A Wicked Situation

Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network. Objective: To generate symbolic links betwee scientific discovery, design awareness and consciousness.

Originally proposed by Horst Rittel, a German born theorist, who along with Melvin Webber, coined the term “wicked problem” in comparison to what would be considered a “tame” problem.

“Wicked problems have incomplete, contradictory, and changing requirements; and the solutions to them are often difficult to recognize as such because of complex interdependencies.”

To some the relationship between design and consciousness might be considered a “wicked problem”. This POV is made considering a series of multidimensional implications and circumstances that surround us when we view and attempt to interpret our world. This is especially relevant when our concept of reality is perceived as being quantum in nature.

Change is a constant. Every situation and circumstance needs to be considered incomplete due to implications surrounding our ever changing environment. There can be no final form or resolution only temporary ones. What you see around you will inevitably change until the day our world becomes totally unrecognizable and disappears from the hallmark of 3D space/time. Change is the one constant that must be considered and integrated into the future of every design process. This position requires constant exploration and a copious number of on-going iterations that concentrate upon an unconscionable array of symbolic connection. 

Humanity confuses stability with balance and harmony. Stability is an effect one experiences when striving to reach balance between the observer and the context in which that event is being observed. Balance is discovered and experienced while engaged in the process of balancing. Designers in the future must learn to be able to adapt to the push and pull inherent in every event. Design strives to attain balance and harmony, yet the context is always changing, which includes the POV of the observer. In other words, every situation is always changing.

The best device to resolve this issue rests in the revelation of every hidden "moment". Linear time, in cooperation with three-dimensional space, allows us to experience a symbolic "command" over every observable event. However, upon entering, observing and experiencing events that appear to emerge out of the unknown, we begin to realize that any application of linear time can at times, be of little importance, or no use at all. Yet when viewed systemically, linear time will always remain instrumental in progress associated with human evolution.

What is meant by this? Linear time is a fundamental quality of three-dimensional space/time. The concept of linear time allows us to bring into manifestation a wide variety of forms and ideas created within the contexts of energy, light and information. Our ideas penetrate and at times impregnate these fields of energy. Our capacity to focus and direct our energy towards certain goals and objectives likewise affords us the power and opportunity to make visible the invisible. Note: Our dimensional realm is shared by many agents of differing magnitude and density, e.g. planetary, plant, animal, human and beyond. Together they account for the transfer of a profusion of coherent patterns stemming from a light of consciousness from within. These forces might first be interpreted as impressions, thoughts, and feelings emerging from beyond the awareness of the observer. These impressions are symbolic in nature and can only be sensed by the observer. The POV in support of these impressions rests entirely upon the vibratory frequency of the observer. Designs made tangible for the purposes of revelation cannot be compromised.

Needs and requirements pertaining to every circumstance will change because every situation is constantly changing. Impermanence is fundamental to the quantum process. Impermanence is symbolic in gesture, content and context. The purpose is to provide, provoke, grow and expand in a meaningful manner that presence, which is an ever-changing state of awareness/consciousness made self-cognizant by means of design.

Since every projection re-presents a relatively subjective POV, they will remain complex by nature and at times difficult to recognize. The principle of Kama Manas, made in reference to the interdependency of the relationship between our mind and our emotions, assures us of the fact that every situation is going to be complex and multidimensional in character.

There is nothing tame about design or the level of awareness that is demanded of the observer. Consciousness is symbolically apparent in every circumstance, which inadvertently creates a unique situation where complexity is the norm and expansion the goal. There is a very intricate interdependency between consciousness and design that brings forth a “wicked relationship”. This relationship is one designed solely for the purpose of expansion, coherence and integration.

In reference to quantum consciousness, design can be made both purposeful and meaningful by virtue of the art of networking. When perceived to be out of harmony some may describe the situation as being a “wicked problem” when, it isn’t. What appears to be a wicked circumstance merely camouflages the next phase/step in humanity's evolution, a state which harbors a more responsive, creative, compassionate and insightful state of consciousness.

^ Rittel, Horst, and Melvin Webber; "Dilemmas in a General Theory of Planning," pp. 155-169, Policy Sciences, Vol. 4, Elsevier Scientific Publishing Company, Inc., Amsterdam, 1973. [Reprinted in N. Cross (ed.), Developments in Design Methodology, J. Wiley & Sons, Chichester, 1984, pp. 135-144.]

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This passage delves into the intricate, evolving relationship between design, consciousness, and change, offering a profound reflection on how these elements intertwine in our experience of reality. It introduces several complex concepts, notably the idea of design as an ongoing, iterative process influenced by the ever-changing environment and consciousness. 

