A great work of art makes a permanent connection with the I.

Entities in the same semantic neighborhood but without a typed relation to this one — candidates for new edges or unrecognized duplicates.

• This quality, whether it occurs in a great work or a small work, always has the same essential purpose: to make a connection to the I, to reach, in material substance, the face of God.claim0.816
  The purpose of all living quality is to connect to the I.
• The great works of traditional art were most often created in a context where the maker was trying to become one with God or lose themselves in the ground.claim0.795
  A summary of the reported intentions of historical craftsmen.
• The existence of widely agreed‑upon lists of great buildings suggests a shared perception of life in buildings.claim0.793
  Argues for intersubjective agreement about the quality of life.
• If the feeling is genuine and does arise out of the site itself, then it must be thought of as an absolute which later stages of design and construction must only strengthen, deepen.hypothesis0.780
  A conditional rule for the unfolding process.
• As an architect, Alexander has become convinced that the I is certainly real in buildings and must necessarily play a fundamental role in architecture.claim0.780
  Alexander's personal scientific and professional conclusion stated in the Mid-Book Appendix.
• Art (poetry, paintings) requires massive personal interpretation on the decoding end, a drastic bowtie.claim0.776
  Example from Table 1.
• When this is achieved, or touched, to the extent that it is achieved, then, that is what I mean by reaching and touching the I, the blazing one.claim0.776
  The final definition: achieving sadness in a work is the act of touching the I.
• The presence of I-stuff in works of art induces a religious experience, making people feel closer to God, even non-religious.claim0.776