Beauty

Conceptual impressions surrounding this article are yet to be substantiated, corroborated, confirmed or woven into a larger argument, context, network or post.

Focusing from the point of view of a creative observer, ideas describing the concept of Beauty appear to be founded upon subjective preference/attraction/coherence and resonance. This subjective POV functions in conjunction with an objective circumstance often considered representative of long held conventions and/or cultural mores. In other words, every situation implies there will emerge a point of focus, a position or observation made in reference to that POV.  These points of view are the products of certain impressions, partially or wholly made in reference to the observer's perspective. These points of view/observations are the sum total of certain symbolic impressions to which we personally resonate. These impressions/vibratory frequencies may be mental, emotional, physical or spiritual in context and content, they may also be any aggregate of the same. 

Observation relies upon components (designs) which are symbolic in origin and character, vibratory impressions both embraced and expressed by means of correspondences. We all experience this dynamic, observing and labeling it as being real within in a framework made conscionable by virtue of the symbolism we shroud upon all we witness.

correspondence | ˌkôrəˈspändəns, ˌkärəˈspändəns | noun   1 a close similarity, connection, or equivalence: correlation, agreement, consistency, compatibility, consonance, conformity, similarity, resemblance, parallel, comparability, accord, concurrence, coincidence.   

* * *

The Power of beauty in communicating complex ideas

Written by Louis Charron

"There is something very satisfying for our brains in the fusion of an emotional experience and a rational experience. Emotional and rational experiences both play a fundamental role in our cognition and our decision-making process. As neuroscientist Antonio Damasio writes “emotion is integral to the process of reasoning”. In other words: through emotions, facts resonate within us."

* * *

The singularity from which we view our world is a reflection of what we've designed for ourselves as being "real". We are aware of our own presence by virtue of these symbolic reflections, qualities we ourselves manifest in order to substantiate a meaning and purpose to and in our lives. Design is the process we implement at subconscious levels to close the loop between the conscious and the unconscious/the known and the unknown. Design creates the bridge that brings balance to what we know and what we don't know. Our journey is an undertaking we design for ourselves, a path we each create for our own journey. 

What you project is a symbolic re-presentation of your own concept/idea/impression of who you are, what you believe in, what you know, how you feel, etc. all bundled together into how you might best present yourself to your self/psyche (subjectively) and others (objectively). You are the designer. 

You participate in the Creation  

simply by knowing 

your own creation is true  

You design every moment whether asleep or awake. You function in a world designed with its own meaning and purpose meant to be revealed by means of a blueprint and guidelines (signs and symbols) you choose and create for yourself. The challenge is to expand in awareness by learning who you are with an understanding and wisdom that will always be changing. It is imperative that you know and realize that your creations are part of a greater context (field) from which they are being observed. 

Establishing a coherence with Life substantiates the experience/s you encounter every day. There is a meaning and a purpose in maintaining an intimate sense of balance. The objective: finding the complementary chords/vibrations between elements/agents of Life. Fulfillment is found by experiencing the harmony you've purposely and meaningfully created for yourself. 

Harmony and balance are dependent one's capacity to focus upon the symbols of Life.

All that is beautiful brings balance to Life. This attraction is the basic impulse that underscores the attainment of a designed consciousness. Resonance with Beauty brings balance to Design. Likened to beauty design can be observed and absorbed in a fashion clearly balanced, discovered and felt.   

Beauty re-presents an intuitive force and attraction, a feeling of one's own innate awareness, a fulfillment made observable in reference to one's own search for Truth and Goodness.

"The Good is the Beautiful."

Plato

" The most beautiful thing we can experience is the mysterious. It is the source of all true art and science."

Albert Einstein

   Science Daily   

  Credit: © Aleksey Stemmer / Fotolia

Energy is targeted around every point of focus, i.e. center, and vibrates with every observation. Your point of focus is magnetic, attracting re-presentations of comparable frequency and dimensional octave. In this manner your idea of Beauty complements all that share in the same vibration. Beauty is all about vibrational energy as are the concepts of Truth and Goodness - all are based upon coherent resonance.

Love might be viewed as the ultimate congealing agent, i.e. an augmentation responsive to catalytic activity emerging between elements. Every relationship reveals a kind of vibratory cognizance that can either fragment or unify the relationship. Together these impressions give precedence to certain qualifications by means of  sharing a common field of expression, design or intention. 

It is readily apparent that we all share in a design that might be described as a human Presence/Consciousness. One might describe this state of awareness as an integrated byproduct of a greater Intelligence, an unknown vector/force/s that makes itself present by what IS known. For a fact, all that can be sensed is vibratory in nature, as are the frequencies/fields we've coined and labeled as mind, matter, emotion and yes, even spirit. 

Theories supporting what has been collectively labeled as a quantum framework, attempt to elucidate upon a frequency/field that exists just beyond the reach of our cognizance and understanding. Some define this reflective state of awareness as being metaphysical in nature. Likened to quicksilver, we just can't seem to pin this realm of re-cognition down within the current scientific strappings that surround our consciousness. When appropriately linked, energyin-form-ation can appear to resonate to a relatively untapped condition of awareness defined as the subconscious. This appears as a field of energy just beyond mind's reach; a kind of awareness that vibrates at a higher frequency and greater magnitude than wakeful consciousness.  This dimension communicates to us symbolically and through metaphor.

Sharing creates certain frequency patterns (programs) that when vibrating in unison,establish a vibratory matrix designed for adaptability and communications. This is a network based upon commonly shared vibratory threads. These attractive forces appear to originate from a central core or point of origin, a well spring, or primordial resource, if you will; a mindful awareness in the process of unifying a microcosmic derivative of its own intelligence within a moment of 3D space/time. 

