From the Introduction to "The Tao of the Circles"
Humanics Publishing Group, Atlanta, GA
"To look at an object is easy, to look at the subject is not so easy"
I invite you to read The Tao of Design before you read the The Tao of the Circles. Many principles surrounding the concept of design are presented in The Tao of Design and it may better prepare the reader for the following material.
Since I was a child I've heard the word design used in many different ways and in many different circumstances. Still after studying, teaching and practicing design for so many years I have yet to feel comfortable with any one single definition. Design seems to have a mystery surrounding it. Design is a very difficult phenomenon to grasp in its entirety yet everyone has some idea or inclination of what it is. Design influences us everyday from the style of clothes we wear to the plans we make before our vacation.
For the most part design seems to partake in a certain kind of knowledge acquired through experience and it is through these experiences that we determine what shapes our understanding of the world. Design by its very nature is subjective in character.
Generally we view design as a process involved in the creation of objects and spaces. However, intuitively we feel there is more to design than simply the ability to generate forms, ideas and images. Our experiences contribute to our understanding of design by virtue of the subjective impressions that color what we say, think and do.
Today we tend to interpret design in a scientific fashion. We attempt to quantifiably reduce our subjective experiences into finite, separate, weighable and measurable events. The scientific paradigm attempts to quantify our subjective experiences for the purpose of defining, refining, interpreting and in a sense controlling our perspective of reality. This kind of interpretation simply ignores the multi-dimensional and amalgamating qualities common to the design experience.
"action of making a mark or sign". According to this definition design can be interpreted as an activity that focuses upon the creation of signs or symbols. Webster's definition implies that design is involved with something more than just the physical creation of an artifact. A meaning and a purpose in support of the design experience is typically veiled behind the creation of a sign or symbol. Design is not apparent for everyone to see or perceive ... design is intuitively felt.
Its apparent that an observer is an active participant in the design experience. By definition symbols are an integral part of the design phenomenon with consciousness considered apriori in every event and experience. Design is an integral factor in every experience encountered by a conscious observer and should be considered innate to the understanding and comprehension of consciousness itself. The ability to bring meaning and purpose into our lives is a major role of the design experience.
Essentially we are symbol makers and symbol perceivers. Likened to the relationship between a transmitter and a receiver, humanity resonates to a glut of tangible and intangible forces every day. Invisible in origin some of these energies (frequencies) appear tobe mental and/or emotional in quality. At times some of these influences are intense enough to find their expression in physical form, e.g. gravity. Together they characterize a vibratory fabric described, perceived and observed as the universe.
The mind, our emotions and the physical world qualify all that we are capable of feeling, observing, knowing and understanding. By nature they create the constructs upon which consciousness is made recognizable and comprehensible. All forms of energy are made conscionable, apparent and significant by virtue of design and the design experience.
gerund or present participle: observing
1. notice or perceive (something) and register it as being significant.
Consciousness appears to have an order to it. Consciousness participates in a symbolic geometry that is instrumental in the stabilization and permanence of the very observer that perceives it. Design represents events and experiences in a manner that is symbolically communicated, interpreted and made relevant to other events and experiences whether they be in the form of an object, an impression, a feeling or a thought. Design gives consciousness its expression in time/space. We observe, participate and experience the universe in a similar manner, via a concept of consciousness made apparent to ourselves by means of design.
Each design is a symbolic reflection of an awareness brought before our consciousness in the form of experience. These experiences appear to be real but could actually be holographic in character. All forms of energy, light and information are in their own right somewhat illusionary.
A state of being can be described and defined in the form of an design experience. The description of a state of being (experience) is symbolic in quality. The world does not exist of things, but of symbolic relationships made within the parametric constraints of our mind and our emotions (kama manas). Humanity participates in a universal design process/experience that generates energy, light and information patterned in the form of symbols made for the purpose of experiencing 3D space/time.
KAMA MANAS: No thought without e-motion. No e-motion without thought.
KAMA MANAS: No thought without e-motion. No e-motion without thought.
Objects built upon symbolic agents, e.g. the atom and boson, are simply ideas constructed to make what we observe and experience in the universe intelligible. Design infiltrates what appears to be both a subjective and objective awareness that symbolically integrates and permeates the concept of consciousness as we know it. Does this situation create the same two sources from which a holographic universe is generated? Is the objective world merely a symbolic projection of how we subjectively experience it?
