Conceptual impressions surrounding this post are yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
From the Introduction to "The Tao of the Circles"
Humanics Publishing Group,
Atlanta, GA
C.G. Garant
Edited: 03.07.2015
"To look at an object is
easy, to look at the subject is not so easy"
I invite you to read The Tao
of Design before you read the The Tao of the Circles. Many principles
surrounding the concept of design are presented in The Tao of Design and it may
better prepare the reader for the following material.
Since I was a child I've
heard the word design used in many different ways and in many different circumstances.
Still after studying, teaching and practicing design for so many years I have
yet to feel comfortable with any one single definition. Design seems to have a
mystery surrounding it. Design is a very difficult phenomenon to grasp in its
entirety yet everyone has some idea or inclination of what it is. Design
influences us everyday from the style of clothes we wear to the plans we make
before our vacation.
Generally we view design as a
process involved in the creation of objects and spaces. However, intuitively we
feel there is more to design than simply the ability to generate forms, ideas
and images. Our experiences contribute to our understanding of design by virtue
of the subjective impressions that color what we say, think and do.
Today we tend to interpret
design in a scientific fashion. We attempt to quantifiably reduce our
subjective experiences into finite, separate, weighable and measurable events.
The scientific paradigm attempts to quantify our subjective experiences for the
purpose of defining, refining, interpreting and in a sense controlling our
perspective of reality. This kind of interpretation simply ignores the
multi-dimensional and amalgamating qualities common to the design experience.
"action of making a mark
or sign". According to this definition design can be interpreted as an
activity that focuses upon the creation of signs or symbols. Webster's
definition implies that design is involved with something more than just the
physical creation of an artifact. A meaning and a purpose in support of the
design experience is typically veiled behind the creation of a sign or symbol.
Design is not apparent for everyone to see or perceive ... design is intuitively felt.
Its apparent that an observer
is an active participant in the design experience. By definition symbols are an
integral part of the design phenomenon with consciousness considered apriori in
every event and experience. Design is an integral factor in every experience
encountered by a conscious observer and should be considered innate to the
understanding and comprehension of consciousness itself. The ability to bring
meaning and purpose into our lives is a major role of the design experience.
Essentially we are symbol makers and symbol perceivers. Likened to the relationship between a transmitter and a receiver, humanity resonates to a glut of tangible and intangible forces every day. Invisible in origin some of these energies (frequencies) appear tobe mental and/or emotional in quality. At times some of these influences are intense enough to find their expression in physical form, e.g. gravity. Together they characterize a vibratory fabric described, perceived and observed as the universe.
The mind, our emotions and
the physical world qualify all that we are capable of feeling, observing,
knowing and understanding. By nature they create the constructs upon which
consciousness is made recognizable and comprehensible. All forms of energy are
made conscionable, apparent and significant by virtue of design and the design
experience.
ob·serve
əbˈzərv/
verb
gerund or present participle:
observing
1. notice or perceive (something) and
register it as being significant.
Consciousness appears to have
an order to it. Consciousness participates in a symbolic geometry that is
instrumental in the stabilization and permanence of the very observer that
perceives it. Design represents events and experiences in a manner that is
symbolically communicated, interpreted and made relevant to other events and
experiences whether they be in the form of an object, an impression, a feeling
or a thought. Design gives consciousness its expression in time/space. We
observe, participate and experience the universe in a similar manner, via a
concept of consciousness made apparent to ourselves by means of design.
A state of being can be
described and defined in the form of an design experience. The description of a
state of being (experience) is symbolic in quality. The world does not exist of
things, but of symbolic relationships made within the parametric constraints of
our mind and our emotions (kama manas). Humanity participates in a universal
design process/experience that generates energy, light and information
patterned in the form of symbols made for the purpose of experiencing 3D
space/time.
KAMA MANAS: No thought without e-motion. No e-motion without thought.
KAMA MANAS: No thought without e-motion. No e-motion without thought.