Are we mindful products/designs of this same imaginative Intelligence? Are we active participants in a symbolic design exercise, avatars of our own making, co- creators experiencing situations where the parts and the whole are actually one in the same? The design in support of this premise invites benevolent change at a rate never before experienced solely for the reason that change is not only an integral part required for expansion, but also for the reason that such a macro re-presentation of consciousness is more apt to survive the throws of perpetual expansion. This is how every resourceful form of intelligence might best be viewed, interpreted and sustained in the future.

https://plato.stanford.edu/entries/beauty/

Are we participants in the creation of a specific kind of beauty made sentient within the constraints of a particular strata of 3D space/time?  Is evolution a design process that allows us to become cognizant of our own reality/beauty by means of attaining certain degrees/levels of awareness (vibration)? Doesn't this validate the fact that this is a choice of our own making? Does the quantum field/experience afford us the opportunity to learn more about design as co-creators? Beauty reveals a multitude of hidden treasures veiled within the presence of every sensation. Collectively these radiant impressions harbor the potential for creating a harmonious balance between all the senses. 

Beauty is patterned about the focus of the observer. Beauty is made known by means of an observation made in reference to a particular context or field. Beauty re-presents itself in the form of a reflection, a quality found to be an integral part of every observation. Hence the phrase, "Beauty is in the eyes of the beholder." Beauty, Truth and Goodness will remain hidden if not symbolically represented within the blueprint of the observer/designer. 

Truth, Beauty and Goodness are ascriptions, each acting as a catalyst for the other. Beauty is the electricity that underlies the magnetism required to draw (attract) the likenesses of Beauty into the conscious field of the observer. Each ascription harbors a comparable electricity (frequency) hidden within a personal quantum field of unimaginable potential. Each ascription harbors an attraction of its own, relishing the opportunity to create the spark that brings forth a magnetic field that surrounds them. Truth, Beauty and Goodness have an inherent attraction to each other. Together they create a purity beyond re-cognition. 

ascription | əˈskripSH(ə)n | noun the attribution of something to a cause:

 

* * *

Frank Wilczek: Beauty as a Compass for Truth

On Being with Krista Tippett   January 7, 2021

The Winbar of Saladin

* * *

* * *

Beauty might be described as a derivation emerging from a common field, patterns of energy multidimensionally linked together to bring sustenance/energy/form before the consciousness of the observer. Beauty can be both tangible and intangible. Beauty is felt by virtue of a harmonious resonance between the observer and the context in which that particular "idea of beauty" is observed. Beauty is both recognized and reflected from within the conscious field of the observer. 

Truth, Beauty and Goodness can be found if you stand down and observe yourself from within.

Like most everything in the universe Beauty might best be described as a particular pattern of energy-in-motion. We've apparently "designed" these archetypal states of awareness for our own purposes, each having their own meaning and purpose. Together we've vaguely interpreted and given collective relevance to that which we feel is representative of Truth, Beauty and Goodness. Bottom line is we define our concept of reality from within our core Truth, a center surrounded by a mental, emotional and physical field symbolically characterized as being human. (Kama/Manas)

Energy of every kind of human distinction/frequency moves through every idea of reality we've ever had, while simultaneously changing or reinforcing every experience along the way. You possess the power to willfully focus on and discover what is beautiful, what is truthful and what is good by choice. These are conscious decisions based upon intelligence, resonance, experience, meaning and purpose. 

You are imprinted with thoughts, feelings, and experiences along with multitude of belief systems that instill and perpetuate them. Quantum consciousness expands upon the concept of multidimensionality.

In order to design within a multi-dimensional field (quantum) one must take the POV of both a particle and a wave. 

An idea stemming from your imagination willfully allows you to be guided and/or directed by virtue of your own efforts. These multidimensional images emerge from within the vapors of a quantum field of change/energy, images which harbor the potential of becoming real in a manner that could never be imagined.

* * *

Designing with the brain in mind: A deep dive into neuroaesthetics     

by Martina Sartor in UX Collective  July 3, 2023

"When we see something beautiful, different parts of our brain work together to process this experience. The orbitofrontal cortex, which helps handle our emotions, gets more active when we see things we find pleasing. At the same time, the visual cortex, which manages the things we see, 'communicates' with the orbitofrontal cortex, making the experience even more enjoyable.

There's also the ventromedial prefrontal cortex that checks how much we value what we're seeing based on our personal likes an past experiences.  And then we have the anterior cingulate cortex and the posterior cingulate cortex. They make sure our emotional response fits with the beauty we're seeing, making the experience even stronger."

Frank Wilczek, A Beautiful Question: Finding Nature's Deep Design 

“Supersymmetry, if correct, will be a profound new embodiment of beauty in the world. Because the transformations of supersymmetry turn substance particles into force particles, and vice versa, supersymmetry can explain, based on symmetry, why neither of those things can exist without the other: Both are the same thing, seen from different perspectives. Supersymmetry reconciles apparent opposites, in the spirit of yin-yang.”

* * *

Quantum levels of consciousness harbor the opportunity for affective change by means of facilitating the energy, light and information required for manifestation. Every reality is a unique expression of its own, patterns of vibration (energy in motion) whose core impulses/impressions are reflected from within its own contextual realm of awareness. 

