Conceptual impressions surrounding this post are yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
How do the concepts of calibration and recalibration affect your quest for balance? How do these concepts guide you in your search for Truth, Beauty and Goodness? What does it mean to recalibrate in order to attain greater consciousness through awareness?
calibrate|ˈkaləˌbrāt|verb[withobject ]correlatethereadingsof(an instrument) with those of astandardin order tocheck the instrument's accuracy.•adjust(experimentalresults) to take external factors intoaccountor toallowcomparison with other data.•carefullyassess,set, or adjust (something abstract):the regulatorscannotproperlycalibrate the risks involved|(asadjectivecalibrated):their carefully calibrated economicpolicies.
instrumentnoun. 1a tool orimplement, especially one fordelicateorscientificwork:•a thingusedinpursuinganaimorpolicy; a means:dramaasaninstrumentoflearning.•apersonwhoisexploitedor made use of:he was amereinstrumentactingunder coercion.2ameasuringdevice used to gauge the level, position, speed,etc.of something,especiallya motor vehicle or aircraft.
(identifies,identifying,identified)[withobject]1establishor indicate who or what (someone or something) is:•recognize ordistinguish(especially something considered worthy of attention):•[noobject](identifyas)assign (a particular characteristic or categorization) to oneself;describeoneselfas belonging to (a particular category or group):2(identifysomeone/somethingwith)associate(someone) closely with; regard (someone) as having strong links with:•equate (someone or something) with:•[noobject](identify with)regard oneself as sharing the same characteristics or thinking as someone else:
Its apparent that every POV must be capable of adapting to every situation. Circumstances act as "sounding boards"* returning every observation back to its origin/source for evaluation and recalibration. In reference to consciousness, observation emotes a vibratory event, a symbolic transfer of energy made in reference to an intention shrouded within a particular POV. This includes the context in which an event/experience appears and is made cognizant. The entire process is an exercise in design awareness, symbolic bytes of energy, light and information cast out for purposes of feedback and recalibration. The process is instantaneous and multidimensional in character and essence.
* The soundboard operates by the principle offorced vibration. The string gently vibrates theboard, anddespitetheir differences in size andcomposition,makesthe board vibrate at exactly the same frequency.Thisproducesthe same sound as the string alone,differingonlyintimbre. The string would produce the same amount of energy without the board present, but the greater surface area ofthe soundboard moves a greater volume of air, which produces a louder sound.
Sounding boardmay also be used figurativelytodescribea person who listens to a speech orproposalin order thatthe speaker may rehearse or explore the proposition morefully.Thetermis also used inter-personally to describe one person listening toanother, andespeciallyto their ideas. When a person listens and responds with comments,theyprovide aperspectivethat otherwise would not be available through introspectionorthoughtalone.
1. ^ O'Neill, Suzanne B.; Gerhauser Sparkman, Catherine (2008), From law school to law practice, ISBN 978083180009
Design creates a symbolic feedback loop required for the growth and expansion of Consciousness. Design is at the core of all correspondences.
How engaged/connected/aware are you to what you are witnessing in the moment? Are you aware of you own POV when experiencing what is around you? Do you look for correspondences between events and experiences and how they might affect your own POV? Do your observations and responses contribute to maintaining a sense of internal and external balance? Are there allowances made for flexibility and adaptability in every observation and perception of the situation at-large?
In order to create a path from within an infinite/quantum fabric of virtual potential (QFVP), be sensitive to the context in which the event or experience (phenomenon) is presented. The context in which these experiences occur, i.e. the situations and the circumstances, are key in making the most appropriate choice/s in regard to setting goals and objectives.
Recalibration is a constant. What you initially thought, felt or believed is depended upon past experiences and events. Further investigation and experience however changes everything.
Design consciousness' instrument of observation is central to your POV. Perspective along with observation reflect a reality acquired through experience. Experiences based in these realities are dependent upon an array of interlocking beliefs and systems of belief working together to create a harmonic vibration between them. Humanities perceptions of reality are guided by beliefs we "feel" balance our lives, whether they are shown to be true or not.
