history, I moved the old piece to a more engaging location on campus.

With this realization came another. Following this reasoning, the cycle completes with discovering Naum Gabo's kinetic art. Meaningful coincidence surfaces the gift Pele exposed on the lava fields.

Gabo's Standing Wave (1919-20) oscillates a single wire with the correct vibration to create a standing wave, giving the illusion of an elegant vase.

In hindsight, Pele gifted a similar understanding of reality when she posed that day while rewilding. Kinetic energy waves are the force (ground) creating the illusion (figure) of materiality.

There is a multiverse of ways to come to this conclusion. Still, Gabo's illusion is the unspoken meaning of the vibrations discovered by the ancients while under the influence of aporphine and held sacred.

By remaining authentic and faithful to experiential learning and the Language fostered by CED, Pele realigned and synchronized me to the reality of Flow.