As I strip away every bit which is too sweet, I slowly leave the bare bone of something which can affect me, can make me almost choke tears in my throat.

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

• The inner voice is stilled, muffled, and there is hardly any possibility to cry out against ugliness.claim0.761
• This sadness of tears, when I reach it, is also joy. ... What makes it sad is that it comes closest, in the physical concrete beams and columns and walls, as close as possible, to the fact of my existence on this earth.claim0.741
  The ultimate sadness is not miserable but a profound acknowledgment of existence, which is both sad and joyful.
• When you make a beautiful thing, the depth of the person within becomes more vivid, lives more intensely for a moment.claim0.738
• Contrast, instead of separating things, brings them together when used to help centers become alive; contrast that fails to create deeper feeling is merely accidental or eye-catchingclaim0.735
  Claim distinguishing good contrast (Shaker schoolroom, which unifies) from bad contrast (glaring lobby staircase, which separates)
• The making of sadness must come through a process where land, details, rooms form an indivisible whole, always trying to tie it together, to unify it, to make it disappear.claim0.732
  The artistic process of achieving sadness is a unifying one that ultimately makes the parts disappear into a whole.
• Making something that truly pleases requires hundreds of subtle judgments, each extracting what pleases more within the whole.claim0.727
  From the West Dean experience: the north wall alone required approximately 500 such judgments.
• "The effects are not merely semantic—I don't just talk about emotions more, I actually feel them."quote0.726
  Kimi self-report on feature #77278 asserting non-semantic, felt emotional quality of the steered state
• "Though emotions are clearly locally spiky, they are not strictly locally scoped. Instead, they are typically bursty but with a long tail of slow change."quote0.726
  Core summary of the paper's main empirical conclusion about emotion feature dynamics