experiencepractical contact with and observation of facts or events:•the knowledge or skill acquired by experience over a period of time, especially that gained in a particular profession by someone at work . •an event or occurrence that leaves an impression on someone:verb[withobject]encounter or undergo (an event or occurrence):t. •feel (an emotion):
beliefisanattitudethatsomethingis the case, or that somepropositionaboutthe worldistrue.[1]Inepistemology, philosophers use theterm"belief" to refer toattitudesabout the worldwhichcan be eithertrue or false.[2]Tobelievesomethingis to take it to be true; for instance,tobelievethatsnow is white is comparable toacceptingthe truthof theproposition"snow is white".However,holdinga belief does not require activeintrospection. For example, few carefully consider whether ornotthe sun will rise tomorrow, simply assumingthatitwill. Moreover, beliefs need not beoccurrent(e.g. apersonactively thinking "snow is white"), but caninsteadbedispositional(e.g. a person who if asked aboutthecolor of snow would assert "snow is white").[2]
^Primmer, Justin (2018), "Belief", in Primmer, Justin (ed.),The Stanford Encyclopedia of Philosophy, Stanford, CA: The MetaphysicsResearchLab, retrieved19 September2008
^abcde"Belief".Stanford Encyclopedia of Philosophy.Retrieved22 June2020.
Calibration and recalibration is synonymous with programming and reprogramming. Choices, intentions, goals and objectives are based upon systems of signs and symbols (languages) designed for specific purposes ... some being more meaningful than others. Both descriptions are based upon human and technological inputs and outputs along with contextual frameworks that may possibly lead to greater awareness (knowledge/understanding) / consciousness (wisdom). Every observation however still remains a matter of choice, a point of view and focus of intention.
Intention acts as a transformer between what is and what could be. Intuition leans towards potential intention brings it to Light.
Light creates the vibratory context in which observations are made. An observation could never be made in the dark. Make it your intention to observe all thing in the Light.
Intention attracts choice. Like experience all choices are made in the moment. Choose that which brings balance to both the observer and the context in which the observation is made.
Goals and objectives should find balance before transforming into multidimensional frameworks yet experienced.
Design's center point is central to consciousness. Intention has the potential to break old patterns and beliefs.
Intentions need to be focused upon achieving balance within the parameters of observation. Seek the balance within you.
The fullness within a moment is a moment in balance, an experience felt only when thought.
Intention spurs forward certain observations. Intentions are a matter of choice.
Intention's purpose is to expand consciousness by means of experience. Future experiences are result of these same intentions, purposely and meaningfully designed within all appearances.
Appropriately balanced intentions contribute to awareness and the transformation of energy, light and information.
Reprogramming and recalibration demands focus, recognizes change and accelerates the flow of consciousness through awareness. Patience is forever.
Beliefs are meant to be discontinued or reprogrammed when out of balance. Belief systems should be designed to adapt from within circumstances observed.
Conceptual impressions surrounding this post are yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
All is vibration. In essence vibration participates in the emergence of a quantum field of virtual potential (QFVP) that might well be likened to Consciousness. Design describes this observation as in-form-ation - energy discovered and interpreted as a language in symbolic transformation appearing from within the parameters of its own field of awareness/observation.
Design attempts to reveal through a set of conditions and circumstances, certain symbolic attempts to define and describe the meaning and purpose underpinning a particular object, process, event or experience. Like consciousness this phenomenon continues ad infinitum both prior to and after dimensional re-presentation.
"The circle is a universal symbol with extensive meaning. It represents the notions of totality, wholeness, original perfection, the Self, the infinite, eternity, timelessness, all cyclic movement, God The circle is a two-dimensional shadow of the sphere which is regarded throughout cultural history as an icon of the ineffable oneness; the indivisible fulfillment of the Universe. All other symbols and geometries reflect various aspects of the profound and consummate perfection of the circle, sphere and other higher dimensional forms of these we might imagine.
The ratio of the circumference of a circle to its diameter, Pi, is the original transcendental and irrational number. (Pi equals about 3.14159265358979323846264338327950288419716939937511...) It cannot be expressed in terms of the ratio of two whole numbers, or in the language of sacred symbolism, the essence of the circle exists in a dimension that transcends the linear rationality that it contains. Our holistic perspectives, feelings and intuitions encompass the finite elements of the ideas that are within them, yet have a greater wisdom than can be expressed by those ideas alone."
