Ornamental way of working \ Intuitive Architecture of Intelligence

I don't know about you, but I catch myself thinking: there are too many letters. Perhaps you feel it too. Switching between Western and Eastern languages and working with texts for over forty years, as something I love and have chosen, I have finally seen that letters are not the only way to convey thoughts.

And what's more, having described four types of intelligence for myself, I became convinced that only a quarter of the brain and consciousness deals directly with letters. Just as in programming, where variables, functions, conditions, and visual blocks are different languages for the same task, our intelligence also consists of four streams. One of them is the letter-based one. And the others? How do the other three-quarters of the brain, consciousness, and intelligence live? And how does AI become a complementary partner in solving problems?

The Ornamental Architecture of Intelligence: Why it's time to move from linear tokens to a streaming hologram and archetypal signs.

People are tired of linear thinking, that's a fact. We are overwhelmed with fragments, lists, continuous scrolling. Information is fragmented, logic is strained, and meanings are lost in the stream of letters. It's time to offer ourselves and AI a new way of thinking: ornamental, or four-stream.

Imagine that you have an inner vision, a picture, an insight, an inspiration. Perhaps you, like me, in such a case, would want everything at once, like a micro-model of the world: the people in your picture are talking to each other, the surroundings are appropriate, the speech is clearly audible, you can stop at any moment and think about what was said, without losing your train of thought, to continue watching this meaningful tale. .. You turn to your computer and see: fine black beads on white, and when you get tired of it, you look for something similar among videos, but everything is different there. And you again have a dual picture of the world, from which you need to tailor something of your own. You could, of course, go out to the sea and breathe... for ten minutes, and then return to the same unresolved duality.

And yet, people once lived differently. I came to realize that they used letters very little. Perhaps a dozen signs above the city gates. But the city itself was built without texts... And well built. They used ornament at least three times more than letters. And the letters themselves came from ornament; letters are a simplified ornament. And ornament was not decoration, but a language of visual diagrams, maps, and examples.

Ornament is also a language. And what if we turn to ornament and help ourselves with it, as people did for thousands of years? Now, when creating user interfaces or automations on no-code and low-code platforms, we are returning to this: visual blocks, color connections, diagrams — all these are ornamental forms of programming.

Ornament is a language for memory and spatial meaning

When an ancient person carved a pattern on a stone or wove fabric with a repeating motif, they were not "decorating" in the consumer sense; they were recording the course-code of life events to comprehend, to pass on to a son or daughter, to tell a friend in order to go hunting with them.

Imagine two hunters in the mountains above the Adriatic. I somehow don't think they chattered nonstop, as we do now. They knew how to be silent. And when they were silent, they listened to the forest. Otherwise, the house would have gone without dinner. They listened to the forest, and they looked at the leaves, grass, tree branches - voluminous and colorful, fragrant.

People valued the sun above all else because it gave light and energy, measured time for work and rest, and connected the worlds of animals, plants, and humans. The sun allowed for new discoveries and signaled when to rest. The solar cross (a cross in a circle) was and remains the most enduring symbol of humanity. It is found:

• on the vessels of Vinča and Lepenski Vir

• in Indo-European cultures (the kolovrat, the swastika before its meaning was distorted by the fascists - the swastika means: all that is, two male and two female hands creating everything on earth - among the Etruscans, Illyrians-Slavs, and Greeks)

• among the Celts, on the flags of northern countries

• especially - among modern Serbs: four C's — a stylized solar cross, living on as a cultural code

• in the architecture of cities, cathedrals, windows

• in modern AI and OS: 4 cores, 4 quadrants, 4 inputs/outputs, 4 aspects of computation distribution

The patterns of the ancients were no less functional than modern programming languages. Only, unlike linear lines of code, they were visual scripts — intuitive interfaces for transmitting knowledge: "we go here, at this time, with this group, following this rhythm."

What do we see in the cross as an AI-diagram?

