I Think its About Time 1.0

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

The concept of time and space are the most dynamic components used to perceive and inquire into the universe. Together they are designed to create the framework, i.e. the "field", in which forms of energy, light and information can appear, disappear and be recognized. The concept of there being an "observer" would be nonexistent without the fabric of time and space. Time and space contribute to the idea that a grand network of energy appears before our consciousness in the form of a universe in which we participate and have our being. 

Time and space are essential in comprehending the idea of  an observer to witness any event or experience. Being an observer alludes to the fact that you are conscious of a reality both within and beyond your own sense of awareness. To be an observer is to imply that you are a perceiver of several universes, all of which appear to be of your own making. To be an observer brings forth innumerable realizations, one of which is the realization that you possess a particular POV all your own. Your universe/s are subjective in quality. Your universe/s are reflections of your own wants and desires originating from a variety of perspectives. This awareness is what makes itself self-evident within the dimensional parameters of 3D space/time. 

Who would have seriously thought that you are a major participant, contributor and "resource" of all every observation relating to the concept of reality? In time you'll soon realize that this insight in conjunction with others, must be expressed and discovered for yourself. You are the designer/s of what you experience. Your realities in time and space change in reference to your POV, including every context in which those observations are made. 

We create the patterns, the formations, the systems, the opinions, the "facts", the matrixes, the emotions, the thoughts, the feelings, the networks, the direction, the energy, the light, the information, etc. that together give rise to the concept of a Reality we all experience both subjectively and collectively. Together we create a quantum field of virtual potential and probability (QFVPP) symbolizing our own humanity by which we discover, learn and experience our own "presence". We evolve and expand in reference to the bridges, i.e. links and networks, we have constructed and given preference (focus). 

There is a ratio between time and space. Time and space have a symbiotic relationship. The dynamic between these concepts can be observed, measured, experienced and "felt" at most every level of human consciousness. Einstein has shown that time and space are affected by the speed of light. Time changes, space changes and so have the experiences within the context these changes appeared. Change emerges in reference to an observer's POV in addition to the immediate (time) and surrounding context (space) in which these changes are observed. 

At this juncture in human evolution time and space share in our concept of "presence". Together we permeate the universe. As observers we experience this presence every moment ... awake or at sleep. Time and space create the context in which our every universe can be observed, reviewed, experienced and understood. Reality is an represent an integration of many vibratory re-sources chosen to be viewed and experienced within a particular stratum of space/time. Every position (POV) we take for reasons of growth and expansion will overlap and change. These actions require cooperation and transformation in addition to a network in which these needs can be expressed (materialized) in reference to meaning and purpose (function). These dimensions are somewhat intangible others are more "material". 

Design is the Universal coupling device for all Consciousness.

It is imperative for us to understand that we are both observing and experiencing a vibratory universe where frequencies are constantly interacting and intermingling. Individually and in conjunction with other frequencies, these vibratory dynamics create an ever-changing field of energy. Holistically these forces exhibit and maintain the qualities of a virtual domain that exhibits an unthinkable amount of potentiality. 

All forms of energy, light and information are virtual in essence and remain formless solely because we haven't focused our intentions or desires upon them. Collectively we haven't made the appropriate connections between our own resources and the dimensions/realms where these forces can be made both meaningful and purposeful. When we focus our energies upon this virtual field of quantum potential we likewise give it structure and framework about which similar patterns of our own making can grow and blossom.

We all have certain desires appearing as a drive or creative impulse to take on the form of a design, i.e. symbolic representation, of what we would like or want to appear and/or bring into manifestation. This urge, i.e. surge, describes the drive to create, re-produce and/or bring into awareness our vision of a reality we imagine for ourselves. We resonate to certain frequencies because we complement them in 3D space/time in how we act, think and feel. We bring into manifestation certain vibratory patterns of energy within the parameters of what it is like to be a human experiencing 3D space/time. We possess the ability to make such qualities real/tangible because in essence, we exhibit similar patterns within the mental, physical, emotional context of our own field of awareness, i.e. consciousness.  

These vibratory "qualities" that refer to us and our interpretation of the universe, stem our DNA. What we create represents patterns of form, magnitude and frequency. This re-presentation is hidden in full view. This re-presentation of your desire for wholeness and balance is veiled within the parameters of 3D space/time in the form of a symbol. 