Truth, Beauty and Goodness each describe an aspect of the Design Archetype. Each is transformative by nature. Together they create a principled framework for human evolution. Beauty can be felt and made apparent subjectively, collectively and at the same moment.* Beauty can be and felt at the same time and in the same space - signs and symbols designed to effectively and affectively contain and direct a transfer of energy in motion, light and information between resources within the context being observed.** 

* Being in the moment has major quantum ramifications. Beauty allows the concepts of space and time to be subjectively, collectively and instantaneously contained in the moment. Beauty has the power to complement both the known and the unknown by means of enacting one's consciousness to fully observe, focus and respond to the observable, the unobservable and the unknown. Beauty in any form, is endowed with the power and ability to purposely and meaningfully tap into humanity's full potential at levels never before experienced. In Beauty, Truth and Goodness will unhesitatingly follow.

This vague impression appears to be holographic in character. It represents a concept or idea that may or may not resonate within the structure/field of your own psyche. By being a creator/designer by means of reflection you possess the option to accept, reject or change everything before you.

** Hopefully you have begun to realize that the observer and the what is being observed are one in the same. What is created and what is observed are designed and brought forward by the imagination into a multidimensional/quantum field of energy-in-motion - a turbulent field of perpetual change. 

The concept of as above so below is centered about a common vibrational force (idea) purposely cast into this quantum field solely to discover the most appropriate path towards making it real, i.e. manifestation. This is part of the design process and its active implementation of sign, symbol and metaphor. 

Beauty aligns energy. Beauty brings balance by means of its symmetry between meaning and purpose. Beauty anchors awareness by design. Beauty is of the highest order, an expression of purity forged into its most appropriate and relative form. Beauty is a conduit, an expression of love unifying all within its aura. Beauty once observed is always felt.

At this time in our evolution Beauty remains the strongest stalwart of the three axioms supporting the concept of Design. Truth and Goodness may be individually discovered, but neither are as easily felt, collectively apparent and powerful as Beauty. 

Truth and Goodness are easily cloaked, seemingly unreachable and often hidden from observation, whereas Beauty is more readily sensed merely by being in its Presence. 

* * *

* * *

- The beauty of the design process

Isabela La Croix,  Published in Bootcamp, Sept. 11, 2023

- Can Art Clarify The Mind-Body Problem? – Episode @004 – Closer To Truth 

- Lawrence Krauss - Are the Laws of Nature Always Constant

- Beauty of Mathematics 

Yann Pineill & Nicholas Lefaucheux

- The power of beauty in communicating complex ideas 

Louis Charron, Published in UX Collective

* * *

You cannot find wisdom without knowing beauty. In knowing beauty comes meaning and purpose.

* * *

"To believe is to accept another's truth.

To know is your own creation."

Anonymous

* * *

Edited: 06.21.2019, 09.16.2019, 12.16.2019, 02.13.2020, 02.29.2020, 04.21.2020, 05.06.2020, 10.24.2020, 01.11.2021, 01.23.2021, 04.02.2021, 04.20.2021, 12.13.2021, 08.09.2022, 03.24.2023, 04.15.2023, 06.12.2023, 07.10.2023, 08.06.2023, 01.11.2024, 03.25.2024, 06.23.2024

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/ and https://sagariandesignnetwork.blogspot.com/

Design Consciousness: A Metaphoric Stream of Changing Awareness

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

So what could be considered a “field” of consciousness? What might it be? What does it consist of? How can I achieve a better understanding of what I feel as a permanent awareness centered within my being? What is the essence of this something? Why is it always changing? 

Know that consciousness is multi-dimensional. And what might that mean? Multidimensionality implies that you have a multitude of thoughts and feelings surrounding your every day experience. A conscious type of awareness impregnates your subjective and objective perceptions of roles (identities) and patterns in which you actively participate. 

These impressions mix, match and overlap. These impressions are mental, emotional, physical and "spiritual" in context. These feelings and impressions typically flow, pool and over time and in space simultaneously affect each other. Together they give precedence to a personal recipe filled with awareness. Insights stemming from a blueprint that gives relative structure to a specific awareness (identity) that is all your own.

Consciousness is much like this. Every broth begins with a certain desire. This desire inscribes the characteristics of a personal “source”, i.e. a perspective that has evolved and been conditioned by many events. Together and from a macro POV they appear to identify what seems to be a single point of view. Together they give precedence to what might be considered a type of "singularity".  To a certain degree this is true, every desire is a compilation of many experiences and events all having been accepted, interpreted and described as being “real”.

"The “swirlon” — a novel state of active matter — displayed a stunning behavior whereby instead of moving with acceleration, the quasi-particle groups moved with a constant velocity, proportional to the applied force and in the same direction of the force. This conduct seemingly violates the Second Newton’s Law, currently taught in secondary schools across the UK. Professor Nikolai Brilliantov who led the investigation at the University of Leicester said:- “We were completely baffled to witness how these quasi-particles swirl within active matter, behaving like individual super-particles with surprising properties including not moving with acceleration when force is applied, and coalescing upon collision to form swirlons of a larger mass. “These patterns have previously been observed for animals at different evolution stages, ranging from plant-animal worms and insects to fish, but rather as singular structures, not as a phase which borders other phases, resembling gaseous and liquid phases of ‘normal’ matter.” https://scitechdaily.com/swirlonic-super-particles-physicists-baffled-by-a-novel-state-of-matter/

Jung observed similar patterns or roles in his desire to resolve the inner workings of the psyche. Jung attempted to label these impressions as a venture to objectify them, give them an identity and harness their qualities for others to see, evaluate and imagine. In a sense he believed these categories needed to be determined so as to signify the differences between an impression and an observation. His was a scientific approach implemented in order to distinguish the lobster from the bisque. The idea of consciousness would never be the same. 