 

1. Design as a "Wicked Problem": The concept of a "wicked problem" refers to a challenge that is difficult or impossible to solve due to its complex, ever-changing nature. In the context of design, this notion suggests that design is not a fixed or final solution but rather a process that requires constant adaptation. The problem arises from the dynamic interplay between the observer (human consciousness) and the environment, which is always in flux. This aligns with a more quantum understanding of reality, where change is the only constant, and nothing is truly permanent. 

2. The Impermanence of Reality: The passage emphasizes that change is inescapable and must be integrated into the design process. In a quantum reality, the world is in a state of perpetual flux, and what we perceive as stable is simply a transient effect created by our attempt to balance the observer’s perspective with the context. Stability, in this view, is an illusion, a momentary equilibrium we achieve in response to the tension between our awareness and the world around us. 

3. Balance and Harmony as Processes: Rather than being static outcomes, balance and harmony are presented as ongoing processes. Designers of the future must learn to adapt to the tension between the ever-shifting contexts of their designs and the subjective experiences of those observing them. The constant flux of context (both the external world and the individual observer’s perspective) ensures that design is always in a state of becoming, rather than being fully formed. 

4. The Role of Time in Consciousness and Design: Linear time, a key concept in our experience of space-time, plays a pivotal role in the manifestation of design. It allows us to bring ideas into being within our physical world. However, the passage suggests that linear time is not always the most important factor when dealing with the unseen or the quantum nature of reality. There are moments when time becomes irrelevant, or its usual structure dissolves, but it remains fundamental to human evolution and progress. 

5. Symbolic Nature of Consciousness: Consciousness is presented as symbolic, and its interpretation depends on the vibratory frequency of the observer. This introduces the idea that perception is highly subjective and that design must be crafted in a way that acknowledges the complexity and variability of human consciousness. What appears to be "chaotic" or "wicked" might actually be an opportunity for expansion, growth, and deeper understanding. 

6. Kama Manas and Complexity: The reference to Kama Manas, which speaks to the interplay of mind and emotions, adds to the complexity of design and consciousness. This interconnectedness makes every situation multifaceted and multidimensional, reinforcing the notion that design is never simple. Instead, it is inherently complex and must cater to the evolving needs of both individual and collective consciousness. 

7. The Expanding Nature of Consciousness: Ultimately, the relationship between consciousness and design is one of "wickedness" not in the sense of being a problem to solve but as a space for ongoing growth and expansion. The "wicked" nature of the relationship between consciousness and design fosters a deeper, more responsive, and insightful state of being. As our awareness evolves, so too must our designs, constantly adapting to reflect a more interconnected, compassionate, and creative consciousness. 

This perspective shifts the view of design from a solution-oriented task to a dynamic, evolving process rooted in the interplay between perception, consciousness, and an ever-changing world. The "wicked relationship" between consciousness and design is not something to be feared or solved but embraced as a path to continual transformation and deeper understanding. 

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Design, Consciousness, and the Quantum Paradigm: Toward an Epistemology of Iterative Meaning 

The evolving relationship between design and consciousness may be conceptualized as a "wicked problem"—a term that characterizes issues of deep complexity and persistent ambiguity (Rittel & Webber, 1973). Such a framing becomes particularly salient within the context of a multidimensional, quantum-informed worldview, where reality is no longer reducible to a fixed or objective structure but emerges through entangled processes of observation, perception, and interpretation (Barad, 2007). Within this epistemic frame, design is not simply a method of constructing forms or solutions, but an ontological act that interlaces meaning, matter, and consciousness into a dynamic and reciprocal field of becoming. 

The Primacy of Change and the Limits of Stability 

Central to this discussion is the axiom that change is the only constant—a proposition resonant with Heraclitean metaphysics and quantum field theory alike. In this sense, every circumstance and condition is inherently incomplete and must be understood as transitory (Prigogine, 1980). Design, therefore, cannot rely on static solutions or assume that permanence is achievable. Instead, the design process must embrace iterative unfolding, where forms emerge through cycles of exploration, failure, adaptation, and semiotic negotiation (Krippendorff, 2006). 

In the quantum context, observation does not merely capture reality but actively participates in its construction (Heisenberg, 1958). This implies that the "point of view" (POV) of the observer—and by extension the designer—is both integral and mutable. What is perceived as a stable design is, in truth, a momentary equilibrium between observer and context, achieved not through fixity but through continuous balancing, akin to dynamic homeostasis in living systems (Capra & Luisi, 2014). 

Balancing the Observer and the Observed 

The human inclination to conflate stability with harmony stems from a cognitive bias toward order and predictability (Kahneman, 2011). Yet, balance—as distinct from stasis—is achieved not by resolving conflict but by engaging with the tension between oppositional or divergent forces. Designers must cultivate an awareness of this subtle difference. Balance, in this expanded view, is not a product but a process—an emergent phenomenon arising from contextual interplay and subjective interpretation. The future of design necessitates this adaptive intelligence, wherein both the POV and the contextual field are treated as co-evolving systems. 