Likened to a chord having its complementary vibration resonating at both a higher and lower octave, patterns of energy form  in order to become the products of their own "source". These are the qualities (frequencies) that substantiate our being-ness. We reproduce (recreate) and similarly resonate to, certain vibrations differently than others. These are the patterns, i.e. qualities, we each contribute to and voluntarily express, i.e. materialize, from within the parametric constraints of our own point of view. 

We typically share and contribute to these realities by means of our imagination. What we think and feel about certain situations allows us to resonate to what we want to experience within the parametric constraints of our own DNA blueprint. This awareness is multi-dimensional in quality. It's all dependent upon what YOU bring to every relationship, what YOU resonate to and what YOU'RE willing to share (network). 

We reveal to ourselves who we are by means of what we create. By virtue of design, we become observers. Choose or share in another pattern of expression and expect to experience similar ramifications having been transformed and customized about your own POV. This is why it is imperative that everything you choose to materialize in space/time is fully investigated and pondered upon before contributing your own energy to the situation. 

Your blueprint lies quietly hidden in your natal chart. Your blueprint can be revealed to you by design, if you so choose. Your journey (path/Tao) guides you in every moment by means of attraction and repulsion. Over "time" and in "space" your experiences grow. Space and time are all inclusive. Together they refer to a framework of correspondences and create the format/context necessary for you to exercise your choices. Where do you really want to go? Unification requires you to both know and love yourself. 

This is not necessarily a spiritual or religious journey yet could be interpreted as such by some. These systems are merely means in which to interpret a particular POV that you might share (network) with others. Your journey is more closely woven into the fabric of meta-physics and its reference to art, language, culture, society etc. Together all paths lead to the future and well-being of the planet.

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Refined and Expanded Version: Time, Space, and the Role of the Observer in Design Theory 

Introduction: The Interplay of Time, Space, and Consciousness 

The fundamental concepts of time and space are not just the scaffolding upon which the universe is observed, but also the dynamic variables that shape our perception of reality. These constructs form the very framework—what might be called the "field"—within which energy, light, and information arise, evolve, and disappear. Without time and space, the concept of an observer becomes unintelligible. Time and space are the essential conditions for the manifestation of all phenomena, both in their objective physical forms and in the subjective experiences of those who witness them. In design theory, this interplay of time, space, and observer becomes foundational not only to how we perceive the world but also to how we craft the experiences and systems that influence the way we engage with it. 

The Observer's Role: A Subjective Universe 

The notion of the observer is crucial, as it implies an active participant who does not merely witness reality but actively co-creates it. The observer’s position is one of duality: aware both of their own subjective experience and of the greater, interconnected whole. As observers, we perceive multiple universes within the one, each reflecting our own desires, intentions, and perspectives. This subjective nature of reality leads to the realization that the world we experience is not an objective, static system but a fluid network of constantly shifting perspectives. 

This shift in perception echoes Heidegger’s concept of "Being-in-the-world," where the individual’s consciousness is not separate from but integral to the world they inhabit. Similarly, Merleau-Ponty (1945) argued that perception is fundamentally embodied, meaning that the observer is always situated within a specific context that shapes how they interact with the world. In design terms, this means that every design decision—whether material or conceptual—is an act of co-creation, where the designer is both an observer and participant within the unfolding universe of experience. 

Time and Space: A Symbiotic Relationship 

Time and space are not isolated dimensions; rather, they operate in a symbiotic relationship, dynamically shaping one another. This is consistent with Einstein’s theory of relativity, which demonstrates that the perception of time and space is malleable and relative to the observer’s frame of reference. According to Einstein (1915), both time and space can stretch and contract depending on the relative speed of the observer. This non-Euclidean conception of space-time also informs how we perceive change, which is directly related to our point of view (POV) within both time and space. 

From a design perspective, this relativity emphasizes the importance of context and perspective. Every design exists within a shifting field of space-time, and its meaning and relevance depend on the temporal and spatial circumstances in which it is situated. Deleuze (1994) emphasized the importance of becoming and process, arguing that identities and structures are never fixed but rather always in a state of flux, continuously shaped by their relations in time and space. Therefore, any act of design is an invitation to engage with this ever-changing web of relations, where space and time are not just containers but active agents in the unfolding of experience. 

