A Design-based Philosophy of Nature
Using design elements like line, form, proportion and sequence, SCIET Dynamics creates a way for all of nature to be visualized and understood by scientists and non-scientists alike.
Figure 1.0 The tetrahedral form is stable, built on four equidistant points. It is grouped to create larger space-time-energy forms.
Figure 1.1 When the tetrahedral forms are grouped they have gaps at the edges which provide the basis for a dynamic adjustment capability. When the SCIET is treated as a polygon, the sciehedron, it has 60 vertices, 120 edges and 62 faces defined by two measures.
Three realizations were pivotal to this work. First was that a single value describing a unit of time energy and space, a sort of minimum unit, must exist; second was that the tetrahedal form was somehow pivotal to creation from the minimum unit and; third, that the minimum unit form did not spontaneously mutate into larger forms (Plato was wrong), but that larger forms were composed from the minimum unit.
In 1977 I realized that a mathematical structure to describe space using tetrahedrons could be created.
I saw that twenty stable tetraheral forms connected on a single center point could express both instability and stability and create the basis for spin and orbital motion. Stable forms assembled together in semi-stable groups could create an engine for dynamic change and adjustment in space. This composite form is called the sciet, (pronounced ``site"). I have spent the last twenty-five years developing an undersatnding of how works.
The Sciet is a new mathematical idea, and the basis of SCIET Dynamics. It provides a blueprint of how space adjusts to change. In this way it is a mathematical atom, allowing a single form to be combined into all the creations of the Universe.
Exactly how the SCIET does this is the subject of this web site
In design I begin by gaining an understanding of context, I ask questions like; Why does it need to exist? What is the function? What is its purpose, its reason for being? What does it do? How does it fit into its environment, or and most importantly, what are its constraints? Basically, I need to know ``what is its objective for existence?"
It is from the answers to such questions that a design emerges. When I became interested in unexplained phenomena, I began to ask the same kinds of questions about the forces of nature that were part of any internal discussion about a design problem. These questions led to a broad study of context in which I researched a wide variety of related topics.
The areas of study that most facinated me were repeatable experiments with anomalous results. The so-called ``unexplained phenomena". I considered this a shortcut to the heart of scientific understanding, because a descipline's limitations can demonstrate its nature as well as it's weaknesses.
Similar to finding a ``black hole", defining the limits of understanding is a study of the edges, seeing what is invisible by its outline against what is known. Gaining an understanding of and defining a conceptual hierarchy useful in describing nature was a long process, However, to my natural ability for visualization was added a gnostic experience. For twenty minutes I could ``see" the field of energy that is the vehicle of consciousness and it became a template with which I can compare all of my experiences.
As in all works, it is the tools that make the difference. A very subjective experience is my tool, but I have spent more than a quarter-century translating that personal insight into statements and visuals that will allow others to share the advantages that it has given me.
Although I have worked to make SCIET Dynamics into a mathematical system, I am presenting it here as a set of design rules and tools that can be used to visualize how the Universe works. | 