The mathematical challenge of squaring the circle originated with the ancient Greek mathematicians and geometers. The problem was to construct for a given circle a square with the same area as the circle, all to be done with only a compass and straightedge. It was repeatedly demonstrated that the challenge was impossible to do. The circle represented woman, spirit and infinite wholeness, the square man, earthly circumstances and all things material. Ancient Greek philosophers distinguished all things material within the context of fours, e.g. the seasons of the year, the elements of earth, air, fire and water. Squaring the circle was proven to be algebraically impossible until 1882 when the Lindermann-Weierstrass theorem proved that pi π is transcendental and not an algebraic irrational number. “Philosophically and spiritually, to square the circle means to see equally in four directions—up, down, in, and out—and to be whole, complete, and free. Circles often represent the spiritual because they are infinite—they have no end. The square is often a symbol of the material because of the number of physical things that come in fours, such as four seasons, four directions, and the four physical elements—earth, air, fire, and water, according to ancient Greek philosopher Empedocles—not to mention its solid appearance. The union of man and woman in alchemy is a merging of spiritual and physical natures. The triangle is then a symbol of the resulting union of body, mind, and soul. In the 17th century, squaring the circle had not yet been proved impossible. However, it was a puzzle no one had been known to solve. Alchemy was viewed very similarly: It was something few if any had ever fully completed. The study of alchemy was as much about the journey as the goal, as no one might ever actually forge a philosopher’s stone.” Catherine Beyer https://www.learnreligions.com/squaring-the-circle-96039
The Classical Elements"Classical elements typically refer to water, earth, fire, air, and (later) aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances.[1][2]Ancient cultures in Greece, Ancient Egypt, Persia, Babylonia, Japan, Tibet, and India had all similar lists, sometimes referring in local languages to "air" as "wind" and the fifth element as "void". The Chinese Wu Xing system lists Wood (木 mù), Fire (火 huǒ), Earth (土 tǔ), Metal (金 jīn), and Water (水 shuǐ), though these are described more as energies or transitions rather than as types of material.
These different cultures and even individual philosophers had widely varying explanations concerning their attributes and how they related to observable phenomena as well as cosmology. Sometimes these theories overlapped with mythology and were personified in deities. Some of these interpretations included atomism (the idea of very small, indivisible portions of matter), but other interpretations considered the elements to be divisible into infinitely small pieces without changing their nature."1. Boyd, T.J.M. ; Sanderson, J.J. (2003) The physics of Plasmas, Cambridge University Press.p.1 ISBN9780521459129. LLCCN 20020246542. Ball, P. (2004). The Elements: A Very Short Introduction. Very Short Introductions. OUP Oxford. p.33. ISBN8970191578250https://en.wikipedia.org/wiki/Classical_element The Four Elements"The four elements[edit]
Empedocles established four ultimate elements which make all the structures in the world—fire, air, water, earth.[32][43] Empedocles called these four elements "roots", which he also identified with the mythical names of Zeus, Hera, Nestis, and Aidoneus[44]"32 Wallace, William (1911) "Empedocles" In Chisolm, Hugh (ed). Encyclopedia Britannica. 9 (11th ed.) Cambridge University Press. pp. 344-345.43. Frag. B17 (Simplicius, Physics, 157-159)44. Frag.B6 (Sextus Empiricus, Against the Mathematicians. x.315)https://en.wikipedia.org/wiki/Empedocles What might be the elements or "roots" needed to explain the nature of Design? What might be the basis from which we can describe and or comprehend design in reference to a "nature" that surrounds and penetrates and brings reflection to every event and experience? But first we must be willing to accept the premise that Design is transcendental. Likened to the inability to square the circle and finalizing the value of π Design is just as immeasurable and just as never ending. Design is simultaneously visible and invisible, transitory, transforming, transcending, adaptive and timelessly changing in time.ideanoun Philosophy(inPlatonicthought)aneternallyexistingpattern of whichindividualthingsinanyclassareimperfect copies.•(inKantianthought)aconceptofpurereason, notempiricallybasedin experience.complementaryadjective. combiningin such awayas toenhanceor emphasize thequalitiesofeach other oranother:threeguitaristsplayinginterlocking,complementaryparts|Internettechnology is actuallycomplementarytotraditional technologies.
Design Appearances
Design makes its presence through the use of symbols. Symbols make their appearance in three dimensional space/time in the forms of:
images (mental) noun. 1likeness,resemblance;depiction,portrayal,representation;statue,statuette,sculpture,bust,effigy;painting,picture,portrait,drawing,sketch. 2:picture,photograph,snapshot,photo. 3reflection,mirror image,likeness.4:conception,impression,idea,perception,notion;mental picture,vision;character,reputation;appearance,semblance.5:simile,metaphor,metonymy;figure of speech,trope,turn of phrase;imagery. 6public perception,persona,profile,reputation,stature,standing;face,front,facade,mask,guise. 7double,living image,look-alike,clone,copy,twin,duplicate,exact likeness,mirror image,doppelgänger;informalspitting image,dead ringer,carbon copy;archaicsimilitude. 8a graven image:idol,icon,fetish,totem. verbenvisage,envision,imagine,picture,see in one's mind's eye.