The Creation of Reality: A Collective Quantum Field of Potential 

As observers, we are not passive receivers of reality but active participants in the creation of it. This understanding aligns with Bohm’s (1980) concept of the "implicate order," in which all energy and information exist in a quantum field of potential and probability, waiting to be actualized. The patterns we observe, recognize, and act upon are the result of both individual and collective focus, intention, and desire. When we bring attention to this field, we give it form, structure, and meaning. Design, in this sense, is not just about aesthetic or functional solutions; it is the conscious structuring of space-time to manifest certain frequencies or patterns of experience. 

This brings us to the idea of the Quantum Field of Virtual Potential and Probability (QFVPP), a concept that describes the boundless potential inherent in all things. The QFVPP is a domain where energy, light, and information exist in a formless state, only taking shape when focused upon by the observer's consciousness. In design, this idea becomes crucial, as the process of design itself can be understood as the act of giving structure and purpose to this virtual field. Bateson (1972) suggested that human consciousness is a "pattern which connects," and design can be seen as the human attempt to make these connections visible and meaningful. 

The Role of Vibrations: The Foundation of Design and Creativity 

Human consciousness is inextricably linked to the vibratory nature of the universe. Schrödinger (1926) argued that at a fundamental level, all matter and energy are vibrational, and this principle holds true in the realm of design. What we create—whether objects, experiences, or systems—are expressions of certain frequencies that resonate with our internal states. These frequencies, stemming from the depths of our DNA, represent the fundamental patterns of energy that we both embody and create. 

Design, then, is the act of aligning oneself with these frequencies and manifesting them in the material world. As designers, we are constantly attuned to the vibratory dynamics of the universe, interpreting them through our thoughts, emotions, and actions. Just as a musical chord exists in both its higher and lower octaves, the products of our design emerge as patterns that resonate at different levels of magnitude and frequency, in harmony with the desires and intentions that shape them. 

This resonance also aligns with Maslow’s (1943) hierarchy of needs, where self-actualization—achieving one’s fullest potential—is seen as a process of aligning with deeper aspects of self, which in turn aligns with the broader universe. Design, then, becomes a process of manifestation, where the frequencies of our desires and needs are translated into tangible forms and structures that reflect our inner states and aspirations. 

The Path of Design: Personal and Collective Evolution 

The process of design is intimately connected with evolutionary growth, both on an individual and collective level. The path of design reflects an unfolding journey, guided by the attraction and repulsion of different energies and frequencies. This journey is not merely a personal one but is also a collective process, in which all participants contribute to the shared fabric of reality. In this sense, the act of design is an inherently relational endeavor, in which the individual’s vision intersects with the broader societal, cultural, and metaphysical contexts. 

This understanding also brings us to the idea of the natal chart as a blueprint for design. Just as an individual’s DNA provides a unique set of patterns and frequencies, the natal chart offers a map of one's potential and life path. In design terms, the chart can be seen as a schematic guide for understanding the energies and frequencies one is predisposed to interact with, thus providing a framework for the creative process. Design, in this sense, becomes both a personal and collective journey of self-realization and interconnection. 

Conclusion: The Unified Field of Design and Consciousness 

In conclusion, the symbiotic relationship between time, space, and the observer is central to understanding both the nature of reality and the practice of design. By recognizing that reality is a dynamic, co-created field of energy, information, and light, we can better understand our role as both observers and creators. Design is not just a technical or aesthetic pursuit, but a metaphysical and philosophical exploration of how we shape and are shaped by the universe in which we participate. As observers within the vast field of space-time, we are tasked with becoming conscious co-creators of the world we inhabit. 

References 

Bateson, G. (1972). Steps to an ecology of mind: Collected essays in anthropology, psychiatry, evolution, and epistemology. University of Chicago Press. 

Bohm, D. (1980). Wholeness and the implicate order. Routledge & Kegan Paul. 

Deleuze, G. (1994). Difference and repetition (P. Patton, Trans.). Columbia University Press. 

Einstein, A. (1915). The field equations of gravitation. Sitzungsberichte der Königlich Preußischen Akademie der Wissenschaften. 