Separation and fragmentation are necessary. They are integral contributors every creative act. Jung felt that the psyche that harbors the concept of consciousness, was multi-dimensional in character and unique to every individual. Jung felt that the psyche along with experience, offered the opportunity to generate impressions surrounding the concepts of Life and reality. Multidimensionality affirmed the realization that the psyche was always changing based upon information brought forward by means of experience and awareness. 

" ... awareness is the catalyst Life responds to."
Jayme Price

Consciousness like quick silver is always changing and playing games by means of perception. Belief systems, events and experiences remain fundamental to every view of reality.

What could we ever know about a phenomenon that appears to substantiate our own personal view of ourselves, others and the world? Consciousness is both divisive and enlightening while likewise masking the reality behind a veil of unknowing. 

Consciousness creates a conceptual origin re-presenting* an imaginary source. It is what we search for in ourselves and project upon others including forms. Consciousness is a multidimensional idea, a dominant, over seeing and omnipotent concept of awareness that fuels the imagination and projects light upon "reality". 

* Re-presenting describes the symbolic interchange between a subjective and objective perception that surrounds an earlier creative experience. What is made holographically apparent is a re-flection of a re-source-full field composed of many observations that in unison and with direction give awareness a meaning and a purpose, i.e. reality. Part of design's function is to clarify the blurring affects of 3D space/time. Design achieves this objective by revealing the dynamics, i.e. differences and similarities, between what is felt and what is observed. 

This mirage likewise creates the institutions ordained to control us from cradle to grave. Or more aptly to control an innate freedom of awareness meant to explore its own "source" by means of its own needs and desires.

We are all sources of luminescence made apparent by means of our own light, i.e. consciousness. We are reflections of what appears to be generated from a common "source". We are holographic ingredients simmering in a metaphysical cauldron where the process of creation can be observed, brewed and tasted, i.e. experienced. Consciousness facilitates a certain focus, i.e. an interest about which virtual energy in motion can be attracted and conversely repulsed. 

Consciousness predicates that there is a source. Design gives credence to the concept of a virtual "field" by bringing expression to a realm (field of awareness) in relative stasis. Consciousness is the broth that contains the impressions and emotions we feel and interpret as reality. Design is the process that gives this stock figure and relish.

* * *

The Field of Consciousness: An Interdisciplinary Inquiry into Awareness, Identity, and Design 

What constitutes a "field" of consciousness? Can it be defined as a quantifiable domain, or is it better understood as an evolving, relational phenomenon? At the center of this inquiry lies a fundamental question: what is the nature of the enduring awareness we perceive as “self”? This inquiry into the architecture of consciousness has fascinated disciplines ranging from metaphysics and psychology to quantum physics and design theory. 

Consciousness, when framed multidimensionally, transcends reductionist definitions. It becomes a latticework of perceptions—mental, emotional, somatic, and ineffably "spiritual"—each occupying and influencing subjective experience. These layers interact non-linearly across the temporal and spatial domains, constructing a dynamic, emergent identity. In this sense, consciousness is not a static thing but an unfolding process akin to a quantum field: probabilistic, contextual, and inherently participatory (Zohar, 1990). 

From a metaphysical standpoint, the idea of selfhood arises not from isolated egoic separation but from a perpetual interplay of archetypal patterns, resonant with Jungian psychology. Jung (1960) identified these archetypes as universal, symbolic motifs that shape and are shaped by the psyche. They act as attractors in a psychological field, much like strange attractors in chaos theory, pulling our perceptions and beliefs into recognizable forms. His effort to categorize and externalize these inner figures served not only a diagnostic function but also a semiotic one—translating the ineffable into signs and symbols communicable across cultures and consciousnesses. 

Such an endeavor is echoed in design theory, where the ambiguous boundaries between what is felt and what is observed must be resolved through intentional structure. Design operates within and upon the field of awareness, shaping symbolic forms that articulate difference, meaning, and value (Krippendorff, 2006). Consciousness here becomes a designable medium—a field in which impressions, ideas, and emotions are both encoded and decoded. 

Quantum physics offers an analogous perspective. The observer effect reveals that the act of observation collapses potential states into realized ones (Heisenberg, 1958). Consciousness, therefore, cannot be divorced from the phenomena it perceives. The observer and the observed are interdependent. This aligns with the philosophical notion of non-duality found in both Eastern metaphysics and postmodern epistemologies, wherein the separation between subject and object is an illusion born of language and conditioned perception (Barad, 2007). 

Artificial intelligence, in its quest to simulate human cognition, similarly confronts the paradox of self-awareness. Neural networks and generative models operate on complex feedback loops, wherein emergent patterns resemble forms of proto-consciousness—structured yet context-dependent. While AI lacks qualia—the experiential interiority of human awareness—it mirrors the pattern-recognition and integration mechanisms that define consciousness in humans (Tononi & Koch, 2015). This comparison invites a reconsideration of whether consciousness is a discrete faculty or an emergent property of sufficient complexity. 

Design, as a semiotic act, bridges this inquiry. It serves as both method and metaphor: the intentional structuring of the “broth” of impressions that define identity. As in a recipe, ingredients—memories, beliefs, emotions, and perceptions—are blended into a unique signature dish. The recipe evolves with time, space, and desire, a notion consistent with Deleuze and Guattari’s (1987) rhizomatic model of becoming, where identity is not fixed but dynamically reconstituted across fields of interaction. 