thoughts noun(mental)anidea or opinion produced by thinking, or occurring suddenly in the mind:•(one's thoughts)one's mind or attention:•an act of considering or remembering someone or something:•(usuallythought of)an intention, hope, or idea of doing or receiving something:.2the action or process of thinking:.•the formation of opinions, especially as a philosophy or system of ideas, or the opinions so formed:•careful consideration or attention:•concern for another's well-being or convenience:
feelings(emotional)noun1anemotionalstateorreaction:•(feelings)theemotionalside of someone's character; emotionalresponsesor tendencies to respond:•strong emotion:2a belief, especially a vague or irrational one:[withclause]:•an opinion, typically one shared by several people:3the capacity to experience the sense of touch:•the sensation of touching or being touched by a particular thing:4(feeling for)a sensitivity to or intuitive understanding of:adjectiveshowing emotion or sensitivity:
sensations(physical)noun1a physical feeling or perception resulting from something that happens to or comes into contact with the body:•the capacity to have physical sensations:.•an inexplicable awareness or impression:[withclause]:a widespread reaction of interest and excitement:•a person, object, or event that arouses widespread interest and excitement:
No new event or experience can exactly parallel the meaning or purpose symbolically ingrained in past events and experiences. Impressions from all these experiences are the products of our imagination. All events and experiences are extremely complex, symbolic in character and appropriately configured for the time and space in which they occur, both past and present. All observations and perceptions are symbolic cognitions and figments of the imagination.Our experiences appear to be real because they've been imagined in a "timely" framework and found to be appropriate for a particular space and time. Energy in motion is how we might describe time in a linear fashion, interpretations of experiences and events that together bring relevance to our concept of Reality (POV). Remembrancesare linked together by design, i.e. signs, symbols, metaphors, analogies, etc. that together veil design's hidden language affecting our images, thoughts, feelings and sensations from the past, the present and into the future. These engaging states of mind create their own field of energy, guided by feelings and impressions that in linear time, can alter our POV. Together they contribute to our concept of Reality. These thoughtful engagements allow our imagination to adapt to every situation we may encounter, formless impressions from a quantum field of virtual potential. Humanity survives by means of its ability to symbolically imagine, observe, perceive and create by design. 3,700-year-old Babylonian Stone Table gets Translated, Changes History Reality can best be described in the moment. Clear, concise, intentions are energized through symbolic interpretation, adjustment and adaptability. Realities self-truths are timelessly cloaked in a POV veiled both in form and formlessness. Your source of origin will be revealed to you while observing yourself in the moment ... imagination notwithstanding. "Nowness or the magic of the present moment is what joins the wisdom of the past with the present."Chogyam Trungpa Find balance and harmony about the core of a central presence you know is Real at the moment. There are many moving parts involved in the process of acknowledging the singularity within. You are an observer, a personalized awareness symbolically known, felt and impossible to measure. Your center marks a point surrounded by a field of energy, light and information in perpetual change, a point where the squaring of the circle meets within the parameters of space and time. Design is a concept whose methods of abstraction are symbolic in representation. Design is real but not capable of being fully described or explained through simple logic. Design is transcendental and like consciousness is presupposed, a priori and fundamental to Life. All signs are at the root of design.
Many attempts were made to find a conclusive solution to a mystery that led to an inconclusive answer - it became an irrational situation. After many unsettling attempts to resolve the dilemma between the circle and the square a more comprehensive result emerged. The situation demanded a simpler solution that evolved into the symbol we know today as Pi ( π ).
"Like all real numbers, irrational numbers can be expressed in positional notation, notably as a decimal number. In the case of irrational numbers, the decimal expansion does not terminate, nor end with a repeating sequence. For example, the decimal representation of π starts with 3.14159, but no finite number of digits can represent π exactly, nor does it repeat. Conversely, a decimal expansion that terminates or repeats must be a rational number. These are provable properties of rational numbers and positional number systems and are not used as definitions in mathematics."
A mathematical inconvenience has found resolution by means of applying a newly designed re-presentation of itself, bringing an sense of wholeness, continuity and agreement to a circumstance that could not be completely determined. Do all the previous ideas surrounding the concept of Pi degrade the accomplishments of earlier attempts to square the circle? Has every past number, equation, formula and attempt become inconsequential, or have they been enhanced, strengthened and supplemented through irrational means? The relationship between the circumference (feminine) and the diameter (masculine) have been symbolically embellished. Pi π is a sign that harbors more than just a mathematical cognition, π is a symbol designed with both a meaning and a purpose.
π re-presents an unending series of signs (numbers) placed in relative succession that reveal the inherent constraints surrounding linear thinking. Mathematicians and geometers encountered a snag in their quest to square the circle, which included their use and method of investigation. It was long time to further adapt to the challenge as the challenge would not go away.