Objects built upon symbolic agents, e.g. the atom and boson, are simply ideas constructed to make what we observe and experience in the universe intelligible. Design infiltrates what appears to be both a subjective and objective awareness that symbolically integrates and permeates the concept of consciousness as we know it. Does this situation create the same two sources from which a holographic universe is generated? Is the objective world merely a symbolic projection of how we subjectively experience it?
We actively participate in a
symbolic process every day in order to interpret and create our own particular
reality. Design is brought to awareness by everything that participates and
contributes to an unknowable and universal state of being designated by some as
representing the Tao.
Design Interpretations
Design appears to have three
levels of interpretation that actively weave themselves into an ever-changing
fabric of meaning. Individually and in combination these perspectives
eventually lead to a particular POV. Design is multidimensional in character
and can appear before consciousness in the form of:
1. A sign
2. A symbol
3. A network
Each of these expressions
have a purpose and meaning in their own right. Likewise each expression is
vital to the circumstance in which they appear and are interpreted. According
to design everything we observe as being real is actually symbolic in character
and the product of a personal experience (interpretation) made in conjunction
with a collective elucidation of similar events.
Design can appear before our
consciousness in the form of a sign. A sign has a number of definitions; it can
be a gesture, a mark, a token, a note or a symptom. Signs are generally
pragmatic and functional in character. Anything that can be directly or
indirectly perceived by our senses could be considered a sign. A sign is
predominantly physical in character, yet it could also reveal the hidden
qualities of an impression or feeling in contrast to its outward appearance. A
sign might also be a distinguishing mark or an outward indicator that something
might be changing.
Design also appears before
our consciousness in the form of a symbol. A symbol unlike a sign, possesses a
transcendent quality all its own. A symbol is very meaningful. By use of
reason, association, or resemblance, a symbol can easily suggest or represent
something else. Symbols can consciously and/or subconsciously bring forth an
emotional response. A symbol is a sign describing something that cannot
necessarily be seen, known or understood but felt.
Categorizing design into three types is merely an attempt to bring order to a multidimensional concept. Each category should be considered an integral part of an always-changing field of perception from which we view reality. In other words a sign can also be symbolic in character while simultaneously contributing to a larger network of interpretation occurring within a common time frame. Design can wear many hats all at the same time.
Design like consciousness is
multi dimensional.
Design possesses the capacity
to bring together elements that at first glance appear to be incongruous and/or
in opposition to each other. Design allows for the generation and formation of
a symbolic network based upon events and experiences that cross dimensional
boundaries. Design combines the transcendental properties of the symbol in
quest for greater knowledge and understanding. Design helps determine the
original position from which to align one’s focus upon an objective, goal or
designation.
It is commonly understood
that focusing only upon one single event without understanding its place in the
tapestry of events can lead to imbalance. Any single event is but a moment in a
larger network of changing events viewed within the constraints of time. Every
single design is a contributor/component to a more formidable design. Every
symbol donates to the realization of a more masterful or all encompassing
symbol. The design paradigm concerns itself with a network or tapestry of
interactions whose meanings and purpose arise from their relationship to the
whole.
Design could also be
considered hierarchal in character. Design expressed as a sign can at times
precede a symbolic interpretation. Design needs to be experienced symbolically
before it can be fully recognized and appreciated for being an integral part of
a greater process or experience.
The perception of design
being an important aspect in our comprehension of consciousness rests upon our
ability to intuitively feel and understand the emotional power hidden within
the confines of the symbol. Carl Jung described a symbol as possessing a
certain degree of numinosity in the form of an energy that can have an enduring
impact upon our psyche. Symbols possess a revealing quality that can change lives.
Symbols can appear in our
dreams, are very intimate and have a major influence upon our perception of
reality. Symbols by virtue of the design experience, reveal the existence of an internal power that is harbored deep within our subconscious. This source is
hidden within in the network of a symbolic matrix we've created for ourselves.
Symbols appear to emerge from this same source to subjectively guide us into
making the choices that are significant to our lives. How we intuitively feel
about things greatly contribute to the design experience and the paths we take.
