Design Consciousness, Kansei and the Tao part 1

Kansei is an integral part of the phenomenon we’ve come to know and understand as design. Kansei is a term that attempts to describe a subjective event that remains open to interpretation, while simultaneously inferring certain qualities that are generally considered to be emotional in content. But for the most part, Kansei brings attention to only one aspect, or quality, of a multi-dimensional experience we’ve come to realize in three-dimensional space/time as design. I reveal in my books, The Tao of Design and The Tao of the Circles, the interactive relationship between the Tao, design, symbols, meaning, purpose and the elements of change. Similar information will be presented in this paper in the light of both Kansei and Chisei, which describes a more logistic or factual interpretation of reality. Their combined influence upon a new interpretation of the design function; and by implication their potential impact upon the human condition, will be discussed. Reference concerning the close relationship between the Tao, Kansei and Chisei will be entertained and incorporated into describing five basic laws that govern the design experience and design thinking. In conclusion, I discuss why it is important for us to revisit our current interpretation and understanding of design in the light of meaning (Kansei) and purpose (Chisei). Taoist thought, its relationship to a symbolic reality and its impact upon the emergence of a new design paradigm is emphasized throughout the presentation.

1. Introduction

The Tao is an ancient mysterious teaching that can be traced back approximately 6,000 years. Generally, Taoism attempts to describe a way of life that cooperates with the natural world and has been closely associated with the evolution of Chinese civilization. The Tao has been described as a philosophy and for some it has become a religion. The word Tao translates as "the Way", the Path, or "the way the universe works" [1]. This definition includes the manner in which we perceive the world, how we interact with Life and how we perceive ourselves in relation to everything around us. The Tao’s central principle describes all Life as part of a unified whole, or unity that originates from an unexplainable Source. According to the Tao the universe is considered a vast Oneness, change is the only constant and harmony the only basic principle of existence. The Tao moves by flowing effortlessly according to its own principles as they are expressed in nature. The Tao has often been compared to water as it flows gracefully within a changing landscape. The Tao is always moving in conjunction with and in response to, the forces of the cosmos [2].

The Tao doesn’t prescribe a way to live, but rather suggests an "art of living". The Tao has also been described as being nameless, formless and unpredictable. Supposedly the Tao is so expansive that it cannot be understood by rational means alone. Taoist believe that humanity is an integral part of a Divine Order and that all things have an active role in its expression. To the ancient Chinese the Tao was considered an integral part of human development that eventually leads to the realization of self.

The Tao has been proposed as a guide towards self-exploration, growth and transformation; a process that allows us to communicate with ourselves and with the world around us. Taoist theorize that when we work in cooperation with the forces of nature we become an integral and active part of those same forces. And that by becoming instruments of change in the universe we occupy, we become self-empowered by experiencing its ever changing dynamic.

Taoist believe that in the beginning there was a great Mystery, or Absolute that felt the strong desire to know itself. In order to fulfill this desire the Source had to separate from itself. This gave birth to what we’ve come to know and experience as cause and effect. Two opposing states came into being, the yin energy (negative) and the yang energy (positive). Together these forces gave reference and relative substance to what we consider the physical universe. According to Lao-Tzu reality comes into being through the dynamic relationship between these opposites. The laws and cycles that govern this reality are expressed through the Tao and its actions reflections of the purposes motivating the Source.

According to Lao-Tzu there is an active interplay between what is experienced internally and what is considered outside ourselves, with each effecting the other. Our subjective world (unseen and intangible) and our objective world (seen and tangible) together bring substance to images and impressions that constitute what we believe to be real.

Our actions are guided by the Tao and experienced within the greater consciousness that gives composition to the Source’s concept of reality. We share in this common reality because we are active participants in its manifestation, i.e. its being. We are patterned expressions of energy that bring to Life (manifestation) certain qualities relative to the imaginings emanating from a common Source. Expressions in the form of ideas, impressions and images originate from this shared Origin and are made manifest at assorted frequencies through cyclical laws and principles brought into expression through the Tao.

Because of this heritage we are driven by the desire to know ourselves. Our intimate relationship with the Source is the reason for this primordial impulse and desire to create. Consequently, we can also discover and learn who we are by stepping "outside" ourselves through our own methods of creative imagining and manifestation. We actually repeat this impulse every day of our lives and in everything we focus our energies, both consciously and subconsciously. By responding to every situation in Life we learn to discover ourselves by adapting to each circumstance in a creative fashion.

