August 16, 2009

More Felt Than Understood

 
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.

Due to our ability to imagine consciousness can appear to take on the form of a field of energy filled with virtual potential and possibility. The mind tends to associate certain “forms of energy” to these imaginings through both the desire (meaning) and intentions (purpose) of an observer. Some of these intentions and desires materialize into three dimensional space/time, organizing/designing themselves about certain specific patterns. 

The essence of consciousness is revealed by the will and desire to still the mind by simply not imagining it. Consciousness could then be described as a true awareness of being.

Consciousness might be considered the consequential product of both the mind and heart, a process and product filled with countless relationships, i.e. experiences, perfectly suited and developed by virtue of our own imagination. All experiences are intrinsically distinctive, events in the form of circumstances (contexts) that invite a conscious individual the opportunity to account for and act upon, their own interpretation/sense of reality, i.e. consciousness. The past and the future are referenced by means of interpretation and association - symbolic and metaphoric events and experiences the mind has imagined and created for itself, i.e.qualia

Consciousness goes beyond the measurement of neurons and into the subjective power of the mind's capacity and ability to imagine. Consciousness is intuitively felt and made cognizant by means of symbolic and metaphoric impressions and influences. 

To be conscious is to be intuitively aware.




Artist: John Chamberlain
 
Essex is a wall relief reminiscent of an inflated abstract painting and typifies much of Chamberlain's freestanding sculptures. The artist spontaneously crafted these pieces with car parts found in junkyards, assembling them through chance intuition. Additional colors were then applied to reinforce the palette of common auto paints and emphasize the broken surfaces that bulged out from the wall and captured light on their reflective surfaces. The sharply cut pieces of steel Chamberlain used were fitted to bring out linear rhythms much like the actions made by painters' brushes. Similar to sculptor David Smith, Chamberlain's spontaneous methods and work resembled three-dimensional versions of Abstract Expressionistic paintings, which justified his inclusion in the group. 
Painted and chromium plated steel - Museum of Modern Art - New York City 
https://designconsciousness.blogspot.com/2017/01/the-significance-of-lyre.html


Edited: 11.28.2013, 10.16.2014, 05.02.2018, 09.25.2021
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 © 2009 C.G. Garant. All Rights Reserved. (Fair use notice.) AI usage is prohibited. You are also invited to visit https://designmetaphysics.blogspot.com/ 














1 comment:

  1. I really liked what he said at the end, we must become what we want the field to reflect back to us.

    Another reason why I think its important to learn how to analyze what we hold in the sub-conscious mind because they can become manifested unconsciously.

    ReplyDelete