We actively participate in a symbolic process every day in order to interpret and create our own particular reality. Design is brought to awareness by everything that participates and contributes to an unknowable and universal state of being designated by some as representing the Tao.
Design appears to have three levels of interpretation that actively weave themselves into an ever-changing fabric of meaning. Individually and in combination these perspectives eventually lead to a particular POV. Design is multidimensional in character and can appear before consciousness in the form of:
1. A sign
2. A symbol
3. A network
Each of these expressions have a purpose and meaning in their own right. Likewise each expression is vital to the circumstance in which they appear and are interpreted. According to design everything we observe as being real is actually symbolic in character and the product of a personal experience (interpretation) made in conjunction with a collective elucidation of similar events.
Design can appear before our consciousness in the form of a sign. A sign has a number of definitions; it can be a gesture, a mark, a token, a note or a symptom. Signs are generally pragmatic and functional in character. Anything that can be directly or indirectly perceived by our senses could be considered a sign. A sign is predominantly physical in character, yet it could also reveal the hidden qualities of an impression or feeling in contrast to its outward appearance. A sign might also be a distinguishing mark or an outward indicator that something might be changing.
Design also appears before our consciousness in the form of a symbol. A symbol unlike a sign, possesses a transcendent quality all its own. A symbol is very meaningful. By use of reason, association, or resemblance, a symbol can easily suggest or represent something else. Symbols can consciously and/or subconsciously bring forth an emotional response. A symbol is a sign describing something that cannot necessarily be seen, known or understood but felt.
Categorizing design into three types is merely an attempt to bring order to a multidimensional concept. Each category should be considered an integral part of an always-changing field of perception from which we view reality. In other words a sign can also be symbolic in character while simultaneously contributing to a larger network of interpretation occurring within a common time frame. Design can wear many hats all at the same time.
Design like consciousness is multi dimensional.
Design possesses the capacity to bring together elements that at first glance appear to be incongruous and/or in opposition to each other. Design allows for the generation and formation of a symbolic network based upon events and experiences that cross dimensional boundaries. Design combines the transcendental properties of the symbol in quest for greater knowledge and understanding. Design helps determine the original position from which to align one’s focus upon an objective, goal or designation.
To follow the Tao is to focus upon one’s own symbolic path in 3D space/time. The process is a symbolic journey determined by means of reflecting upon one’s own design experiences. Design comprehended at this highest level should be considered an undertaking that is fueled by a greater meaning and guided by a more encompassing purpose.
It is commonly understood that focusing only upon one single event without understanding its place in the tapestry of events can lead to imbalance. Any single event is but a moment in a larger network of changing events viewed within the constraints of time. Every single design is a contributor/component to a more formidable design. Every symbol donates to the realization of a more masterful or all encompassing symbol. The design paradigm concerns itself with a network or tapestry of interactions whose meanings and purpose arise from their relationship to the whole.
Design could also be considered hierarchal in character. Design expressed as a sign can at times precede a symbolic interpretation. Design needs to be experienced symbolically before it can be fully recognized and appreciated for being an integral part of a greater process or experience.
The perception of design being an important aspect in our comprehension of consciousness rests upon our ability to intuitively feel and understand the emotional power hidden within the confines of the symbol. Carl Jung described a symbol as possessing a certain degree of numinosity in the form of an energy that can have an enduring impact upon our psyche. Symbols possess a revealing quality that can change lives.
Symbols can appear in our dreams, are very intimate and have a major influence upon our perception of reality. Symbols by virtue of the design experience, reveal the existence of an internal power that is harbored deep within our subconscious. This source is hidden within in the network of a symbolic matrix we've created for ourselves. Symbols appear to emerge from this same source to subjectively guide us into making the choices that are significant to our lives. How we intuitively feel about things greatly contribute to the design experience and the paths we take.
What appears before us as consciousness appears before our awareness symbolically. Symbols can take the appearance of a measurable form, a dimensionless image or an emotional expression. Symbols can be both objective and subjective in character. Some design experiences are measurable others are not. Yet there are two attributes that give design its unique quality which are meaning and purpose.