Chuang Tzu explains the Tao as an inner experience in which the subject and the object are merged. It is the fusion of the self and the no self that is the key that unlocks the mystery of the Tao. It is the intuitional, creative self that blossoms when this distinction disappears. [3]

Design Consciousness, Kansei and the Tao part 2

2. Method

Now is the time we need to re-examine our understanding and definition of the term "design". The origin of the word stems from the Latin meaning "to mark or mark out", which infers that design relates to the process of making signs and/or symbols. As we know, a design may also be described in the form of an artifact, which is the end result of a series of symbolic gestures, actions and imaginings. But for the most part, the act of designing relates to the active creation and recognition of signs and symbols. The conclusion to those activities results in what we perceive as form. The design process has the capacity to empower its creator through symbolic means and if properly directed, afford the opportunity to know self. Design is the expression of a primordial force that has fashioned for itself a special union with the Tao.

Nature does not act in a linear fashion. Likewise, the human capacity to perceive the world is fundamentally holistic in character. " — our organisms have ways of intelligent understanding beyond words and conscious attention, ways that can handle an unknown number of variables at the same time — "[4]. Because of its symbolic and dynamic nature, design has the capacity to bring to fruition many subjective impressions. Symbols create the foundation for ways of thinking, feeling and perceiving the world. In addition, the structure inherent in every symbolic system dictates the way in which these symbols, i.e. designs, are described and understood.

Design supports non-linearity as it is expressed in nature. Design supports pattern recognition and a holistic interpretation and understanding of worldly events. Design also has the capacity to include and entertain an incalculable number of variables within each and every situation one may encounter; the success of which is dependent upon how many variables can be construed, included and perceived within the constraints of the individual experiencing the situation. Design and design thinking has the capacity to take into account a wide range of variables that together bring relative form to the formless. Design encourages non-linear thinking. Design’s capacity to see-hidden relationships and far-reaching connections between events allows us to give substance to our reality. In this manner symbols work in conjunction with the Tao, gently leading each of us towards our own designation.

It is not easy to distinguish between variables, they are inherently fuzzy elements that when scrutinized support both a Taoist and quantum concept of wholeness. Where one variable stops and another begins is a matter for discussion, and as in most circumstances is determined by the symbolic system, i.e. language, culture, etc. used to interpret it. The truth of the matter is, in reality everything is quite arbitrary. What is important is how we experience each reality and how in turn it contributes towards a growth of consciousness.

In essence, all that we could ever experience, i.e. all thoughts, feelings, forms, dreams, emotions, impressions, images, appear before consciousness in their simplest form as signs. When perceived symbolically these impressions become connected to other signs/symbols, with each possessing their own distinct meaning. [5] This is fundamental to what could be described as "design thinking", which takes the position, and clearly alludes to the fact that, all things are connected. Design reveals the energies that both create life and sustain it, along with the realization that change is an integral part of the universal dynamic. Design thinking brings to life these realizations both in a subjective and objective fashion.

Design both encompasses and precedes the origin of its own definition and interpretation. Design, like the Tao, is inherently paradoxical. Design is a universal process and symbolic system used to give form and recognition to the imaginings emerging from a Mysterious origin or origins. The yin and the yang (Kansei/Chisei) symbolically describe these two qualities found in the universe and are an integral part of the Tao of Design. [6]

If we go forward and apply the Taoist classifications of yin and yang we need also to consider the dualistic characteristics exhibited by a sign and a symbol. Essentially each symbol has both a meaning and a purpose. Relatively speaking, purpose can be compared to the qualities described as the yang force. When referencing design, purpose should be considered to be primarily mental in quality and referenced to Chisei. Whereas meaning (yin) should be considered to be emotional in character in reference to Kansei. Purpose is relative to the mind, and meaning relates to our emotions. When placed in conjunction with each other they allow for, create and give precedence to movement and change. In design change is one of perspective and symbolic interpretation brought to realization through the relationship between the qualities of the mind and the emotions, i.e. purpose and meaning, Chisei and Kansei.

"Change is not meaningless — if it were, there could be no knowledge of it — but subject to the universal law, Tao" [7]. R. Wilhelm

Opinions, forms, beliefs, feelings, facts, emotions, knowledge and reality are in constant flux, as situations we encounter in time often change in reference to earlier interpretations. It is here where we begin to experience the power of both the seen and the unseen forces of nature brought into play. Design’s symbolic nature and dynamic capacity to create associations, supports the Taoist viewpoint that everything is symbolic. Everything has meaning. Everything has purpose.

