Design Metaphysics: The Tetrad

Upon completion of the triad, consciousness begins to move away from the realm of relative spirit and into the realm of relative substance. This is a major point of transition in the design process. It is where the qualities surrounding the concept of virtual particles arrive at the potential of being incorporated into the creation of relative form.

Upon the onset of this quaternary position, consciousness becomes cognizant of the constructs of three-dimensional space. The ether of the virtual realm is no longer identified in the form of a wave, but rather as both a particle and a wave. Conscious awareness becomes seen and unseen by being both objectively and subjectively perceived and observed.

This new perspective brings measurable stability and strength to conscious awareness by clothing its energies and desires into what appears to be material and substantive. The tetrad brings into fruition the four classical elements of fire, earth, air and water, which will later usher in the fifth stage symbolized by the pentagram.

There are four directions, four elements and four seasons that together give reference to a unified whole that is individually expressed within the constraints of each quaternary. There is a metaphysical unity that makes itself apparent within the constructs of the tetrad. There also appears to be a designated order if you will, and a symbolic sequencing of events that together give reference to a single oneness and unity.

The parts are equal to the whole and are likewise reflections of that same wholeness in their configuration and relationship to each other, in addition to the greater pattern/form/shape in which they are contained.

The square divided equally from all sides becomes four square quarters within the whole, with each square considered a new beginning within the parameters of an evolutionary consciousness. The forms being represented are designs that are symbolically linked to an internal/subjective Source that reaches beyond the constraints of both the triad and the dual reflection of itself.

Here is where consciousness symbolically formulates the essential “quantum leap” between the material realm of form and the virtual realm of formlessness. Archetypically a greater consciousness creates the virtual matrix, i.e. a patterned construct, in which to “model” experiences into their most appropriate expressions.

The smaller squares that compose the larger square are patterned and measured constructions and reflections that are symbolic of the equivalent larger square. The smaller squares lie virtually hidden within the constraints of the greater field yet can emerge from within these grander constraints by merely piercing the realm of the unseen.

Emerging from the greater realms, i.e. fields, of the mind and emotions are the reflections and constructs of the archetypes lying hidden and unobserved within the subconscious. The subconscious describes the virtual world of consciousness. It is from the subconscious that the archetypal matrixes surface in order to model experiences in relative substance, i.e. matter.

(The origin of the archetypes stems from the Source, i.e. the monad, are reflected upon through its duality and brought into balance by its trinity, all whose expressions are unseen, intangible and hidden beyond the constraints of human consciousness. Even the Source itself, as we could ever imagine it, is but a part of an even greater field of consciousness which continues to expand ad infinitum)

In this process there is a natural and gradual squaring of the circle. The quadratic expression of unity and oneness fits neatly within the field of duality, i.e. the Vesica Piscus. The original point of consciousness, i.e. the Source, began as a point, became a line, a circle, a triangle and now a square.

The entrance of consciousness into a new realm and definition of “form” allows for the potential of yet an even greater awareness. The square, like the circle, is a symbol of unity, however only the square can be precisely measured. The four orientations of the wind indicate a conscious awareness of space and the relationships between the crossings of elements. The patterns of Life soon become apparent and symbolically represented in what appears to be the constraints of length, width, height, time and space.

Yin crossing yang brings life, which is nature. The intersection of opposites (meaning and purpose) is woven into the constructs of form and the fabric of all of consciousness made apparent in the universe. A new matrix has now been created where consciousness can expand and grow into its most appropriate form/s through experience. Design consciousness symbolically provides for creations both in form and formlessness, situations that can eventually guide perception and observation back to the origins of its own self-awareness, i.e. its’ own Source.

At this juncture consciousness needs to harmonize five constituents that together give form and substance to its awareness; they are fire, earth, air, water and the energy emerging from its’ Source. Some have described this energy as the soul. Because of the predominance of design in the process the relationship between the subjective interpretation and the objective interpretation of these “elements” will always remain symbolic in nature.

The desire originating from the Source gave being to awareness, has sometimes been described as the “life force”, life energy, prana and chitta. Key to expanding awareness is to become cognizant of the power inherent in the symbol and the power of design.

Change is the result of incessant movement within the universe, a notion that submits to a series of constructs or sequencing of events that eventually appear as relative forms of energy. The square is a symbolic representation of such a construct, or matrix.

The relationship between form and substance, movement, time and space, is induced by the symbolic geometry of the square. Likened to the changing of the seasons, each season evokes a different reaction or feeling to their expression, an appearance that individualizes and characterizes their essence. Similarly, consciousness will find its own expression, its own appearance and its own formation in the metaphysical geometries of design.

Edited: 11.28.2013, 01.11.2017, 03.18.2023

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