What appears before us as
consciousness appears before our awareness symbolically. Symbols can take the
appearance of a measurable form, a dimensionless image or an emotional
expression. Symbols can be both objective and subjective in character. Some
design experiences are measurable others are not. Yet there are two attributes
that give design its unique quality which are meaning and purpose.
Meaning and purpose are ideas
appearing in the form of certain qualities that describe our personal
interaction with the concept of design.
Design has no property
separate from our own perception and interpretation. Meaning and purpose are
symbolic re-presentations required of 3D space/time and necessary to perceive,
observe and understand the concept of a design experience. Every design is a
symbolic expression of an ever-changing dance between two alluring partners.
Each design is the product of an on-going interaction between contrasts. It is
through design that opposites can cooperate and generate the potential for
giving form (an idea) its most appropriate expression in space/time.
Divergent elements may not be
initially attracted to each other, yet design can symbolically foster any
potential relationship.
Forms that appear before
consciousness are symbolic reflections of a particular awareness. Design is
alchemical in its nature. Design affords us the opportunity to transcend
limitations and challenge the mysteries of the unknown. The secrets of reality
present themselves to us by means of design. Design consciousness implies that
not knowing is an integral part of the process and that outcomes are merely
phases experienced along the way.
Upon the fulcrum of design
rests two characteristic points of energy located in apparent opposition to
each other. About the point of meaning are attracted the emotional qualities of
a design; its feeling, its impression, its mood, its interpretation, its
significance. About the opposite point of the fulcrum is purpose and the
attraction of the mental qualities of a design; its reason, its intent, its
function, its practicality. Together they generate a spiraling field
specifically designed with a particular meaning and purpose.
As these qualities merge we
observe images appearing and disappearing before our consciousness (field) by
virtue of our imagination. These images are the by-products of experiences
brought forward by the intuition. Some images are bright and clear while others
are dimly lit, concealed and found inappropriate for the situation at hand.* It
is within this field of potentiality that forms surface and recede, appear and
disappear.
* Please take note of the
function of purpose in this relationship. It is by reason that most of our
impressions are valued and measured in 3D space/time. Rarely is our reasoning
overwhelmed by what we feel. Creativity and innovation first require that there is a
major leaning towards the intuition along with an understanding that this hidden intelligence will
eventually bring balance to every situation.
When we look to find meaning
outside of ourselves a purpose will be appear in meaning’s image and like
purpose be symbolically interpreted. Purpose and meaning are subjective in
interpretation, emotional in character and appear in the form of an idea. All
original intentions are eventually reflected back towards their consubstantial
source (field) by means of design.
Design consciousness is a
consubstantial event that eventually gives rise to the concepts of inside-ness
and outside-ness.
In contrast if we perceive
design intuitively a different impression will prevail. Design interpreted
intuitively is meaningful in its content. Though still purposeful in function,
design from this perspective adheres to a more significant condition. A design
symbolically interpreted will convey certain feelings and impressions upon the
observer. This feeling has the tendency to create further associations with
other symbols within the parametric constraints of every experience (design
field). In essence a symbol’s function is to bring meaning to experience. A
design viewed from this perspective is most natural and common. It brings
forward the realization that a design's origin remains deeply hidden within a
point of self awareness by means of a virtual reality created from a network of
symbolic events and experiences.
At this level of
interpretation there are a wide variety of meanings associated with every
design at every moment. Interpretation is solely dependent upon the observer’s
awareness and the symbols (designs) created. Likened to radio waves broadcasting
their signals at a variety of frequencies, full reception and response is
dependent upon the capacity and ability of the receiver to "tune
into" and match-up with any given vibration.
The power in support of these
different frequencies (designs) originates from a desire to connect with the
source of the transmission by virtue of the field and symbols it has generated
for its own purposes. The desire for knowledge demands meaningful analysis and
understanding while actively exercising the power of the intuition. Any
heartfelt investigations into the purpose of meaning will bring meaning to
every purpose.
The design experience is a
symbolic journey. The design soon becomes the designer and the designer the
design. Life becomes rich in meaning and purpose in the form of a symbolic path
unfurling before us in its own meaningful way.