The Hindu have a wonderful term to describe the relationship between our thoughts and our emotions called "Kama Manas". Kama Manas describes the fact that all thought has an emotion and every emotion a thought. This cohesive partnership is inherent to the way humanity perceives the world. It is inescapable and fundamental to understanding design’s impact upon consciousness, the human spirit and how we fit into the cosmic order.

Design Consciousness, Kansei and the Tao part 3

 

3. Results and Discussions

There are five laws that govern design thinking. These laws are based upon the principle that reality should be described and perceived as a series of design (symbolic) events, situations and experiences we encounter both in our waking and sleeping states. The five laws that govern design thinking are:

First, the fact that everything has two opposing aspects present in every situation; forces that basically struggle with and attempt to control the other. Purpose (Chisei) has a meaning and meaning (Kansei) also has a purpose. A situation may be very meaningful in a purposeful way and visa versa, yet each can appear to want to overcome the other for its own purposes. Human mind is in constant struggle with the emotions, especially when we know that the right thing to do is in conflict with what we also know is true in our hearts. It is a struggle inherent to every situation.

Second, the fact that meaning and purpose can help define each other and in essence, cannot actually exist without the other. Meaning (Kansei) has no meaning if there is no purpose (Chisei), nor does purpose have a purpose without meaning. Each aspect is dependent upon the other for its own identity. When contemplating upon these observations it becomes more and more apparent just how active and energetic the design process is as it perpetuates change and revitalizes our concept of reality with each and every relationship and situation we encounter. The human mind cannot function without an emotional counterpart qualifying our each and every thought.

Third, both meaning and purpose will often nurture and nourish the other. For example, the meaning (Kansei) in support of a particular purpose (Chisei) can bring great support to its struggle. Meaning and purpose give of each other in order to nourish each other. The mind feeds our emotions, while our emotions constantly offer food for thought.

Fourth, both meaning and purpose can transform and become the other. Over time we may begin to better recognize this kinship as mind follows the flow of thought making its transition between the realities of meaning and purpose. All of a sudden what was once meaningful now becomes purposeful and what once had purpose now has meaning. Our emotions (Kansei) can often lead us into some very thoughtful pursuits, as well as the mind (Chisei) bringing to our awareness some very meaningful emotions. Through design and its symbolic influences, meaning and purpose can often become the other.

The fifth point illustrates that there is a little meaning in every purpose and a little purpose in every meaning. This relationship is symbolically demonstrated in each and every form. Meaning and purpose can be subdivided ad infinitum into every form seen or unseen that constitutes the universe. Humanly speaking our mind (Chisei), in conjunction with our emotions (Kansei) has the capacity to create forms and situations that are limited only by the constraints we impose upon our imagination.

What we actually create for ourselves are designed "situations" [7]. Specifically, we respond to each experience with our most appropriate thoughts and emotions packaged into symbolic forms or symbolic responses that best accommodate the situation at hand. As designers we are symbol makers in our own right. Together and in response to the energies expressed in the Tao, we each to bring into manifestation our own concept of reality.

Design is also concerned with maintaining a balance between the qualities of meaning (Kansei) and purpose (Chisei) in the situations we encounter. Life’s forces move naturally towards balance and are based upon the dynamic relationships created between yin and yang. Design too is always adjusting to the shifting flow of the Tao by describing the process through symbolic means, which appear as events that emerge before our consciousness as change.

"The true human holds the power of creation, the poetry of yin and yang, the talisman of life and death and the amulet which holds the essence of life"[8].
Lui I Ming

Design Consciousness, Kansei and the Tao part 4

Everything is constantly searching for balance within itself. The act of balancing is a process that attempts to restore harmony into every moment. Change creates imbalance in order to bring attention to those forces that effect us. The qualities of meaning (Kansei) and purpose (Chisei) nourish and support each other in our quest for harmony. This is a natural action that occurs between our thoughts, our emotions and the forces of the Tao. The dynamic relationship between meaning and purpose deepens our awareness without confining our understanding. The result is the development of an intuitive sense for being aware and in the moment that manifests as a willingness and strength to make the most appropriate choices.

We are fundamentally mental creatures and design describes the process that formulates thought into its most appropriate form. Forms, images, thoughts and emotions are not the actual replications of experience, but are symbolic representations, i.e. designs, that bring meaning and purpose to our relationship with the Tao. The connective leaps that are made between meaning and purpose describe the dynamics that are inherent to design, but they are not design itself. Likewise, the qualities of meaning and purpose are not and do not describe the balance. Ironically balance cannot be found through any attempt to describe, attain, discover or explain it. We only become entangled within the parameters of its symbolic structure.