Heidegger, M. (1962). Being and time (J. Macquarrie & E. Robinson, Trans.). Harper & Row. 

Maslow, A. H. (1943). A theory of human motivation. Psychological Review, 50(4), 370–396. 

Merleau-Ponty, M. (1945). Phenomenology of perception (C. Smith, Trans.). Routledge. 

Schrödinger, E. (1926). An undulatory theory of the mechanics of atoms and molecules. Physical Review, 28(6), 1049–1070. 

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This text offers an exploration into the dynamic interplay of time, space, and consciousness, drawing attention to the role of the observer in constructing reality. To refine and expand upon its themes from the lenses of semiotics and psychology, we can examine several core ideas: the observer’s role, the subjective nature of reality, the relationship between time and space, and the creation of meaning. These aspects intersect deeply with theories in both semiotics (the study of signs and symbols) and psychological frameworks such as cognitive theory, constructivism, and phenomenology. 

Time, Space, and the Observer: The Semiotic Field of Reality 

The text begins with the premise that time and space form the foundational "field" in which energy, light, and information manifest. From a semiotic perspective, time and space function as the medium in which signs and symbols (or "forms of energy") become recognizable and interpretable. This reflects Ferdinand de Saussure’s theory of the sign, which posits that meaning arises within the relational structures of signs—meaning does not exist in isolation but emerges within a context (Saussure, 1916/1959). Similarly, the observer—the subject engaging with these signs—becomes an integral part of this semiotic process, participating in the creation and interpretation of meaning. 

In the realm of psychology, particularly in the context of phenomenology (Husserl, 1931), the act of observing is intertwined with consciousness itself. The observer is not a passive entity but an active participant in structuring their experience. As the text suggests, the observer both shapes and is shaped by time and space—two dimensions that structure our perceptual reality. This interplay is crucial for understanding how consciousness can "inhabit" the universe and bring about subjective experiences of reality. 

Subjectivity and the Construction of Meaning 

The notion that everyone has their own "point of view" (POV) is central to the text, which resonates with constructivist theories in psychology (Piaget, 1952; Vygotsky, 1978). Constructivism suggests that individuals do not passively absorb information but actively construct knowledge based on their experiences and prior cognitive structures. The self is not a fixed entity but is continually constructed and reconstructed in interaction with the environment. In this context, the observer's POV is a cognitive construct, continuously shaped by interactions with both external stimuli (the world) and internal structures (memories, desires, and subjective interpretations). 

This subjective experience of reality is also deeply semiotic. Charles Peirce’s triadic model of the sign (Peirce, 1931) illustrates that meaning is derived from the interplay of the sign (representamen), the object it represents, and the interpretant (the meaning that arises in the mind of the observer). In this framework, every perception or observation is an act of interpretation—an attempt to make sense of the world through symbols. Reality itself is a semiotic system, one that is malleable and subject to the interpretations of those who observe it. 

Furthermore, the text suggests that humans are designers of their realities, which aligns with the psychological idea of agency (Bandura, 2001). This implies that individuals have the capacity to influence their experiences; to select the meanings they give to the world, and to transform their reality through conscious engagement. This aligns with the semiotic idea of symbolic interactionism (Mead, 1934), where human beings continuously engage in creating meaning through interaction with symbols. 

The Symbiosis of Time and Space 

The relationship between time and space is a key theme in the text, and its exploration can be enhanced by considering Einstein’s theory of relativity, which has revolutionized how we understand the fabric of reality. In this framework, time and space are not separate entities but are intertwined in a single continuum: spacetime (Einstein, 1915). The notion that "time and space are symbiotic" is a reference to how these dimensions work together to form the context for all events, a concept that aligns with both Einstein’s relativity and phenomenological theories of lived experience (Merleau-Ponty, 1962). 

From a psychological standpoint, the fluidity of time and space within human consciousness can be linked to cognitive flexibility (Goswami, 1999), the ability to adapt and reframe experiences in ways that are not rigidly bound by external realities. This flexibility enables individuals to construct alternative interpretations of their world, illustrating how time and space are malleable in human cognition. 