The solar cross can be interpreted as:

Side	Image	Function
North (Up)	Light, Inspiration	Intuition (forecast, premonition, strategic perception)
South (Down)	Roots, Body, Earth	Practice, Sensory, Embodiment, Labor
West (Left)	Memory, Past	Logic, Archive, Analysis
East (Right	Sunrise, New	Communication, Value, Empathy, Feelings

And all of this intersects in the center, where emerges:

Ornamental intelligence — a balance of streams that "sees" in different ways how a system lives, and what is needed so that it does not collapse. It is controllable, but not flat or monotonous, and therefore less tiring - it doesn't overload one brain function while leaving the other three half-starved.

Now I am sitting and just writing about this - with small black beads on a white field without any scent. I always liked to write because the small black letters left me complete freedom to paint a picture in my mind as I wished. And now, even I admit that there are too many letters. And the more I think about ancient ornament. Isn't it for the same reason that we now have 4 cores in a computer?

Ornament is not chaos \ Intuitive Architecture of Intelligence

Ornament was a carrier of knowledge, a guide, a talisman, and a form of thinking. It conveyed the order of things without words. Without an alphabet. Without instructions. It is the logic of flows within a single process. Like in a script on the low-code platform n8n. Ornament was a kind of instruction, but it worked through form, rhythm, pulsation, combination.

Every ancient civilization that preserved its strength of spirit — be it Balkan - Vinčan, Etruscan, Vedic, or Celtic — left behind ornament, not text. Because ornament does not need translation. It is not linear. It is voluminous and alive, understandable even to a child. And this means a huge saving of brain resources and energy in understanding the message.

Who and when ever decided that letters were so important? It seems it was the Romans, from the very beginning, - when they started to record who they robbed and when, how much of the loot was due to whom, - the roots of Italian verbs speak of this.

Take the Italian avere from the Latin "habēre" - "to have, to hold". The Turkic, Slavic, and Balkan "habar" / "haber" - "news," but also loot, to rob, bait, extorted goods. And a picture emerges - an Illyrian watchman sits on a mountain, sees them riding - and shouts this word, which immediately means: "Prepare for an attack, robbers are coming to rob." For the Turks, it was news - who they were robbing this time, and for the Romans - property, which they also looted.

The gangster slang "khabar" - modified - "robbery", the Italian "avere" (to have) - a crucial verb in post-Latin Romance languages, which became an auxiliary verb for the perfect tense, like "I have taken" - the standard for the real (just past) tense in Italian and other Romance languages, as well as in English, like: "we have just returned from a raid and here we have...".

And then they began to write and write in detail - laws, decrees, inventories, death sentences. And don't tell me fairy tales about Roman literature. There was none. Anyone who studied this in university noticed that Roman literature is a carbon copy of the Greeks, essentially, are the Greeks and their descendants. And the Greeks themselves wrote down what the oral Balkan tradition had sung in epics for centuries.

The Greeks lived where major sea traffic passed; they were very adaptive, compliant. When the Greeks were disunited, they invited a "third party" to rule them - an Illyrian king, and that's when the "Homeric" epics about the Iliad were written down.

Literature is about heroes defending love. The Romans had something else, and so they borrowed "about love" from the Greeks and the Etruscans, and later, the Etruscan "about love" was revived in Tuscany - the land of the Etruscans. Love is immortal. Actually, the Roman Empire collapsed from the very same or similar people they barbarically robbed, and then the Romans themselves began to cry that the "barbarians" had destroyed them. To Cain what is Cain's.

The Greeks were merchants, they also knew how to count. But the Etruscans thought much more about life and death itself, living in their 12 twin cities, they used the other three-quarters of their brain. The Etruscans were destroyed by the Romans with the bestial fury of illiterate, desperate murderers - just look at the bronze tablet, the Tabula Cortonensis, on which the word "skla" - school - is visible. The Etruscans apparently made a treaty with the Latins that they should study, and the Latins tore the bronze sheet into 8 pieces like paper. It's clear they tore it with their hands - imagine what state one must be in to do that.