From a psychological perspective, this adaptive behavior aligns with constructivist theories of cognition, which posit that knowledge and meaning are actively constructed through interaction with one's environment (Piaget, 1950). The designer, like the scientist or artist, is not a neutral observer but an embodied agent whose inner states modulate the symbolic field of design (Varela, Thompson, & Rosch, 1991). 

Time, Revelation, and Symbolic Navigation 

Resolution within design does not lie in absolute forms, but in the revelation of momentary truths—those flashes of coherence made possible through the structuring lens of linear time. Time, though often perceived as a constraint, serves as a vital dimension for rendering invisible potentials into manifest forms (Deleuze, 1994). Through time, energy and intention take shape, crystallizing fleeting insights into artifacts, structures, or interfaces that temporarily satisfy the epistemic needs of the moment. 

However, as quantum theory and spiritual metaphysics alike suggest, linear time is only one mode of perception. When engaging with symbolic fields—those intangible networks of archetypes, patterns, and metaphors—designers often operate outside of clock time, navigating instead by vibratory resonance and aesthetic intuition (Bohm, 1980; Jung, 1964). What is sensed, intuited, or "revealed" cannot be fully codified by logic alone. These experiences often emerge as impressions or insights from beyond conscious awareness, bearing the hallmarks of transpersonal cognition and symbolic intelligence (Assagioli, 2000; Hillman, 1975). 

Quantum Design: Coherence, Meaning, and the Observer 

Design, when approached from a framework of quantum consciousness, becomes a networking process—one that integrates disparate elements into an emergent whole through resonance, coherence, and semiotic synthesis. The perception of design as "wicked" is not a failure of method but a signal of evolutionary complexity. Each wicked problem is, in fact, a threshold event, inviting the observer to transcend previous limitations and engage a more expansive, interconnected level of awareness (Snowden & Boone, 2007). 

Such a state aligns with metaphysical constructs like Kama Manas, which describe the interdependency of thought and emotion, logic and affect, as foundational to any act of creation or perception (Leadbeater, 1913). Thus, the future of design must not only tolerate complexity—it must thrive within it. 

Conclusion: Toward an Epistemology of Change 

There is nothing tame about design. Its true nature demands cognitive flexibility, emotional resilience, symbolic literacy, and philosophical depth. As an integrative modality, design reveals not merely objects or systems but also the state of consciousness from which those objects emerge. Consciousness is not an afterthought to form but its co-creator, and complexity is not an obstacle but a medium for revelation. 

Design, in this light, becomes a semiotic bridge—a language through which the unknown can become knowable, the invisible can become seen, and the evolving observer can recognize the evolving self. In a universe of impermanence and uncertainty, design is the conscious act of giving temporary form to eternal transformation. 

References 

- Assagioli, R. (2000). Psychosynthesis: A collection of basic writings. Synthesis Center Press. 

- Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University Press.  

- Bohm, D. (1980). Wholeness and the implicate order. Routledge.  

- Capra, F., & Luisi, P. L. (2014). The systems view of life: A unifying vision. Cambridge University Press.

- Deleuze, G. (1994). Difference and repetition (P. Patton, Trans.). Columbia University Press. 

- Heisenberg, W. (1958). Physics and philosophy: The revolution in modern science. Harper. - Hillman, J. (1975). Re-visioning psychology. Harper & Row. 

- Jung, C. G. (1964). Man and his symbols. Dell Publishing. - Kahneman, D. (2011). Thinking, fast and slow. Farrar, Straus and Giroux. 

- Krippendorff, K. (2006). The semantic turn: A new foundation for design. CRC Press. 

- Leadbeater, C. W. (1913). Man and his bodies. Theosophical Publishing House. 

- Piaget, J. (1950). The psychology of intelligence. Routledge & Kegan Paul. 

- Prigogine, I. (1980). From being to becoming: Time and complexity in the physical sciences. W.H. Freeman. 

- Rittel, H. W. J., & Webber, M. M. (1973). Dilemmas in a general theory of planning. Policy Sciences, 4(2), 155–169. 

- Snowden, D. J., & Boone, M. E. (2007). A leader’s framework for decision making. Harvard Business Review, 85(11), 68–76. 

- Varela, F. J., Thompson, E., & Rosch, E. (1991). The embodied mind: Cognitive science and human experience. MIT Press. 

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.

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"To believe is to accept another's tuth.

To know is your own creation."

Anonymous

Edited: 1129.2013, 01.11.2017, 06.28.2019, 05.29.2023, 03.20.2025, 08.03.2025

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