Consciousness, thus, is not merely a container of experience but the very medium through which experience gains coherence. It is both wave and particle, myth and code, design and desire. The mirage of separateness—reflected in sociocultural institutions, belief systems, and symbolic frameworks—is necessary for meaning-making yet ultimately illusory. As such, design becomes a revelatory force, one that renders the invisible visible and the ineffable tangible. 

We are not passive recipients of this phenomenon. We are sources of light—metaphysical projectors casting realities onto the fabric of spacetime. Each consciousness acts as a node in a vast, interconnected field, participating in a holographic unfolding of Being. The light we project—our perceptions, our choices, our dreams—gives shape to reality. In this interplay, consciousness becomes both the creator and the created, the design and the designer. 

In conclusion, consciousness may be conceptualized as a multidimensional, designable field of awareness. It is at once subjective and universal, local and nonlocal, symbolic and experiential. Design functions not only to externalize the patterns within this field but also to clarify the relationship between the virtual and the real. Consciousness, then, is the broth; design is the alchemy that flavors it with purpose. 

References (APA Style) 

- Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University Press. 

- Deleuze, G., & Guattari, F. (1987). A thousand plateaus: Capitalism and schizophrenia (B. Massumi, Trans.). University of Minnesota Press.

- Heisenberg, W. (1958). Physics and philosophy: The revolution in modern science. Harper & Row. 

- Jung, C. G. (1960). The structure and dynamics of the psyche (Collected Works Vol. 8). Princeton University Press. - Krippendorff, K. (2006). The semantic turn: A new foundation for design. CRC Press. 

- Tononi, G., & Koch, C. (2015). Consciousness: Here, there and everywhere? Philosophical Transactions of the Royal Society B: Biological Sciences, 370(1668), 20140167. https://doi.org/10.1098/rstb.2014.0167 

- Zohar, D. (1990). The quantum self: Human nature and consciousness defined by the new physics. William Morrow.

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.

Holography Quantum Leap Could Revolutionize Imaging

https://phys.org/news/2021-02-holography-quantum-revolutionise-imaging.html?utm_source=nwletter&utm_medium=email&utm_campaign=weekly-nwletter

We contain attributes described as human. Every source might be considered virtual, i.e. conceptual, in character. Consciousness will continue to remain incomprehensible due to our tendency to attribute to it every power we wish or desire ... including omnipotence.** In essence, we can fashion the concept of reality into anything we want while subsisting within a conscious framework of our own making.

** It becomes apparent in the evolution of every solar (soul-ar) journey that humanity will have access to its own grade of omnipotence when viewed from other dimensions. Each ingredient is uniquely patterned about a moment in time, designed if you will, within the parameters of a greater contextual field of perpetual motion.

Within the parameters of this field can be found the "qualities" that combine to create it, fractal patterns that when appropriately designed make us human. These states of energy appear as spiraling vectors that magnetically encircle our sense of being (awareness) …  we are  designed conglomerations of energy in motion made apparent within the context of a greater awareness. These traits are expressed and made “real” by means of our personality. It is here where we can individually sense our own multi-dimensionality. As personalities we take on many roles. Within the context of a personality we can bring relevance to who we are, what we re-present and how we perform within certain dimensional constraints, i.e.  "classifications" of a greater consciousness within. When occupying 3D space/time we cannot be anything but human including all its foibles.

The concept of there being an innate knowledge of virtual re-cognition exists and when found appropriate can be made apparent in 3D space/time. We are many things to many people including ourselves. Our personalities are multidimensional. Our roles and actions influence others. 

Some human traits are more apparent than others. Some traits/qualities fall short of a holographic emergence by remaining dormant within the virtual domain of formlessness. Some traits convolute the concept of awareness, i.e. consciousness, to a point where the overseeing "soul" withdraws upon itself. Denial is reflected back to its source until it can be subjectively recognized by the observer (personality). In essence, a field of consciousness, viewed from a soul's POV, is in a mode of perpetual expansion and contraction while dependent upon experiences in 3D space/time.

The affiliation between the macro field of virtual energy and a virtual field of micro awareness is born of a soul-ar intention by inviting the patterns and geometries of the universe to expand and develop by means of design. Each quality re-presents a timeline about which certain events and experiences can emerge. Time changes all. Experiences can add or detract from a POV thereby affecting the expansion and contraction of a field of awareness and observation.

Every trait (quality) adds to the broth of the particular universe encountered. We each bring a flavor to the recipe, i.e. consciousness, of our own making. Evolution suggests humanity will eventually unleash the strappings that harness the soul's recognition. Individual enlightenment demands penetration and exploration into the unknown by reaching beyond the false constraints of self imposed belief systems. Unity is re-discovered by means of re-positioning every re-source within a greater field of virtual non-dimensionality. A well designed consciousness is instrumental in affording every soul this option.

We as a species are presently on that brink. New situations demand new conditions. New awarenesses impart greater expansion. The web is a designed network. One POV embraces a certain level of conscious awareness other expand upon it. They are one in the same. Our POV merely alters our comprehension and understanding of an interchangeable series of events.

It goes without saying that the planet (Gaia) is similarly recalibrating its own frequencies in collaboration with other formations, i.e. waves and particles of light ... mineral, plant, animal, human, solar. The consciousness of the planet holds the cards. Supporting Gaia's transformation during this transition period is imperative in sustaining changes yet to be created or experienced during recalibration.

The Birkeland *** currents act as a metaphor to describe what might be considered a collective stream of consciousness. These occurrences appear as holographic events grouped about a collective source in the form of series of impressions forming iterations and collaborations common to a particular frequency, pattern or series of patterns. 