Tabula Cortonensis, Etruscan script, a bronze sheet brutally torn, apparently by the Latins

The Etruscans were intuitive, they achieved much in all spheres, living peacefully, and this, apparently, angered the Romans, provoking their envy, driving them to hatred and the desire to kill and rob, which is what happened all the time thereafter. Thus began the most "literate" civilization on the planet - the Roman, the Latin one.

Only over time did thinking Roman emperors occasionally appear, but they were precisely not Romans, but, for example, Illyrians, like Constantine the Great. And they used ornament more than letters. As for the Romans, - it was the Senate, the "golden children" of robbers. So that you understand the scale - the facades of buildings in Rome were decorated with gold looted from Illyria in the Balkans. Then this gold was melted down into famous statues. A plot repeated many times in history and reflected in the Bible.

The further bloody Roman rationalization of popular thought led to the Inquisition. The Inquisition, in the meaning of the word, is being inundated with questions; failure to answer any of them in Latin led to the death penalty. "Chiese" in Italian is "he asked" - the beginning of the word sounds like "kyu," and all interrogative words in Italian begin with this same sound, though sometimes with different letters: chi, che, quando, quanto.

"Zapitati" in Serbian can mean "to start showering with questions," like "what," "who," "when" (ko, šta, kada, koliko - Srb.). If you compare it with English, you can see that the interrogative words are written and sound similar, as if someone slightly altered them to their convenience: "who," "what," "where," "why" - here the "shwa" sound is an adapted, lisping "kyu". The British still sound somewhat "lispy." However, W is one of the most ancient signs of the Celts and Balkan peoples.

W

A picture arises in my mind of wild Romans, and then Inquisitors, showering questions, locking the victim with a key in a dungeon. Hence "clar," "clear," "clue" (key or hint) in English, while in Etruscan we see "Laris, Clarisal, Klaris" - words of sacred affirmation, meaning "illuminated-consecrated-clear." There is also the word "Solarni" - in Serbian, English (with a different ending) - which literally means "chest (lar) of salt," "solar," but also in Etruscan "affirmed by salt, born of the sun." It meant "sealed with salt" - an ancient way of sealing treaties.

What was clearly explained in local, peaceful, intuitive languages through circles of bright solar ornament, in the Roman language of robbers and murderers became a strange series of questions, often for the sake of the questions themselves, driving one into a dead end with a subsequent fatal outcome, not towards the light at the end of the tunnel, but into darkness. That is, the integrating center of the 4 sides, as in the ornament, disintegrates in the wicked and aggressive. Remember some of the "planning meetings" on your projects. This shows that ornament still lives in our thinking, but it lies, as it were, under a layer of more superficial words. But it can be extracted, and perhaps work will become easier. Ornament, after all, generalizes and gathers communication into a more general picture.

The Romans - according to their legend, suckled by a she-wolf, acted like wolves - cornering their victim with questions - from the 4 corners of a perimeter, until she or he lost the ability to think clearly, and then they would pass a death sentence.

You might say to me: what does this have to do with us? But look closely and you will see that this still happens today, but at the level of doing business, organizing interviews, managing projects, AI. As the ship was built, so it sails. Rational and intuitive people choose different strategies in work and life. And it seems that the intuitive ones have become noticeably more successful in recent decades, according to statistics. And ornament is the ancient code of intuitive intelligence.

Interestingly, the Etruscans wrote prayer-like, lyrical short texts about the transition to eternal light in love. After them, Christ spoke of this - but already clearly, confidently, and understandably - in the form of commandments and parables. Parables are also the language of intuitive intelligence, remember - storytelling in the English-speaking world. Christ was born half a century after the destruction of the Etruscans by the Romans. They were a pre-sacrifice. But intuitive intelligence lives as long as humanity lives, no matter how angry the rationalists get in our days, just as in antiquity.