All that could ever be experienced possesses both a meaning and a purpose. Design is the fulcrum, i.e. the point about which meaning and purpose vacillate. Around this point surfaces a motion (energy in motion, e-motion) created by virtue of an attraction and repulsion between states. The result becomes a field of standing, i.e. an identifiable energy "source" of its own making. These influences appear before consciousness in the form of a sign, or symbol while participating in the creation and generation of a symbolic network of their own creation. The field where meaning and purpose interpenetrate becomes "unified" while symbolically held in balance by a greater network.
Meaning and purpose are ideas appearing in the form of certain qualities that describe our personal interaction with the concept of design.
Design has no property separate from our own perception and interpretation. Meaning and purpose are symbolic re-presentations required of 3D space/time and necessary to perceive, observe and understand the concept of a design experience. Every design is a symbolic expression of an ever-changing dance between two alluring partners. Each design is the product of an on-going interaction between contrasts. It is through design that opposites can cooperate and generate the potential for giving form (an idea) its most appropriate expression in space/time.
Divergent elements may not be initially attracted to each other, yet design can symbolically foster any potential relationship.
Forms that appear before consciousness are symbolic reflections of a particular awareness. Design is alchemical in its nature. Design affords us the opportunity to transcend limitations and challenge the mysteries of the unknown. The secrets of reality present themselves to us by means of design. Design consciousness implies that not knowing is an integral part of the process and that outcomes are merely phases experienced along the way.
Upon the fulcrum of design rests two characteristic points of energy located in apparent opposition to each other. About the point of meaning are attracted the emotional qualities of a design; its feeling, its impression, its mood, its interpretation, its significance. About the opposite point of the fulcrum is purpose and the attraction of the mental qualities of a design; its reason, its intent, its function, its practicality. Together they generate a spiraling field specifically designed with a particular meaning and purpose.
As these qualities merge we observe images appearing and disappearing before our consciousness (field) by virtue of our imagination. These images are the by-products of experiences brought forward by the intuition. Some images are bright and clear while others are dimly lit, concealed and found inappropriate for the situation at hand.* It is within this field of potentiality that forms surface and recede, appear and disappear.
* Please take note of the function of purpose in this relationship. It is by reason that most of our impressions are valued and measured in 3D space/time. Rarely is our reasoning overwhelmed by what we feel. Creativity and innovation first require that there is a major leaning towards the intuition along with an understanding that this hidden intelligence will eventually bring balance to every situation.
When we look to find meaning outside of ourselves a purpose will be appear in meaning’s image and like purpose be symbolically interpreted. Purpose and meaning are subjective in interpretation, emotional in character and appear in the form of an idea. All original intentions are eventually reflected back towards their consubstantial source (field) by means of design.
Every design is a revelation. What is experienced both in form and formlessness in 3D space/time is a reflection of our own awareness, i.e. an expression of what we perceive to be real by means of our own imagination. Design at this level clearly illustrates the intimate relationship between the psyche along with the realities we fashion for ourselves and for others.
Design consciousness is a consubstantial event that eventually gives rise to the concepts of inside-ness and outside-ness.
In contrast if we perceive design intuitively a different impression will prevail. Design interpreted intuitively is meaningful in its content. Though still purposeful in function, design from this perspective adheres to a more significant condition. A design symbolically interpreted will convey certain feelings and impressions upon the observer. This feeling has the tendency to create further associations with other symbols within the parametric constraints of every experience (design field). In essence a symbol’s function is to bring meaning to experience. A design viewed from this perspective is most natural and common. It brings forward the realization that a design's origin remains deeply hidden within a point of self awareness by means of a virtual reality created from a network of symbolic events and experiences.
At this level of interpretation there are a wide variety of meanings associated with every design at every moment. Interpretation is solely dependent upon the observer’s awareness and the symbols (designs) created. Likened to radio waves broadcasting their signals at a variety of frequencies, full reception and response is dependent upon the capacity and ability of the receiver to "tune into" and match-up with any given vibration.
The power in support of these different frequencies (designs) originates from a desire to connect with the source of the transmission by virtue of the field and symbols it has generated for its own purposes. The desire for knowledge demands meaningful analysis and understanding while actively exercising the power of the intuition. Any heartfelt investigations into the purpose of meaning will bring meaning to every purpose.