For example, the keynote of “G” can be resonate at different octaves. It is within the parameters of every field (octave) we can recognize a G chord. There exists a resonance between octaves, i.e. a vibration that emerges from within every note found to be in tune with a common source or frequency. Synchronicity stages the resonance ... its affects make it real. Vibratory sharing creates the framework necessary for unification and expansion of any source harnessing micro and macro connotations.

*** Note: Please observe and seriously ponder upon the intimate relationship between the Z pinch as an affect generated by a Birkeland current and its relationship to the geometry of the vesica piscis.

These permutations are based upon an assortment of connotations. These events expand upon permutations stemming from a collective frequency or matrix, bundled and packaged about a shared concept of identity. Examples of this process become unified within a common spiraling field by means of its own electric pulse and magnetic strength. 

Humanity is an example of this phenomenon. We represent a shared configuration of patterned energy made actively apparent within the constraints of 3D space/time. Every iteration is different in its own right. Every permutation sustains a common vibratory bond (frequency) with its associates. Every human is unique in representing its own “characterization”, i.e. holographic expression, of reality. 

"The essence of the human condition is the clash between our emotional unconscious that has guided our ancestors for millions of years and our noisy, overzealous consciousness that enables us to exquisitely perceive our own struggles for existence." 

Mitchell Diamond 

https://darwins-apple.medium.com/the-problem-with-consciousness-50e2575f6af2 

It is important to remember that the basis for this process is founded in what we've labeled as light formations. We are light bodied configurations of energy in motion based upon human patterns and a universal geometry. We are elemental expressions in the form of holograms stemming from a virtual field that is continuously changing, expanding and contracting within a contextual consciousness construed as the cosmos. 

Humans like animals, plants and minerals are embellished with similar vibratory configurations patterned about different qualities and characteristics that stem from a common contextual field. Humanity is but a single expression of a greater field of awareness. Humanity is the configuration of a set of energy patterns set in motion, i.e. e-motion. Humanity is a macro conscious impression made symbolically apparent by means of a field of energy in motion (desire) that can meaningfully and purposely transition its focus (creation) between the tangible and the intangible, the concrete and the abstract. 

* * *

"To believe is to accept another's truth.

To know is your own creation."

Anonymous

Edited: 11.30.2017, 02.17.2018, 03.05.2018, 10.26.2019, 08.31.2020, 11.08.2020, 01.28.2021, 02.16.2021, 10.21.2021, 01.10.2024, 08.07.2025

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.) You are also invited to visit https://designmetaphysics.blogspot.com/ and https://sagariandesignnetwork.blogspot.com.

 

Hermes and Heracles: the Sword and the Arrow

Hermes is a personification and symbolic embodiment of the phenomenon we describe and view as design and the design process. Hermes is considered the inventor of language and speech and was associated with bringing dreams to mortals by dealing with the elements, circumstances and depictions that emerge from the depths of the unconscious.

“The Greek view of language as consisting ofsigns that could lead to truth or falsehood is the very essence of Hermes, whois said to relish the uneasiness of the recipients.”

Through symbols and metaphor design bridges the boundaries between the conscious and the unconscious. The word hermeneus, i.e. an interpreter, owes its meaning and function to Hermes as the translator of many hermenutical procedures and rites that in the past, attempted to reveal the inner meanings (huponoia) surrounding certain texts and discourses, e. g. the Homeric poems.

“… hermeneutics is a more widely defined discipline of interpretation theory, because it includes the entire framework of the interpretive process, encompassing written, verbal, and nonverbal communication.”

In 3D space/time every symbol and metaphor possesses a hierarchy of interpretation that allows for each depiction to function coherently or incoherently, inclusively or exclusively, holistically or separately with others that have preceded it. Every divisive interpretation has the potential of becoming the hermeneus of a more inclusive interpretation thereby causing every connotation to waver in meaning and purpose at greater and more inclusive levels of awareness.

“Words spoken are symbols or signs (symbola) of affections or impressions (pathemata) of the soul (psyche); written words are the signs of words spoken.

As writing, so also is speech not the same for all races of men.

But the mental affections themselves, of which these words are primarily signs (semeia), are the same for the whole of mankind, as are also the objects (pragmata) of which those affections are representations or likenesses, images, copies (homoiomata).”

—Aristotle, On Interpretation, 1.16^a4

Hidden within every holographic form is an opportunity for deep introspection. Every physical, mental and emotional reflection is dependent upon design, i.e. the symbol, and intrinsic to the power of Hermes. A pensive inquiry reveals an intimate perspective into the context in which every relative form is made mindful and conscionable. Each transition, i.e. change, contains a degree of distinction that can lead to a greater unification and understanding of consciousness itself. These meanings appear hidden within the designs of a holographic universe and extend beyond the parameters of every virtual province. These influences fall within the domain of Hermes who metaphorically straddles between the realms of the conscious and the unconscious by means of the dimensional fields we perceive as reality.

This is the first in a series of personal investigations into the mythological aspects of design as it relates to Western culture and civilization. The attempt to describe, interpret and understand these mysterious attributes were typically personified in the powers of many gods, particularly the Grecian god Hermes and the Roman god Mercury.

This first elucidation will eventually be joined with other expose’s describing how the concept of design has evolved over the centuries through the power of myth, i.e. tales that describe the qualities, trials and tribulations of Hermes.

