An Intuitive Model. Is It Really Necessary?

Conceptual impressions surrounding this post are yet to be substantiated, corroborated, confirmed or woven into a larger argument or network. Objective: To generate symbolic links between scientific discovery, design awareness and consciousness,

It seems apparent that the universe is electric in quality, magnetic in influence and gravitational in response. Consciousness partakes in the awareness of this reality by means of the symbols you sense before you. Appearing in 3D space/time as formations of light, energy and information the universe acts as a metaphor for what we interpret as consciousness.

What we observe is made symbolic by what we perceive. Design is the phenomenon by which consciousness is made palatable. For humanity a meaning and purpose, i.e. design, lies hidden within every symbol and metaphor.

Design is witness to a language that is veiled in every symbolic communication. The intuition is an interpreter of this conversation.

Design provides an insight into the unknown while intuitively guided by virtue of the imagination. We never fully describe the intuition we only feel its presence.

ACCESS TO A QUANTUM FIELD OF MULTI-DIMENSIONALITY

Design acts as a catalyst between the imagination and the intuition by creating a point of concentration, i.e. a central single- mindedness, within a virtual field of space/time. 

The imagination and the intuition work in conjunction with each other. Together they open doors and offer insights into dimensions veiled within the subconscious. Together they bring a kind of formative awareness to a virtual field of energy, light and information, i.e. the universe. Design is the catalyst for the transmutation and transformation of these unseen agents.

The intuition and the imagination must work in tandem if steps towards manifestation are to be made apparent. 

By means of design the imagination along with the intuition, invites humanity to convert formlessness into its most formative pattern of energy.

Intuitive Commentary:

Design creates a symbolic bridge between events prior to expression in space/time. We materialize these underlying events in the form of an experience … some are synchronistic in appearance others are not. Every event should be considered temporary in relationship to the holographic mix of events we describe as experience. Experiences like the intuition, are more felt than understood. 

Events and experiences contribute to the creation of a morphogenic field. Morphogenic fields harbor a collective consciousness of their own by cyclically and symbolically repeating events and experiences in 3D space/time. By virtue of design there is an intimate relationship established between the concepts of morphogenesis and emergence.

An innate potential can be intuitively structured and holographically condensed within any dimension of space/time.

When living in the moment you soon come to realize that knowledge is more than a thought and that understanding and wisdom are merely more of the same.

"Intuitive feelings differ from emotions, because they do not operate in the duality of labeling ideas or experiences as either good or bad."

Emmanuel Dagher

Consciousness is harbored within a conceptual field of virtual origin. Light appears to have emerged from within while darkness shadows its expression. 

“When you listen to or read someone’s words, go beneath and see what you feel. This is really big for lots of folks, since we’ve been programmed to believe everything a person says or writes; especially those we put in the "authority box." For example, a person can put anything on their website and if you pay attention to the energy beneath, you will discover the truth.”

Kara Schallock

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Design has a science and philosophy all its own, a language that connects the realms of Truth, Beauty and Goodness. 

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Design, Consciousness, and the Symbolic Universe: An Interdisciplinary Exploration 

It is increasingly evident across disciplines that the universe exhibits a fundamental electric quality, a magnetic influence, and a gravitational responsiveness. These three forces—electricity, magnetism, and gravity—serve not merely as physical phenomena but as archetypal principles, shaping the very fabric of spacetime (Bohm, 1980; McTaggart, 2001). Within this triadic structure, consciousness arises not simply as an epiphenomenon but as a participant in the cosmological unfolding. Through the medium of symbols—light, form, energy, and pattern—consciousness engages with reality, interpreting the field of being through sense-perception and cognition.

Appearing within the domain of three-dimensional space/time, phenomena emerge as expressions of energy, light, and information—a triadic field corresponding to the mental, emotional, and intuitive faculties of human awareness. These phenomena may be interpreted as metaphors, offering indirect representations of the ontological structure of consciousness itself (Peirce, 1931–1958; Jung, 1964). In this sense, the universe functions as a living semiotic system, where every manifestation encodes meaning. 

Symbol, Perception, and the Aesthetic-Intuitive Function of Design 

Observation becomes interpretation through the act of perception. What we see becomes symbolic in the mind’s eye through processes described in both psychology and semiotics. Semiotic theorist Charles Sanders Peirce postulated that meaning arises from the interpretant’s response to a sign (Peirce, 1931–1958), while Carl Jung emphasized archetypes as symbolic expressions of the collective unconscious (Jung, 1964). Design, in this context, can be understood as the mechanism by which symbolic information becomes accessible to consciousness. 