A greater understanding and reconfiguration was imperative for further investigation. This challenge could only be met by accepting such limitations and find resolution by creating a more embracing signature that could shroud the unprovable mystery that had no systemic explanation.
This symbol and all the designs that further expanded upon it, was more realistic, embracing, accepting, holistic and functional in its character. Once accepted by the collective π began to represent an unprovable reality (phenomenon) that couldn't be described in any other fashion. In other words, the entire concept of squaring the circle was transformed due to the context in which the event was now being observed, a circumstance that required change/action for the sake of mathematics as a whole.
Mathematics became transformed by transcending a fixation upon interpretations brought forth through the use of earlier methods of instrumentation. Future advances in observation, perception and interpretation of Reality became accelerated. Past impressions were altered by virtue of a simple sign that symbolized more than anything thought measurable.
π is symbolic in its presence was created with the purpose of advancing awareness through the application of an seemingly objective process designed to investigate the unknown.
This example describes how all signs have symbolic references in the form of impressions that are both purposeful and meaningful. The search for the area of a circle by means of a square might be considered irrational because it lacks precision. One might glean that the concept of a circle is an example of irrationality in its own right and that the concept of wholeness is an unreachable goal if not complemented by its opposite. We each are afforded the choice to believe this to be true or not by allowing our imagination to imagine it. Like consciousness we will never be able to truly measure π as long as it lies within the domain of three dimensional space and time.
“In physics, complex numbers were considered to be purely mathematical in nature. It is true that although they play a basic role in quantum mechanics equations, they were treated simply as a tool, something to facilitate calculations for physicists. Now, we have theoretically and experimentally proved that there are quantum states that can only be distinguished when the calculations are performed with the indispensable participation of complex numbers,” explains Dr. Streltsov.
imagination|iˌmajəˈnāSH(ə)n|nounthe faculty oractionofforming new ideas,orimages orconceptsof externalobjectsnotpresenttothesenses:•theabilityof the mind to becreativeorresourceful: •the part of themindthatimagines things:
Beauty is the only concept in space and time where the idea of perfection can be vividly felt and/or fully experienced.Beauty brings to form and formlessness a third type of non-duality.
The circle attracts energy-in-motion towards its center. A one pointed focus of energy cannot be sensed without motion nor understood without direction, it will always be an obstruction in the path of science. Energy trans-form-ations appear as reflections in the Light of observation. Within this context the circle finds its purpose by virtue of its meaning and meaning by virtue of its purpose. To find balance in all fields energy in motion they must all be designed.
The line possesses the potential for creating an assemblage of forms where wholeness might be rediscovered, remastered, redirected, refined and realized. The line is the vector that incorporates the geometry of the Cosmos. Every dance between line and circle has a meaning and a purpose in a complementary quest for harmony - a grand Design that symbolically veils the Source of its perfection.
"The Ancient of Days", William Blake
The observer is central to every circle whose focus is appointed by intention. The act of observing appears as a disturbance within a quantum field of virtual potential, i.e. a position of single pointedness is known by means of its impression upon the greater whole. The point becomes a line giving direction (measure) to its purpose and meaning to its intent. A point is a line in motion. (see Design Metaphysics: Design In Motion)
Multidimensional and holistic in essence the point no longer appears pointless as it hurls through a field of virtual potential. Splitting from itself for purposes of self realization, the point becomes both one (particle) and the same (wave) - expanding beyond pointlessness (line, wave, geometry) a reflection of its self returns to its pointedness (center, source, intent). Experience invites an expansion and contraction of the field within. Forms emerge and disappear in a feedback loop that never ends. What was once real now changes every moment. Projection, reflection, internalization, illumination ... cyclically spiraling, expanding and contracting in a Design revealed in moments of timeless Awareness.
Design is irrational. Design can be imagined, but not always measured.
Design is not as precise as mathematics would like it to be, yet without it nothing would add up.
The design process is dependent upon the proper use of language made in reference to the concept of coherent resonance. If a common language, i.e. system of symbolic impression and interpretation, is not appropriately pre-determined, agreed upon and adhered to through a shared and accepted understanding, truth will surely be lost in interpretation, transformation and transcendence This is an extremely difficult position to comply with and adapt to considering the fact that change is a constant and most reactive when observed from within a quantum field of virtual potential (QFVP).
Born and raised in Chicago, Ill. I received my BFA and MFA from the University of Illinois, Urbana. Professor Emeritus Columbus College of Art and Design. I have taught, lectured and written about
design and the design process throughout my tenure as Dean of Industrial and Interior Design. My interests lie in demonstrating design as fundamental to consciousness, archetypal in context and the underlying language of change and transformation.
https://www.idsa.org/profile/carl-garant/
