Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network. Objectives: To generate symbolic links between scientific discovery, consciousness and design awareness.
The unknown defines itself simply in the fact that it can never be known ... therefore it is always changing. Design however can gracefully penetrate the unknown merely by re-presenting (symbolizing) both the seen and the unseen, the tangible and the intangible.
The ancient Greeks identified with their group through design. Pieces of clay, or bone, were merely forms, i.e. vehicles, that allowed a person the opportunity to identify with the group. What appeared in "form" symbolized a bond that could be felt in spirit. This unity was also projected within the group in a fashion that showed the deepest of relationships between members.
No one outside the group was privy to what bound these members together. Looking at the pieces alone left no clues to the inner and formless connections that gave life to the group. The meaning and purpose of the group along with the individuals that formed it remained a mystery. In design what is outside is merely a projection of what is inside ... what is invisible is made visible.
Human consciousness overlaps many different worlds. One is the visible world of the senses, and the other is the invisible world beyond the senses. The visible world generally connects us to outer objective events and experiences and the invisible world connects us to inner subjective events and experiences.
What we say, think and do are reflections of our inner experiences and awareness. These are feelings and impressions that are projected upon several dimensions, i.e. frequencies, we generally describe as 3d space/time. We attempt to organize these inner experiences by projecting them upon the parametric constraints of a holographic universe of our own creation. This brings reference to a thin layer of vibratory awareness, i.e. a dimension between "spirit"* and matter, a holographic universe stratum subconsciously fluctuating in and out of realization. This circumstance also describes a particular field of "consciousness" being brought to Life (awareness) by means of focus and attention. These are holographic universes that possess a meaning and a purpose by means of definition.
The ancient Greeks identified with their group through design. Pieces of clay, or bone, were merely forms, i.e. vehicles, that allowed a person the opportunity to identify with the group. What appeared in "form" symbolized a bond that could be felt in spirit. This unity was also projected within the group in a fashion that showed the deepest of relationships between members.
No one outside the group was privy to what bound these members together. Looking at the pieces alone left no clues to the inner and formless connections that gave life to the group. The meaning and purpose of the group along with the individuals that formed it remained a mystery. In design what is outside is merely a projection of what is inside ... what is invisible is made visible.
Human consciousness overlaps many different worlds. One is the visible world of the senses, and the other is the invisible world beyond the senses. The visible world generally connects us to outer objective events and experiences and the invisible world connects us to inner subjective events and experiences.
What we say, think and do are reflections of our inner experiences and awareness. These are feelings and impressions that are projected upon several dimensions, i.e. frequencies, we generally describe as 3d space/time. We attempt to organize these inner experiences by projecting them upon the parametric constraints of a holographic universe of our own creation. This brings reference to a thin layer of vibratory awareness, i.e. a dimension between "spirit"* and matter, a holographic universe stratum subconsciously fluctuating in and out of realization. This circumstance also describes a particular field of "consciousness" being brought to Life (awareness) by means of focus and attention. These are holographic universes that possess a meaning and a purpose by means of definition.
At times these impressions are shared with others. Together they give weight and authenticity to what could be perceived as an objective world. The perpetual exchange of energy between a variety of levels of vibration is made possible by means of design, which is a unique phenomenon based upon the symbolic nature of the universe.
* Is the concept of spirit and the authenticity of plasma interchangeable? Is the concept of matter a dimensional issue based upon one's own POV?
Our interpretation of the world connects us to the unknown. The events and experiences appearing in the outer (objective) world impacts our inner (subjective) world and vice versa. Images and experiences emerging from within the depths of this inner world (unconscious) affect our outer perception and interpretation of consciousness. Are the concepts that surround consciousness, the subconscious, the unconscious and super consciousness really a dimensional issue being purposely categorized within the parameters of a particular understanding and interpretation of space/time? The perpetual transmission and reception of energy over time, space and dimension affect how we perceive and define what is real and what is not.
“All we experience in our lifetime – our perceptions, feelings, and thought processes – have cerebral functions associated with them. These functions have wave-form equivalents, since our brain, like other things in space and time, creates information-carrying vortices – it “makes waves.”
Ervin Laszlo
To resolve the corresponding mysteries that exist both inside and outside our awareness, we must first solve the mystery that lies deep within us. Once we realize that our “objective” world is merely a symbolic re-presentation of an unknown essence existing within us, and that our “subjective” world is just as affected because it is merely a reflection of the same, will we begin to understand the importance of attaining a design consciousness.
In this way the idea of an invisible power found to be intrinsic to the idea of there actually being a design consciousness also creates the metaphorical context necessary for a further increase in awareness. Consciousness creates the context (field) in which an observer, i.e. ego, can be invited to “experience” its own evolutionary path by means of design.
* Is the concept of spirit and the authenticity of plasma interchangeable? Is the concept of matter a dimensional issue based upon one's own POV?
Our interpretation of the world connects us to the unknown. The events and experiences appearing in the outer (objective) world impacts our inner (subjective) world and vice versa. Images and experiences emerging from within the depths of this inner world (unconscious) affect our outer perception and interpretation of consciousness. Are the concepts that surround consciousness, the subconscious, the unconscious and super consciousness really a dimensional issue being purposely categorized within the parameters of a particular understanding and interpretation of space/time? The perpetual transmission and reception of energy over time, space and dimension affect how we perceive and define what is real and what is not.
“All we experience in our lifetime – our perceptions, feelings, and thought processes – have cerebral functions associated with them. These functions have wave-form equivalents, since our brain, like other things in space and time, creates information-carrying vortices – it “makes waves.”