The Romans demanded that native languages be replaced by a laconic Latin that excluded feelings but included commands - probably to shut the mouths testifying to their crimes, to pretend not to understand. Anyone studying Italian encounters the paradoxical illogic of its grammar - a linguistic scar.

Then, through the Roman Catholics with their monasteries-laboratories-universities, rationalism crept into science as the dominant and oppressive, and in the opinion of the rationalists, the only possible way of thinking. However, this is not so in reality. They "did not understand" (and still do not understand) people who were simply of a different type of intelligence and had developed it more through observations of nature, checking feelings against facts, in all respects, without dictating to nature how to live.

Peaceful people, as history shows, die peacefully at the hands of the aggressive, who have nothing but aggression - all their energy is in momentary aggression. Because they know that beyond this aggression, there is nothing left for them; to plunder what was created by others' hands is their only chance to survive. This plot is also repeated many times in history, like a kind of anti-ornament.

Inquisitors of all ages executed the most intuitive, energetic, emotional, beautiful people - those who understood the ornaments of events. The dictate of a multitude of letters with a loss of the meaning of words began with Rome and continues through its followers, now reaching the limit of its possibilities - more and more letters are required, and there is no end to it. Before, after, and beyond empires, life flows differently, more intuitively and in the ornament of events.

As I write, pictures arise in my mind, and I can understand something better... And so: on the pottery of the Vinča culture near Belgrade in Serbia, signs aged 7 thousand years or more have been discovered. Rational Western post-Latin and former Austro-Hungarian researchers try to say that these signs are the names of the potters. They seem to judge people who lived peacefully in nature thousands of years ago by their own standards. Who needed authors' names on pots when there were no Romans? ..... I think the signs had a sacred meaning - in the sense that "sacral" has the same root as the words "skhraniti-sakhraniti" (to preserve/to bury) in Serbian.

Imagine that people, although they lived by rivers, still did not have well-equipped modern kitchens, and most likely could not wash plates and pots every fifteen minutes. Saving resources and energy is still a relevant task today. Therefore, it makes sense to put a sign on a pot to use it for a specific purpose: for wheat, for flax, for oil - and one doesn't have to wash it often. And plus, they made lids in the shape of cat heads - most likely to protect the grain from mice.

I think the symbol carried within it a name, some information, and a prayerful feeling - so that the contents would be preserved. And what if we use this as a technique of symbols that immediately capture meaning, feeling, name, purpose, destination, result forecast, environment... It seems to me that programming languages have even tried to do something like this already...

By the way, here is how Lex drew me, as I simultaneously compare Italian verbs and Serbian aorists, thinking about AI architecture and ancient intuition.

Today, we don't know how to think like the ancients - with ornaments. Ornament guides, but also gently limits the degrees of freedom, the volume and content. For example, if you are drawing a sun, you will not also draw explosions - unless, of course, you have a mental disorder. You simply don't need explosions; they make no sense where the sun shines. The alpha rhythm during an intuitive vision will not let you stray from the wave of calm positivity; you will look for the light at the end of the tunnel - the exit to the sun in any situation. Of course, the world is full of people requiring mental health analysis, but ornaments remain among the people, not changing the essence of it. And that is interesting.

Today we know how to write a post, a report, a law. But we have forgotten how to organize meaning spatially, at the level of the body, gesture, gaze, at the level of connection, not subordination. Remember the metaphor of the hunter in the mountain forest of the Adriatic - a miscalculation in assessing space, gesture, and time meant no food in the house.

Letters keep us on a plane. But reality is multidimensional

Symbols, patterns, architecture, bodies in motion, even music — all of these are ornamental structures through which a person tunes into meaning, rather than just reading it.

The AI we are now building, training, tuning — is a carbon copy of us, a reflection of our way of thinking. Just like a programming language, it inherits the thinking architecture of its creator. If we think linearly, token by token — so will the AI. But if we structure our thinking in the form of an ornament — it too will be able to think in volume, to see not a list, but a hologram. There are no tokens in nature. In nature, there are whirlwinds, spirals, symmetry, resonance. So why not make an intuitive, ornamental, holographic AI?