Design, then, is not a purely functional or aesthetic exercise but rather an ontological phenomenon. It is a medium by which consciousness encounters itself—palatable, perceivable, and interpretable. Design serves as a bridge between the visible and the invisible, the known and the unknown. Each form—visual, spatial, or experiential—contains within it an encoded meaning that invites intuitive understanding. 

Intuition, as described by Bergson (1946), is the faculty by which one gains direct access to the flow of duration, or the élan vital. Design speaks the language of intuition, engaging it as an interpreter of symbols that lie just beyond the reach of logical analysis. The imagination, working in tandem with intuition, becomes a co-creative force—a medium through which unmanifest potential finds symbolic form. 

Imagination, Intuition, and the Virtual Field 

In contemporary quantum theory, the universe is often modeled as a probabilistic field where particles exist in superposition until observed (Heisenberg, 1958). Analogously, the imagination holds a multiplicity of potential forms within a non-localized field, collapsing these potentials into symbolic representations through the act of intuitive insight. Design, in this framework, serves as a catalyst for this “collapse”—channeling energies from the virtual into the actual. 

Design is thus a centralizing function, a point of focus or “single-mindedness” within the quantum flux of space/time. This concentration creates the conditions necessary for emergent order. Emergence theory (Kauffman, 1995) and morphogenesis (Sheldrake, 2009) both describe how structure arises spontaneously under specific boundary conditions. In design, these boundaries are perceptual, symbolic, and semiotic. 

By interacting with the imagination and intuition, design forms a symbolic architecture that brings into awareness dimensions otherwise hidden in the subconscious. These designs are not just visual artifacts but acts of transformation—transmuting formlessness into form and chaos into coherence. 

Synchrony, Morphogenesis, and Symbolic Experience 

The symbolic patterns brought forth through design often appear synchronistically—coincidences rich with personal and collective meaning. According to Jung (1960), synchronicities are acausal connecting principles that signal alignment between internal psychic states and external events. These events are felt more than understood, suggesting that experience itself is a morphogenic event—temporary, symbolic, and interwoven with the field of consciousness. 

The idea of the morphogenic field, developed by Rupert Sheldrake (2009), describes a kind of formative memory inherent in nature, whereby repeated experiences imprint themselves into energetic fields. These fields then act as attractors, shaping future events and patterns in space/time. Design interacts with this field by structuring the symbolic environment through which consciousness navigates and evolves. 

Design, Manifestation, and the Sacred Triad 

When design is approached as a metaphysical function rather than a merely aesthetic endeavor, it becomes clear that manifestation involves more than material realization—it is the formal embodiment of energy into pattern. Through intuitive engagement, imagination guides the energetic blueprint; design provides the symbolic infrastructure. 

In this light, design becomes a metaphysical language—one that encodes values of Truth, Beauty, and Goodness (Plato, Republic). These are not merely ideals but ontological coordinates within a universal grammar. The science and philosophy of design, when fully realized, connect the human experience to these transcendentals. 

To live in the moment—to participate in the creative now—is to recognize that knowledge is more than conceptual understanding. Wisdom emerges when design, intuition, and imagination converge, enabling consciousness to apprehend not just what is, but what could be. 

References 

Bergson, H. (1946). The Creative Mind: An Introduction to Metaphysics. Philosophical Library. 

Bohm, D. (1980). Wholeness and the Implicate Order. Routledge. 

Heisenberg, W. (1958). Physics and Philosophy: The Revolution in Modern Science. Harper. 

Jung, C. G. (1960). Synchronicity: An Acausal Connecting Principle. Princeton University Press. 

Jung, C. G. (1964). Man and His Symbols. Doubleday. 

Kauffman, S. (1995). At Home in the Universe: The Search for the Laws of Self-Organization and Complexity. Oxford University Press. 

McTaggart, L. (2001). The Field: The Quest for the Secret Force of the Universe. HarperCollins. 

Peirce, C. S. (1931–1958). Collected Papers of Charles Sanders Peirce (Vols. 1–8). Harvard University Press. 

Plato. (ca. 375 BCE). The Republic. 

Sheldrake, R. (2009). Morphic Resonance: The Nature of Formative Causation. Park Street Press. 

 

The author generated this text in part with GPT-3, OpenAI’s large-scale language-generation model. Upon generating draft language, the author reviewed, edited, and revised the language to their own liking and takes ultimate responsibility for the content of this publication.

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"To believe is to accept another's truth.

To know is your own creation."

Anonymous

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 and outcomes that surround your every choice and decision.

Edited: 04.20.2015, 10.22.2016, 01.11.2017, 02.17.2018, 03.09.2018, 07.26.2019, 10.26.2019, 06.27.2020, 01.02.2012, 03.07.2021, 05.17.2023, 11.28.2023

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