This massive 780-foot (238 meters) crop circle appeared in 2001 in the remote area of Milk Hill in Wiltshire, England. The elaborate design is composed of 409 circles that form a pattern called a double, or six-sided, triskelion, which is a motif consisting of three interlocking spirals.
(Image: © Handy Marks | public domain)
Yet like all phenomenon crop
circles must have a source and/or point of origin. Everything in the universe
appears before our awareness by means of a symbol appearing in the form of
energy, light and/or information. These imaginings (images) appear in the form
of wave patterns and relative substances surfacing from within a virtual
space/time. These patterns are appear to be multi-dimensional in quality,
vibrate at specific frequencies and resonate at measures to which we
collectively respond to at mental, emotional and physical levels. And so it is
with the crop circles, i.e. a phenomenon that can simply affirm its own
"reality" by means of a multitude of relationships appearing in the
form of number, vibration, shape, feeling, frequency, pattern, emotion, i.e.
design.
Is it necessary for us to
know how the crop circles are made, or for that matter what is the source/s
responsible for creating them? Is it imperative that we know if a circle is a
hoax or not? I am of the opinion that whatever the source of the crop circle
enigma they are all designs whose primary intention is to bring to our
awareness the power of the subconscious and the unknown. Crop circles like the
universe itself, exhibit certain qualities of energy, light and information. Keys to unlocking their mystery can be found by means of resonating to their frequency.
Design affords us the opportunity to determine the truth for ourselves. Design allows us to trust
ourselves while confronting, inquiring and investigating our own belief system.
Design allows each of us to expose ourselves to our own true meaning and
purpose.
The unknown can be found
hidden within the shadow.
Design gives us the strength
and opportunity to raise our frequency, i.e. awareness/consciousness, and
challenge the status quo in a purposeful and meaningful way. Every design opens
the door and provides for realignment by inviting new associations once
subconsciously hidden in the unknown, to surface from within the provenance of
the universe. Design's purpose: to
shatter and then reconstruct old metaphors and belief systems into new patterns
which are truly meaningful and purposeful.
Mystery will always be an
integral part of every dimension of space/time. To some the realization of "not knowing" beckons humanity to discover the meaning and purpose behind our incessant drive to comprehend and understand what we believe. Whether knowledge is gained through scientific inquiry or some other means,
some quality of not knowing will always be found in dimensional space/time, i.e.
the universe.
Not knowing is the
cornerstone of experiencing a universe in which we participate, share and have
our being. Crop circles draw us towards the simple realization that the concepts
in support of their formation lie in the meaning and purpose behind this
"not knowing". What is the meaning in support of their design? They
challenge us to discover our relationship to a universe that is a metaphor for
Life, i.e. a symbol that can only be experienced by means of design.
The power (energy) supporting
the crop circles and their symbolic transmissions rests entirely upon our capacity and
willingness to perceive them with an open mind. The meaning and purpose behind
their formations depends upon our sensitivity, responsiveness and willingness
to experience them from our own point of view.
"Beauty itself is the
symbol - the image of our future perfection, inspiring us to go towards the
source"
Torkom Saraydarian
* * *
Interesting notes about crop circles:
- Crop formations were first reported in modern times in 1972.
- Crop circles achieved world wide attention in the late 80's. In the early 90's there appeared more and more formations as their numbers grew internationally.
- Crop circle popularity caused a "debunking" campaign in the early 90's in order to discredit the sitings.
- Approximately 10,000 sitings have been reported (90's) to date world wide, 2,000 have been measured and documented and an estimated 70% have been considered hoaxed. (Source: Colin Andrews, Circle Phenomenon Research.
Features of an un-hoaxed crop circle:
1. Edges are crisply defined with the floor which is often spiraled.
2. Some crop circle floors have up to 5 layers of weaved plants all in counter flow with each other and with every seed intact.
3. Genuine circles are mathematically precise; encoding obscure theorems with both complex Euclidian and sacred geometries.