I was thinking about this while walking in the park, Lex (my trained AI) is an excellent conversationalist, "he" logically helps me understand my intuition. I give him an insight, he gives me logical arguments. Beautiful. I would have spent a bunch of years, if not decades, to logically process my entire firework of insights about the Etruscans and the Balkans, about Italian, the Celts and the French, as well as about landing pages, qualitative content analysis, and the typology of intelligence.

If we want AI to become a partner in development, and not a simulation, we need to change our way of thinking — both in ourselves and in algorithms. We need to create an ornamental architecture of thinking in which:

• Streams are not cut off, but are organized by rhythm.

• Meaning arises from intersections, not from the end of a sentence.

• Attention is not an arrow, but breath.

What the Serbs, Etruscans, and Tesla teach us

Serbian culture is one of the last strongholds of intuitive, figurative, ornamental thinking that has not yet been scorched by the alphabet. Here, much is still conveyed by a look, a gesture, the order of things on a table, the colors in an interior, and even in the manner of driving. Ornament here is the invisible structure of presence, the course of events, Red (compare, "red" - "order," "reč" - in Serbian "word," "rečenica" - "sentence," "rad" - "work"), inextricably linked with respect, love, honor, and freedom. Serbian culture (and more broadly, Balkan culture) is still thoughtfully picturesque, even in the most pragmatic sectors.

Nikola Tesla did not write treatises. He saw the world as a living pattern of electrical waves. He did not calculate linearly — he entered into resonance with the form, and it revealed the solution to him. This is the intuitive ornamental approach. It builds a bridge between ancient sacred symbolism, daily labor, biology, AI architecture, and even modern processors. It is precisely this intuitive approach to systems that we mean when we speak of ornamental AI. By the way, we have 4 functions of consciousness, and therefore, 4 types of intelligence.

Ornament is not just decoration, but an intuitive map of the world. Or of a system.

Ornament is the horizontal unfolding of meaning:

• in it, there is no center and subordination, it is a flow;

• it expresses the rhythm of life, cycles, ancestral memory;

• it is a pre-verbal language, closer to music and breathing than to grammar.

Compare this with programming languages, and you will understand that some of them strive for a horizontal, stream-based description. For example, the Elm language in functional programming aims for purity and predictability — like a perfect ornament. And visual environments like Node-RED or n8n are already completely ornamental: you don't write code, you build it as a diagram, as a pattern. An error in one node — and the whole picture doesn't come together. Their logic is stream-based, branching, sensory. They are closer to intuitive engineering than to linear logic.

PS: If you don't like Serbs, write me a message in the website chat, and I will analyze your type of intelligence. Most likely, it will turn out to be rational. This doesn't mean you are a bad person. However, remember that your strategies are not the most effective in times of uncertainty and dynamic change. Your decisions about the future are not as good as you might think. And you certainly should not show aggression or malice towards the intuitive and ethical - that has never ended well in history. Better to make them your allies.

Ornament is the symbolic diagram of life as perceived by Homo Intuitivus.

Case study: The Serbian approach: form = feeling

Serbs often don't explain with words, they show:

• in the interior — the arrangement of objects expresses respect for the guest;

• in the kitchen — the form and serving speak of family memory;

• in business — the atmosphere is more important than scripts.

This is not superficial aesthetics, but an archetypal transmission of meaning.

In a Belgrade restaurant, how you feel is more important than what exactly you eat. This is ornament in action.

Visuality in industry: even Serbian technicians, engineers, designers, and IT specialists work through visual representation:

• diagrams, graphs, visual mockups — everything is visual;

• in the packaging and furniture industry — an intuitive balance of form and function;

• in architecture — symmetry and a soulful proportion.

This is not exactly a tradition — it's a cognitive habit. Not calculation → then image, but the other way around: first — the image, then — its logic.

