The term "conformation" has been employed in literature to denote the arrangement or structure of both physical bodies and abstract constructs. In earlier works, such as those by Edgar Allan Poe ([1], [2]) and Diogenes Laertius ([3]), it describes literal physical shapes—whether pondering a being's form or noting an unusual physical trait in a creature—while later authors like Charles Dickens ([4]) and Kersey Graves ([5]) also employ it to underscore distinguishing bodily attributes. Additionally, this term evolves into a metaphorical tool; for instance, Edmund Burke uses the idea of optics to suggest that a politician’s manner of seeing the world might be as distorted as his physical conformation ([6]), and Mary Wollstonecraft Shelley, in Frankenstein, uses it repeatedly to indicate a form suited to enduring harsh environmental conditions ([7], [8], [9]). The concept is further extended into abstract realms, with Cicero ([10]) and Jules Verne ([11]) drawing parallels between physical configurations and the structuring of the mind or artistic spaces.