Everything is contained within the nature of itself. When we respond and are consciously "in the moment", movement can become briefly contained. Balance will then be experienced as a "centering stillness". In this manner a natural freedom can be discovered through the relationship between meaning and purpose. The result is a deeper sensitivity and appreciation of the Design in which we participate. This is the same stillness of mind that Lao Tzu beckons us to experience. He urges us to seek clarity of mind, to be receptive and to act upon the unseen influences that surround us — influences that symbolically appear before our consciousness by Design. Harmony is brought to our awareness when we bring to fruition the realization of its freedom, a freedom of imaginative expression that is experienced through the process of designing.

"If practitioners of the Tao can realize things of the world are all temporary, and the body too is insubstantial, they will not set their minds on the evanescent world but will remain mindful of the realm where there is no form"[9]. Liu I-ming

The purpose of the Tao of Design is to cultivate the spirit made manifest in form by bringing light to form’s meaning and purpose. Through design, consciousness has the opportunity to see through form’s veiled distortions and bring to focus the essence and spirit inhabiting its integrity, which is the Tao. Design is the vehicle that facilitates this process towards self-empowerment. Design is the process where the spirit of the creator becomes reflected in that which it creates, both seen and unseen. Design allows us to meditate upon our creations and the underlying purpose concealed in the forms of our own making. Design assists us in discovering for ourselves the differences between the real and the unreal.

Design facilitates the "situations" necessary for any creative venture brought forth by the imagination. Design’s ability to effect our imagination nourishes a natural growth in awareness, which in turn perpetuates a greater knowing and understanding of both oneself and the world. In this fashion, the world intimately touches us in our evolutionary journey, as we in turn touch the world.

4. Conclusions

It is imperative that the knowledge in support of mankind’s true nature, i.e. mentally, emotionally, physically and spiritually, be learned and understood before significant progress can be made towards implementing conceptual networks surrounding both Kansei and Chisei. Current methods of investigation into Kansei are based primarily upon the scientific paradigm, which promotes a specific method towards revealing and interpreting phenomenon. Design investigations need to focus upon natural models and a true understanding of form generation, aesthetics, concepts surrounding the process of manifestation and evolutionary constraints. Design investigations into Kansei must consider the ramifications of change, which are fundamental to the understanding of human consciousness and its place in a universal design.

Humanity views the design phenomenon from many perspectives, all of which are based upon the conditioning power of culture, race, economic status, biology, sex, etc. Yet one of design’s roles is to seek balance through change. This task is accomplished by bringing to fruition humanity’s capacity to give form to formlessness. Design needs to be investigated and refined in order to demonstrate conclusively that it is intimately woven into the fabric of human and universal consciousness. Due to the nature of design, more appropriate tools need to be discovered for future investigations into its unique qualities. Design is an integral player in the holographic and vibratory universe in which we participate and key to future explorations that lie beyond the scientific paradigm.

References

Wing, R.L., The Tao of Power, Doubleday, 666 Fifth Ave., New York, N.Y., pg.8, (1979).
Wing, R.L., The I Ching Workbook, Thorsons, 77-58 Fulham Palace Road, Hammersmith, London, W6 8JB, pg.12 (1986).
Jing, Yi, The Online Journal of the I Ching, http:fortunecity.com/business/influence.1805/taoism.htm.
Watts, Alan, Huang, Al Ching-liang, Tao The Watercourse Way, Partheon Books, New York, N.Y., pg.7, (1975).
Garant, Carl, The Tao of the Circles, The reader is invited to visit www.geocities.com/c_garant, where the power of the symbol, its emotional connotations and its reference to the design function is presented., Humanics Publishing Group, Atlanta, GA, Introduction, (2001).
Hirada, Akira, Lee, Seung Hee, Jan Stappers, Pieter, "Pleasure Products: Design based upon Kansei", Paper presented at the 2nd Conference of Pleasure with Products, Copenhagen 2000, Published "Pleasure with Products: Beyond Usability, Taylor and Francis, (2002).
Caplan, Richard, By Design. Why There are No Locks on the Bathroom in the Hotel Louis XIV and Other Objects Lessons, St. Martin’s Press, 175 Fifth Ave., New York, N.Y. (1982).
Cleary, Thomas, The Taoist I Ching, Shamballa Publications Inc., 300 Massachusetts Ave., Boston, MA., pg. 19, (1986).
Cleary, Thomas, The Taoist I Ching, Shamballa Publications Inc., 300 Massachusetts Ave., Boston, MA., pg.20, (1986).

Edited: 01.11.2017, 06.16.2017

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 http://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.

Intertwined

Edited: 01.11.2017

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 http://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.