The design experience is a symbolic journey. The design soon becomes the designer and the designer the design. Life becomes rich in meaning and purpose in the form of a symbolic path unfurling before us in its own meaningful way. Every design affords us the opportunity to re-align our consciousness. Design enables new associations to be imagined and made apparent by means of challenging past metaphors and old belief systems.
Design’s multi-dimensionality is vividly illustrated in the enigma of the crop circles. In reference to design these patterns appearing in fields across the planet and offer significant "food for thought". They appear as signposts, i.e. symbols directing and guiding us towards a meaning and purpose that appears beyond rational thought. They offer us a true design experience.
Yet like all phenomenon crop circles must have a source and/or point of origin. Everything in the universe appears before our awareness by means of a symbol appearing in the form of energy, light and/or information. These imaginings (images) appear in the form of wave patterns and relative substances surfacing from within a virtual space/time. These patterns are appear to be multi-dimensional in quality, vibrate at specific frequencies and resonate at measures to which we collectively respond to at mental, emotional and physical levels. And so it is with the crop circles, i.e. a phenomenon that can simply affirm its own "reality" by means of a multitude of relationships appearing in the form of number, vibration, shape, feeling, frequency, pattern, emotion, i.e. design.
We are driven to discover a reasoning in support of the crop circle phenomenon. Do the crop circles imply an even greater scheme of events? Symbols often appear as a family of figures exhibiting a wide variety of topics merely by virtue of their relationship to each other. In essence the crop circle enigma brings to our awareness a network of symbols whose meaning arise entirely from the relationships they've create beyond their material formation.
Is it necessary for us to know how the crop circles are made, or for that matter what is the source/s responsible for creating them? Is it imperative that we know if a circle is a hoax or not? I am of the opinion that whatever the source of the crop circle enigma they are all designs whose primary intention is to bring to our awareness the power of the subconscious and the unknown. Crop circles like the universe itself, exhibit certain qualities of energy, light and information. Keys to unlocking their mystery can be found by means of vibrating to their frequency.
Design affords us the opportunity to determine the truth for ourselves. Design allows us to trust ourselves while confronting, inquiring and investigating our own belief system. Design allows each of us to expose ourselves to our own true meaning and purpose.
The unknown can be found hidden within the shadows of light.
Design gives us the strength and opportunity to raise our frequency, i.e. awareness/consciousness, and challenge the status quo in a purposeful and meaningful way. Every design opens the door and provides for realignment by inviting new associations once subconsciously hidden in the unknown, to surface from within the provenance of the universe. Design's purpose: to shatter and then reconstruct old metaphors and belief systems into new patterns which are truly meaningful and purposeful.
Mystery will always be an integral part of every dimension of space/time. To some the realization of "not knowing" beckons humanity to discover the meaning and purpose behind our incessant drive to comprehend and understand what we believe. Whether knowledge is gained through scientific inquiry or some other means, some quality of not knowing will always be found in dimensional space/time, i.e. the universe.
Not knowing is the cornerstone of experiencing a universe in which we participate, share and have our being. Crop circles draw us towards the simple realization that the concepts in support of their formation lie in the meaning and purpose behind this "not knowing". What is the meaning in support of their design? They challenge us to discover our relationship to a universe that is a metaphor for Life, i.e. a symbol that can only be experienced by means of design.
The power (energy) supporting the crop circles and their symbolic transmissions rests entirely upon our capacity and willingness to perceive them with an open mind. The meaning and purpose behind their formations depends upon our sensitivity, responsiveness and willingness to experience them from our own point of view.
"Beauty itself is the symbol - the image of our future perfection, inspiring us to go towards the source"
Andrews, C., The Crop Circular, Circles Phenomenon Research International-UK, Andover, Great
Davis, B., Ciphers in the Crops, Gateway Books, Bath, Great Britain, 1992.
Deshimaru, T., Questions to a Zen Master, E.P. Dutton, New York, 1985.
Garant, C.,The Tao of Design, Humanics Trade, Atlanta, Ga., 1998.
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Ghost Wolf, R., Winds of Change, Mistyc House Publishing, Spokane, WA, 1997.
Grasse, R., The Waking Dream, Quest Books, Wheaton, Ill. 1996
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Edited: 03.17.2015, 04.08.2015, 04.21.2015
Edited: 03.17.2015, 04.08.2015, 04.21.2015
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