Ervin Laszlo
To resolve the corresponding mysteries that exist both inside and outside our awareness, we must first solve the mystery that lies deep within us. Once we realize that our “objective” world is merely a symbolic re-presentation of an unknown essence existing within us, and that our “subjective” world is just as affected because it is merely a reflection of the same, will we begin to understand the importance of attaining a design consciousness.
In this way the idea of an invisible power found to be intrinsic to the idea of there actually being a design consciousness also creates the metaphorical context necessary for a further increase in awareness. Consciousness creates the context (field) in which an observer, i.e. ego, can be invited to “experience” its own evolutionary path by means of design.
* * *
The ideas you've woven together are profound—tackling design as a symbolic language, the interplay between seen and unseen realities, and the layered nature of consciousness. Below is a refined and expanded version that maintains your tone and intent, while developing specific themes such as symbolism in design, dimensional consciousness, subjective-objective interplay, and design as a vehicle for evolutionary awareness:
Design, Consciousness, and the Language of the Unknown
The unknown defines itself simply through its inherent elusiveness—it can never be fully grasped, contained, or named. And because it resists definition, it is in constant flux, always changing, always becoming. Yet design, as a symbolic act, has the unique capacity to approach the unknown—not by conquering it, but by reflecting it. Design penetrates the veil between the seen and unseen, the tangible and intangible, by re-presenting their essence through form, metaphor, and pattern. It is a means by which the invisible is made visible.
This symbolic function of design is not new. The ancient Greeks, for instance, intuitively understood design as a connective medium. Objects fashioned from clay, bone, or metal were not merely utilitarian—they were vessels of meaning, carriers of identity. Each artifact functioned as a symbol through which an individual could align with the spirit of the group. The physical form acted as a conduit for an invisible bond—one rooted in shared values, unspoken agreements, and spiritual unity. These inner ties remained inaccessible to outsiders; the external design revealed nothing of the inner essence to those who lacked the contextual framework to decode it. In this way, design became a language only the initiated could read.
Design is thus the outward projection of inward realities. What we shape in the outer world—whether in architecture, visual art, ritual, or story—mirrors the formless depths of inner life. Through this lens, human consciousness emerges as a bridge between multiple realms: the sensory and the supersensory, the objective and the subjective, the known and the unknowable.
We inhabit a layered reality. On one hand, we experience the visible world through the senses—light, sound, movement, form. On the other, we are immersed in an invisible realm that operates beyond the senses—a domain of impressions, feelings, intuitions, and archetypes. What we say, think, and do in the outer world are often projections or reverberations of inner experience. These expressions vibrate through dimensional layers of space and time, encoded in symbols that construct the holographic nature of our universe.
We are, in essence, holographic beings living in a holographically-organized cosmos. Our consciousness is continually filtering impressions from different vibratory fields, projecting and receiving meaning across multiple frequencies. The boundary between matter and spirit is not a wall, but a membrane—a vibratory continuum. Within this continuum exists a liminal dimension—a stratum of awareness that fluctuates in and out of conscious realization. It is here that the invisible takes form, and where symbolic design arises as a method for bridging the ineffable.
This symbolic nature of reality begs a deeper question: Is what we call “spirit” simply another form of energetic plasma? Is matter itself not fixed, but dimensional—its properties defined by the lens through which we perceive it? If so, then the divisions between mind and body, form and formlessness, may be more illusory than we assume.
Design operates within this mystery. It becomes the interface through which multiple levels of consciousness communicate. Shared symbols allow subjective impressions to coalesce into seemingly objective experiences. The more we project our inner world into form—whether through language, art, or architecture—the more our external world reflects and authenticates those inner dimensions. In this way, design is not passive—it is performative, generative, alive.
The exchange between inner and outer worlds, between the personal unconscious and the collective field, is dynamic. Experiences in the external world influence the unconscious just as deeply as unconscious patterns shape perception. Thus, the idea of consciousness, unconsciousness, and super-consciousness may not refer to separate “locations” within the mind, but rather to different vibratory dimensions—distinct yet overlapping layers of awareness structured within the parameters of our evolving space-time understanding.
This flow of energy and information—across dimensions, across time—is perpetual. It is also interpretative. We define what is real based not just on sensory input, but on the symbolic frameworks we’ve inherited and created. To pierce the veil of the unknown, we must first become intimate with the mystery within ourselves. Only when we recognize the “objective” world as a symbolic re-presentation of a deeper, unknowable essence within, can we begin to see our own inner landscape reflected through the world around us.
This is the beginning of design consciousness—a mode of awareness that acknowledges design not merely as aesthetic, but as ontological. In this state, design becomes a living metaphor, a means by which consciousness becomes self-aware. The act of design is not just the shaping of external things, but a participatory evolution of inner perception.
Within this framework, consciousness becomes a field of possibility, an energetic space in which the observer—ego, self, soul—may witness and shape its own evolutionary path. Design, then, is the invitation: to engage, to reflect, to create, and to evolve.
The author generated this text in part with GPT-3, OpenAI’s large-scale language-generation model. Upon generating draft language, the author reviewed, edited, and revised the language to their own liking and takes ultimate responsibility for the content of this publication.
* * *
* * *
"To believe is to accept another's truth.
To know is your own creation."
Anonymous
Edited: 11.29.2013, 04.22.2017. 01.24.2021, 02.25.2023, 04.19.2025
Find your truth. Know your mind. Follow your heart. Love eternal will not be denied. Discernment is an integral part of self-mastery. You may share this post as long as author, copyright and URL https://designconsciousness.blogspot.com/ is included as the resource and shared on a non-commercial no charge basis. Please note … posts are continually being edited over time. Copyright © 2006 -2020 C.G. Garant. All Rights Reserved. (Fair use notice) You are also invited to visit https://designmetaphysics.blogspot.com/, and https://sagariandesignnetwork.blogspot.com and https://www.pinterest.com
No comments:
Post a Comment