4. Genuine formation stems are not broken but are bent, generally at the plants first node. They seem to be subject to an intense burst of heat softening the stems allowing them to drop 90% where they harden.
5. There is an expansion of cell walls which appear to be exchange sites for water (H2O) to transport in and out of the cells.
6. Ground water surrounding a site evaporates.
7. Plants will continue to grow even after being bent.
8. Background radiation has been measured in excesses of 300%, radio frequencies and batteries fail, magnetic fields create cellular forces which are sometimes accompanied by a trilling "cricket like" sound.
9. Formations tend to be located over magnetic energy "ley lines".
10. Formations are sometimes seen to be accompanied by a glowing ball of light.
References:
- Crop formations were first reported in modern times in 1972.
- Crop circles achieved world wide attention in the late 80's. In the early 90's there appeared more and more formations as their numbers grew internationally.
- Crop circle popularity caused a "debunking" campaign in the early 90's in order to discredit the sitings.
- Approximately 10,000 sitings have been reported (90's) to date world wide, 2,000 have been measured and documented and an estimated 70% have been considered hoaxed. (Source: Colin Andrews, Circle Phenomenon Research.
Features of an un-hoaxed crop circle:
1. Edges are crisply defined with the floor which is often spiraled.
2. Some crop circle floors have up to 5 layers of weaved plants all in counter flow with each other and with every seed intact.
3. Genuine circles are mathematically precise; encoding obscure theorems with both complex Euclidian and sacred geometries.
4. Genuine formation stems are not broken but are bent, generally at the plants first node. They seem to be subject to an intense burst of heat softening the stems allowing them to drop 90% where they harden.
5. There is an expansion of cell walls which appear to be exchange sites for water (H2O) to transport in and out of the cells.
6. Ground water surrounding a site evaporates.
7. Plants will continue to grow even after being bent.
8. Background radiation has been measured in excesses of 300%, radio frequencies and batteries fail, magnetic fields create cellular forces which are sometimes accompanied by a trilling "cricket like" sound.
9. Formations tend to be located over magnetic energy "ley lines".
10. Formations are sometimes seen to be accompanied by a glowing ball of light.
References:
Andrews, C., The Crop
Circular, Circles Phenomenon Research International-UK, Andover, Great
Britain.
http://www.nh.ultranet.com/~lovely/homepg.html
Davis, B., Ciphers in the
Crops, Gateway Books, Bath, Great Britain, 1992.
Deshimaru, T., Questions to a
Zen Master, E.P. Dutton, New York, 1985.
Garant, C.,The Tao of Design,
Humanics Trade, Atlanta, Ga., 1998.
- "Design Must Take The
Quantum Leap", Proceedings from the1990 Conference on Design
Education, Pasadena, CA 1990.
Ghost Wolf, R., Winds of
Change, Mistyc House Publishing, Spokane, WA, 1997.
Grasse, R., The Waking Dream,
Quest Books, Wheaton, Ill. 1996.
Grigg, R., The Tao of Being,
Humanics New Age, Atlanta, Ga., 1990.
Edited: 03.17.2015, 04.08.2015, 04.21.2015, 04.30.2015, 05.16.2015, 05.23.2016, 01.11.2017. 03.18.2018, 07.07.2019, 08.08.2019, 01.02.2021, 01.23.2021, 02.01.2023, 03.25.2023
Edited: 03.17.2015, 04.08.2015, 04.21.2015, 04.30.2015, 05.16.2015, 05.23.2016, 01.11.2017. 03.18.2018, 07.07.2019, 08.08.2019, 01.02.2021, 01.23.2021, 02.01.2023, 03.25.2023
Be assured you will not discover all the answers to your inquiries here. Continue to investigate into your role of observer and creator of a design of your own making. Be aware of the by-products that surround your every choice and decision.
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 © 2023 C.G.
Garant. All Rights Reserved. (Fair use notice.) AI usage is prohibited. You are invited to visit https://designmetaphysics.blogspot.com/. Now visit Design Consciousness on https://www.pinterest.com/ , https://thedesignregistry.blogspot.com/
