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.
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.
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