Here we describe three kinds of landscape that may be engaged with within a zone of reach, and indeed, in practice generally.
The stuff in each landscape calls for a particular scope of skill; it has a particular look-and-feel, a texture and flow, a dynamic mode of self-action. The stuff in each landscape is in some sense 'alive' - thus, to some degree beyond the will or perception of actors. This is why it's practically important to recognise the landscapes, and the skilful patterns that have emerged in engaging across the three landscapes of practice.
All practice is necessarily performed in all three landscapes, all the time. There is 'no time out' from any of the landscapes. The landscapes cycle necessarily to the top of the stack of attention. But in skilful intentional practice, attention may be directed to one or another of them - in practice and thus also in the pattern language(ing) of practice.
Red landscape
Comprises material stuff, animated through material relationships, engaged with in material skilful ways.
Engagement in this landscape constitutes **'a dance of provisioning'** in which partcular stuff is placed in particular locations or set in particlar trajectories with particular intentions (which may or may not be skilful). This dance is the 'real economy'. Because the stuff in the landscapes is 'alive' - in particular ways, in each landscape - we speak of making **a living economy**.
Blue landscape
Comprises cultural stuff, constituted through explicit, intentional speaking and organising, in collectives of people and stuff (perhaps, recognised communities of practice; perhaps, recognised institutions) and engaged with in literate ways through cultural media (texts, recordings, live performance, machines, digital machines and media, executable codes and scripts, etc etc) and through live participation or direct hands-on action.
Engagement in this landscape constitutes **'a dance of knowing and capability'**, which thus may have a choreography. The cultivation of skill and capability in the collective and the individual, in this dance, is referred to as **formacion**.
Yellow landscape
Comprises 'interior' stuff (emotion, thought, bodily sensation, proprioception) animated materially within an actor (and within co-present actors), engaged with in interior skilful ways.
Skilful engagement in this landscape constitutes **'a graceful movement of intention'**. The work here is centrally concerned with **'structures of feeling'**.
Making a living economy
Making a living economy involves skilful, live, interweaving, simultaneous choreography of all these kinds of dance, across both zones of reach Close-up patterns, Long-reach patterns. It's complex, a matter of great skill and persistence in attention and action.
Making a living economy is understood, practically, as a matter of intentionally making and sustaining the activist formations (formacion) that may - in the event - prove capable of making a living economy. This is what the foprop pattern language is for.