The central orientation of the pattern language - and thus, the college - is not 'economics' but everyday life and the direct production of society. Practice in society is seen here as continuously being conducted in three always-already-present 'landscapes' . .
- the material landscape of bodies and stuff and greenstuff - 'the economy' of provision and access of necessary material means of subsistence and wellbeing . . the real economy of economic production (and altered production) and material **forms**
- the cultural landscape of knowing and capability (to organise, to make, to vision, to cultivate, to plan, etc): 'culture' . . the field of cultural production (and altered production) and cultural **formations**; and
- the 'aesthetic' landscape of attention and intention, affiliation and motivation, valuing and wanting (and their opposites): the world of structures of feeling, and the heart . . the 'moral economy' of the production (and altered production) of feelings, impulses and valuations, the field of emotional **forces**.
Fully material 'forces of production' exist in each of the landscapes - constituted by the everyday mundane dance and weave of the strands of people's lives, and the stuff they weaves their lives with. Likewise, in each landscape - material, cultural, aesthetic - there are relations of production under which the forces of production are evolved and mobilised - both dominant existing relations, and emergent ones.
The practice of an activist consists of organising 'prefigurative' practices under distinctly altered, emergent RoPs - this is the definitation of progressive activism and of prefigurative, transformative practice. And patterns, in the pattern language, are centred in resolving the tension and conflict betwee dominant and emergent RoPs. This is what makes it a pattern language of activist practice.