HERMES AND THE FIRST ADVENTURE OF HERACLES

At the crossroads of his life and soon after his encounter with the seductive promises of “Happiness” and the good works of  “Virtue”, Heracles, son of Zeus and Almente, granddaughter of Perseus had decided he would walk the path of morality and righteousness. In order to meet this life challenge Heracles took the opportunity to rid the Grecian countryside of its lions and robbers and then he focused upon the abuses of Erginus, king of the Minyans who taxed the people of Thebes.

All Greece admired him for his courage and his victories to such an extent that the gods awarded him with gifts. Apollo gave him arrows; Hephaestus a golden quiver and Hermes gave Heracles a sword, which he was to use in his path towards virtue and integrity.

Humanity is the offspring of the earth Gaia, i.e. the personification of the feminine (Yin) and the result of the insemination of the masculine (Yang) personified as Uranus, the consequence being embodied in the form of the Giants of Greek mythology. http://en.wikipedia.org/wiki/Giant_(mythology)

"The Nephilim were on the earth in those days - and also afterward when the sons of God would consort with the daughters of man, who would bear to them. They were the mighty who, from old, were men of devastation. God saw that the wickedness of Man was great upon the earth, and that every product of the thoughts of his heart was but evil always."

K. M. Briggs, The Fairies in English Tradition and Literature, p 63 University of Chicago Press, London, 1967.

Because Zeus had banished her elder sons Prometheus, Atlas and the Titans, Gaia had rallied her giant offspring against Zeus. Heracles fought on the side of the immortals where he became an Olympian by distinguishing himself in battle. 

THE SIGNIFICANCE OF THE SWORD

Besides being an instrument of warfare the sword symbolizes the concept of truth. Hermes, acting as a messenger between the conscious and the unconscious, had given Heracles the gift he needed on his path towards righteousness, virtue and integrity. In the battle against the giants Hermes had joined the fight using his own golden sword of truth and wearing the helmet of Hades, symbolizing Pluto and the hidden unconscious mind. 

"When the Gigantes (Giants) made war on Heaven, Hermes fought in the ensuing battle and slew the Gigante Hippolytos with his golden sword. He was frequently depicted wielding his sword against this Gigante in ancient depictions of the battle."

In essence, Hermes' participation in the battle recognizes the unconscious mind as being both a defender and source of truth. As an instrument of the mind, truth may be used to discover the knowledge and understanding necessary to meet the challenges leading to awareness, integrity and virtue by becoming the mind's slayer of the "real". Hermes involvement in the battle made it apparent that truth cannot be found, nor can it be made fully discernible, in the amid a conflict between antagonists.

"The power to think true is the savior of humanity. The mythological and historical Redeemers of every age were all personifications of that power."  

Manly P. Hall; The Secret Teachings of all Ages

Hermes was one of the supernatural associates of ancient initiation representing the descent of divine wisdom incarnate. The hidden forces of heaven, i.e. the unconscious, were gifted to Heracles by means of the sword given to him by Hermes. In the battle to defend Olympus however, the arrows given to him by Apollo helped kill the earth giants. 

“Apollo has been variously recognized as a god of light and the sun, truth and prophecy, healing, plague, music, poetry, and more.”

Mind when used for the purposes of seeking truth, can become an instrument of virtue while remaining a two-edged sword. In reference to the Design Paradigm, the mind (Hermes) will bring forward, i.e. make conscious, its own contrasts before the psyche. These mindful contrasts are made apparent by the heart and the all consuming presence that engulfs both of them with the wisdom that knowledge, experience and awareness must find balance between what is both meaningful and purposeful in Life.

So why did Heracles use Apollo's arrows in defense of Olympia? The arrow symbolizes but another aspect of the mind. The arrow is swift, quick, powerful, focused, and filled with intent. The mind can travel great distances. By penetrating the eyes of the giants each arrow can get to the “truth of the matter" therefore being "out of sight and out of mind."

Thought can pierce the mysteries hidden in the virtual field of the unconscious and 3D space/time. Whether visible or invisible, the arrow represents the mind (Hermes) being targeted in the direction of both a meaning and a purpose. Its propellent may or may not be the truth.

* * *

"Once men died for Truth, but now Truth dies at the hands of men." 

Manly P Hall; What the Ancient Wisdom Expects of Its Disciples

* * *

The text you've provided delves deeply into the symbolic roles of Hermes and design in the context of Western mythology and philosophy. Here's a refined and expanded version with further exploration of the key themes, including the interplay between the conscious and unconscious mind, the symbolic significance of Hermes, the concept of truth, and the evolution of design. I'll also emphasize the philosophical aspects tied to mythological figures like Hermes and Heracles. 

Hermes as the Personification of Design and the Design Process 

Hermes, the ancient Greek god, is often viewed not only as a divine messenger but also as the symbolic embodiment of the very process of design. As the inventor of language and speech, Hermes bridges the worlds of the conscious and the unconscious. He is associated with unlocking the mysteries of the unconscious, bringing dreams to mortals, and facilitating communication between disparate realms of thought and existence. Through his mythological role, Hermes becomes a metaphor for the design process itself: a process that not only constructs forms and artifacts but also seeks to uncover hidden meanings and connect the realms of consciousness and the unconscious. 

Symbols and Metaphors: The Bridge Between Consciousness and the Unconscious 

In design, every symbol, metaphor, or artifact possesses a unique capacity to connect the conscious mind to the unconscious. Just as Hermes was the hermeneus—the interpreter and translator of deep, often hidden meanings in texts like the Homeric poems—design, too, can be seen as a hermeneutical process that decodes the symbols and metaphors woven into the fabric of our experience. Symbols, when placed in a specific context, are not fixed in meaning but instead carry a multiplicity of interpretations. These interpretations can unfold in layers, shifting from exclusive, narrow meanings to more inclusive, expansive understandings. This dynamic interplay of interpretation, where one connotation leads to the next, mirrors the power of Hermes to transcend boundaries and reveal greater insights. Just as the god traverses between realms, so too does design navigate between the material and immaterial, the conscious and unconscious. 