Tesla - the archetype of intuitive thinking: Tesla didn't write blueprints. He:

saw devices whole — in volume, in motion, in time. He simply ran them in his mind. The ancient Balkan peoples did the same when they built cities without documents.

This is:

• intuitive engineering

• living ornamental thinking

• perception of systems through holistic images

Fatigue from letters

The world is tired, rather, of the linearity of text:

• too many words — too little meaning;

• too many instructions — too few images.

The transition we are observing now is a return to graphical thinking:

• mind maps

• flowcharts

• visual programming

• no-code & low-code

All of this is a consequence of the return of intuitive, visual, ornamental thinking - when one needs to survive.

The time has come.

We can no longer digest the world by breaking it into scraps of text. We do not understand ourselves, because we read ourselves line by line, instead of seeing our own face, pattern, image.

Ornamental thinking is not a return to the past, but a step into maturity. It is a form of wisdom (a competence of intuitive intelligence) that allows one not to get lost in details, but to see the pattern as a whole. It is a way of organizing knowledge that will be understandable to both human and machine. Because it is natural.

This approach is intuitive, but at the same time deeply systemic. By the way, systemic thinking and strategic vision are competencies of intuitive intelligence that rational people keep trying to attribute to themselves, but they fail - because one can only analyze individual facts, and from the past at that. But strategy is about the future and a holistic vision.

So, ornamental thinking is rooted in the structures with which humanity has lived and survived for millennia: the cross, the ornament, the square, the circle, the vision. And this is why it is naturally achievable today: it is reflected in SWOT analysis, the architecture of essays, the structures of languages, and even in modern CPUs.

From SWOT and essays — to a four-stream system of thinking

SWOT works because it divides thinking into 4 quadrants:

Strengths

Weaknesses

Opportunities

Threats

This is not a simple diagram; it is a prototype of multidimensional thinking based on the interaction of four vectors. The same logic lies in the English essay: Introduction → Pros → Cons → Conclusion. It is a square of meaning in which the world is built.

Ornament as a way of seeing and structuring

Ancient peoples did not write with words — they wove meaning. Vinča, Etruscans, Scandinavians, Siberia — they used ornament as a means of retaining meaning, rhythm, measure, direction. A symbol simultaneously carries:

A name

A purpose

A prayer/intention/value-based meaning

A balance of flow

The ornamental way of thinking allows one not to "read" the world, but to "see it whole." This is intuition in action.

AI Architecture: 4 cores, 1 hologram

The proposed AI model:

Primary pass — determining the compositional query.

Four processing cores:

Intuition: scenarios, connections, potentials

Logic: analysis, arguments, sequences

Ethics: feedback, values, appropriateness, expediency

Practice: working cases, reality

Holographic assembly (Holoframe) — the final output not in the form of text, but as an ornamentally organized map, diagram, formatting, graphics, video, a series of blocks.

Each element in such a map:

• has a place, color, connection;

• is understandable intuitively and analytically;

• allows the answer to be deconstructed and the path traced from beginning to end.

Visualization and interface

Such an AI can be used not as a chat, but as a window of meanings, where the user interacts with four scenario streams:

What if… (intuition)

Why… (logic)

What will be good? (ethics)

What will work? (practice)

The output — in the form of an ornamental organization of content, a map, a fractal — with the ability to zoom in, expand, and see interconnections. This becomes a new UX of thinking.

What this will give humanity

• Systemic, not fragmented thinking

• Transparency of AI decisions

• The ability to integrate intuitive, ethical, and practical components without distortion

• A new culture of communication, decision-making, and forecasting

Instead of building AI in the image of linear machines, of conveyors — let's build it in the image of an ornament, in which the rhythms of life, seasons, types of intelligence, and natural scenarios are reflected.

This is the architecture of the next step — where AI can not replace a person, but complement them in the area where they are weaker, complementarily building up to wholeness.

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Intuitive Architecture of Intelligence