Many 20th-century artists (Stravinsky, Bartok, Prokofiev, Derain, Vlaminck, Rouault) searched for and found the savage core in their work.

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

• The works of Nolde, Matisse, Bonnard, van Gogh and a few modern buildings touch a modern wellspring that is almost the same as the mystical wellspring that inspired historical works, yet in a non‑religious form.claim0.729
  The observation that non‑religious modern works can still achieve a comparable spiritual quality, showing the rootstock is not confined to traditional religion.
• The Matisse drawing has the strongest field of centers among the three compared 20th-century artworks and correspondingly the deepest personal feelingclaim0.718
  Demonstrates the correlation between field-of-centers strength and personal feeling using three famous drawings
• The core of the modern design movement—striving for originality, newness, breaking with tradition—was a structure-destroying force that denied unfolding.claim0.716
  Fundamental critique of modernism.
• 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.claim0.713
  A summary of the reported intentions of historical craftsmen.
• In the 20th century there were violent taboos in the architectural community against building anything from C_living.claim0.712
• It is impossible, in principle, for an unfolding process to produce the works of Botta, Mies, or Le Corbusier; their works are therefore arbitrary and lifeless.claim0.712
  Strong in-principle claim against modern icons.
• This is focused on beauty. It is brutal, only because, to do it, we must forget our responsibilities and the subtleties of site and function, and enter the play of pure forms with as much emphasis on feeling, art, and structure alone as we can.claim0.709
  Defines brutality as the temporary forgetting of practical responsibilities to focus purely on structural beauty
• He challenges the assumptions of architectural practice on lines similar to those of John Ruskin and William Morris.claim0.708
  Claim comparing Alexander's critique to 19th-century reformers.