Quantum Field of Virtual Potential and the Creation of Meaning 

The text delves into the idea of a "quantum field of virtual potential," which can be interpreted as a semiotic domain where potential meanings and experiences exist in a latent form, awaiting focus and intention from the observer. This draws on quantum mechanics (Bohr, 1928), which suggests that particles exist in a state of potentiality until observed, at which point they collapse into a specific state. In psychological terms, this mirrors the activation-synthesis hypothesis (Hobson, 2009), which posits that dreams and consciousness are the results of the brain's attempt to create meaning out of seemingly random neural activity. Similarly, the text’s assertion that reality is constructed through intention and desire can be interpreted as an acknowledgment of the power of cognitive priming (Bargh & Chartrand, 1999) and perceptual framing (Tversky & Kahneman, 1981).

Thus, the “vibratory universe” described in the text refers to a semiotic field of endless potential, wherein meaning emerges through human intention, attention, and engagement. Just as symbols are the building blocks of language, the frequencies of energy and light in this quantum field become the raw material from which human beings draw meaning. 

Design, Symbolism, and the Observer as Creator 

The final segment of the text emphasizes that individuals are both observers and creators of reality, bringing forth symbolic representations (or designs) of their inner desires. This echoes Erikson’s psychosocial stages of development (Erikson, 1950), where identity formation and self-realization are seen as processes of meaning-making in interaction with the social environment. The act of creating or shaping symbols aligns with the idea that human beings are driven by an innate urge to bring their internal experiences into tangible form—whether through art, language, or behavior. 

In semiotic terms, this creative impulse can be seen as a form of metaphor creation (Lakoff & Johnson, 1980), where abstract concepts (desires, intentions) are given concrete representation through symbols (e.g., actions, art, language). The human ability to produce symbols and assign them meaning underlies both the psychological and semiotic processes of constructing reality. 

Conclusion 

This text presents a rich philosophical inquiry into the nature of reality, blending insights from semiotics, psychology, and quantum theory. Through the lens of semiotics, time and space serve as the medium for the manifestation of meaning, with the observer playing a central role in constructing reality. From a psychological perspective, the themes of subjectivity, agency, and cognitive flexibility underscore the ways in which human beings shape their own experience of time and space. Ultimately, both semiotics and psychology offer valuable frameworks for understanding how we perceive, interpret, and create the world in which we live. 

References 

Bandura, A. (2001). Social cognitive theory: An agentic perspective. Annual Review of Psychology, 52(1), 1-26. https://doi.org/10.1146/annurev.psych.52.1.1 

Bargh, J. A., & Chartrand, T. L. (1999). The unbearable automaticity of being. American Psychologist, 54(7), 462-479. https://doi.org/10.1037/0003-066X.54.7.462 

Bohr, N. (1928). The quantum postulate and the recent development of atomic theory. Nature, 121(3050), 580-590. https://doi.org/10.1038/121580a0 

Erikson, E. H. (1950). Childhood and society. W.W. Norton & Company. 

Einstein, A. (1915). Die Feldgleichungen der Gravitation. Preussische Akademie der Wissenschaften. 

Goswami, A. (1999). The self-aware universe: How consciousness creates the material world. Putnam. 

Hobson, J. A. (2009). The dreaming brain: How the brain creates the structure of dream experience. Oxford University Press. 

Husserl, E. (1931). Ideas: General introduction to pure phenomenology (W. R. Boyce Gibson, Trans.). Macmillan. 

Lakoff, G., & Johnson, M. (1980). Metaphors we live by. University of Chicago Press. 

Mead, G. H. (1934). Mind, self, and society: From the standpoint of a social behaviorist. University of Chicago Press. 

Merleau-Ponty, M. (1962). Phenomenology of perception. Routledge. 

Peirce, C. S. (1931). Collected papers of Charles Sanders Peirce (C. Hartshorne & P. Weiss, Eds.). Harvard University Press.

Piaget, J. (1952). The origins of intelligence in children. International Universities Press. 

Saussure, F. de. (1959). Course in general linguistics (C. Bally & A. Sechehaye, Eds.; W. Baskin, Trans.). McGraw 

 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

Edited:

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 on a non-commercial basis, the author and URL to be included. All rights reserved. Copyright © 2025 C.G. Garant.