The Holographic Nature of Reality and Design 

Every form and symbol within the realm of design—whether in physical, mental, or emotional domains—serves as a gateway to introspection. Hermes, with his association to both the conscious and the unconscious, embodies this capacity for deep exploration. In a holographic universe, each form or design holds the potential for reflection, enabling a greater understanding of the self and the surrounding reality. Design becomes not just the creation of objects or systems but an introspective tool that uncovers layers of meaning, much like Hermes' role in guiding individuals through the depths of their own minds. Each transition, each change within a design, presents an opportunity for growth, for deeper unification, and for an evolving awareness of the nature of consciousness itself. 

Design as a Mythological Process: A Personal Investigation

 

This exploration of Hermes and design as symbolic processes is just the first in a series of reflections on the mythological aspects of design. The study of myth, particularly the tales of Hermes and his counterparts in different cultures, helps us to understand the evolution of design throughout history. Mythological figures such as Hermes and his Roman counterpart, Mercury, encapsulate the transformative power of design, from its role in language and communication to its capacity to guide human understanding and action. These ancient tales, through their personification of divine attributes, offer us valuable insights into the ways that the concept of design has evolved, not merely as an aesthetic or functional process, but as a profound metaphysical tool for interpreting and navigating the world. 

Heracles, Virtue, and the Gift of the Sword: Design and the Path to Righteousness 

In Greek mythology, Heracles, the son of Zeus and Alcmene, is a central figure who embodies the quest for moral clarity and virtue. The gods, recognizing his deeds, bestowed upon him powerful gifts. Hermes, in particular, gave Heracles a sword—an emblematic gift that reflects the intersection of design, truth, and virtue. While the sword is often viewed as a tool of war, in this context, it transcends its mere physicality to symbolize truth itself. Hermes, through his gift, empowers Heracles to navigate the trials of life, not merely by brute force, but by wielding the sword of truth in the battle against ignorance and vice. 

The Sword of Truth: Hermes' Role in the Battle of the Giants 

In his role as a messenger and intermediary between the conscious and unconscious, Hermes also acts as a guide in the pursuit of truth. When Heracles faces the giants—personifications of chaos and disorder—Hermes joins the battle, using his golden sword as a symbol of clarity and wisdom. The sword becomes more than a weapon; it represents the mind’s capacity to cut through the veils of illusion and reveal deeper truths. In the battle for virtue and righteousness, truth is not merely a passive observer; it is an active force, one that illuminates the path to integrity. As a symbol, the sword reflects the two-edged nature of truth—it can both defend and challenge, offering insight while also demanding a transformation of the mind. 

The Arrow of Apollo: The Swift Mind in Search of Truth

In contrast to the sword, Apollo’s gift of the arrow to Heracles further symbolizes another aspect of the mind—the quick, penetrating force of intention and focus. The arrow is swift, purposeful, and driven by intent. It moves through space and time with precision, symbolizing the mind’s ability to target and unravel the hidden mysteries of the unconscious. The arrow represents a directed search for truth, one that penetrates the illusions of the unconscious to reveal deeper realities. The mind, like the arrow, can travel great distances, exploring both the visible and invisible realms in the quest for understanding. 

The Mind as a Tool for Virtue and Transformation 

Both the sword and the arrow in the mythological narrative symbolize the mind’s role in the pursuit of virtue and self-awareness. Hermes, in his role as a messenger and guide, facilitates the process by which the mind engages with the complexities of existence. Whether through the cutting clarity of the sword or the focused intent of the arrow, the mind becomes a tool for transformation. This duality—the sword’s capacity to sever and the arrow’s power to direct—highlights the complex nature of design itself. Design, in its truest sense, is not a static act of creation but a dynamic force that engages with and shapes the deeper currents of consciousness. Through design, we engage in the eternal dance between form and meaning, between the conscious and the unconscious, forging new pathways toward understanding, unity, and truth. 

In this expanded version, the themes of Hermes as a symbolic figure, the role of design in bridging the conscious and unconscious, and the metaphorical significance of the sword and arrow are developed further. This interpretation emphasizes the relationship between mythological archetypes and the evolution of design as a process that transcends mere aesthetics and function, becoming an integral part of human consciousness and transformation. 

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.

* * *

Ref:

* Campbell, Joseph, “The Hero with a Thousand Faces”, Bollingen Series XVII, Princeton University Press, Princeton, N.J. 1949.

* Schwab, Gustav, “Gods & Heroes of Ancient Greece”, Random House, New York, N.Y. 1974.

* Perseus Digital Library. Ed. Gregory R. Crane. Tufts University.

http://www.perseus.tufts.edu (accessed December 2, 2012).

* * *

"Bridging the gap between divine omniscience

and mortal awareness."

Edited: 11.25.2012, 11.26.2012, 11.27.2012, 11.30.2012, 12.02.2012, 03.28.2017, 11.09.2017, 03.05.2018, 02.11.2020, 06.15.2020, 12.03.2021, 02.01.2023, 03.30.2025

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)  You are also invited to visit https://designmetaphysics.blogspot.com/,   and https://sagariandesignnetwork.blogspot.com and https://www.pinterest.com/ , https://thedesignregistry.blogspot.com/