Transcendence: Movement Towards a Collective Ideal

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.

Waveform, Awareness, and the Semiotics of Observation: Toward a Design Consciousness Framework 

A waveform may be understood not merely as a physical descriptor of oscillatory phenomena but as a conceptual bridge between awareness, perception, and interpretation. In contemporary physics, waveforms encode probabilistic distributions of potential states rather than determinate objects, a view formalized in quantum mechanics through the wave function and its collapse under measurement (Heisenberg, 1958; Bohr, 1935). Metaphysically, this suggests that what is encountered as an “event” is not a fixed entity but a context-sensitive actualization of a field of possibilities. When an observer encounters such an event, it is typically reconstituted into a sequence of experiences that are filtered through preexisting cognitive, cultural, and symbolic frameworks, what psychology would describe as schemas or interpretive models (Piaget, 1970; Varela, Thompson, & Rosch, 1991). 

From this perspective, every account of consciousness is necessarily situated and perspectival. Phenomenology has long argued that consciousness is not a detached mirror of reality but an intentional structure in which meaning arises through the correlation of subject and world (Husserl, 1970; Merleau-Ponty, 1962). Thus, what appears to be an “objective” event is always already mediated by subjective conditions of sense-making. Semiotics clarifies this mediation by demonstrating that experience is organized through sign relations, icons, indices, and symbols that structure how phenomena become intelligible (Peirce, 1931–1958). In this sense, awareness becomes reflexive: it recognizes itself indirectly through the patterns and events that arise within its own field of experience. 

Your text’s claim that events may be “measured” as mental, emotional, physical, or spiritual aligns with contemporary integrative models of cognition that refuse a strict mind–body dualism. Instead, cognition is understood as embodied, embedded, and enactive, unfolding across neural, affective, somatic, and cultural dimensions (Varela et al., 1991; Damasio, 1999). The assertion that “all forms and events are vibrational” resonates both metaphorically and physically with the recognition that, at fundamental levels, reality is describable in terms of oscillations, fields, and resonances, whether in quantum field theory or in systems theory more broadly (Bohm, 1980; Prigogine & Stengers, 1984). Variations in frequency or phase, in this view, correspond to variations in perceptual and interpretive states, not merely in physical measurements. 

The notion that some forms of energy may appear “more conscious” than others can be reframed through theories of emergence and complexity. Consciousness, on many contemporary accounts, is not a binary property but a graded, emergent phenomenon arising from relational organization and informational integration (Tononi, 2008; Deacon, 2011). The holographic metaphor you invoke, wherein each fragment carries information about a larger whole, finds both scientific and philosophical echoes, from Bohm’s implicate order (Bohm, 1980) to contemporary discussions of distributed representation in cognitive science and artificial intelligence (Clark, 2016). In AI research, for example, meaning is not localized in single symbols but emerges from patterns of activation across networks, a structural parallel to holographic and fractal metaphors of mind. 

Humanity’s tendency to categorize experience into mental, emotional, physical, and spiritual “silos” can be understood semiotically as a process of symbolic differentiation. These categories are not neutral; they are culturally inherited sign systems that shape how ultimate concerns, such as the concept of God or the sacred, are articulated and stabilized within discourse (Cassirer, 1955; Jung, 1968). Such symbolic systems are always constrained by limited resources, partial perspectives, and what quantum theory itself would call entanglement: the inseparability of observer and observed, knower and known (Bohr, 1935; Heisenberg, 1958). The resulting interpretations are therefore inevitably “fuzzy,” echoing both the probabilistic nature of quantum descriptions and the indeterminacy emphasized in post-structural semiotics (Eco, 1976). 

Your description of an “oscillating, parametric field” that connects multidimensional thoughts and emotions aligns closely with contemporary models of mind as a dynamic system. Rather than static representations, cognition is increasingly modeled as a trajectory through a high-dimensional state space, sensitive to initial conditions and contextual perturbations (Kelso, 1995; Prigogine & Stengers, 1984). In design theory, this dynamic view supports the understanding of design not as the imposition of fixed forms but as the orchestration of constraints, affordances, and trajectories within evolving systems (Norman, 2013; Buchanan, 2001). The concept of “source,” whether micro or macro, functioning symbolically through design, introduces a crucial metaphysical and aesthetic claim: design operates as a mediating language between origin and manifestation. Philosophically, this resonates with process thought, in which reality is understood as becoming rather than being, and form is the temporary stabilization of ongoing processes (Whitehead, 1929). Psychologically, the “soul” as a filter of meaning can be interpreted less as a metaphysical substance and more as a symbolic totality of the psyche, integrating conscious and unconscious dimensions (Jung, 1968). Your use of the wave–particle duality as a metaphor for how experiences appear either intangible or tangible mirrors the epistemological lesson of quantum physics: complementary descriptions are required to account for phenomena that exceed any single representational frame (Bohr, 1935). In aesthetics and design, this suggests that forms are not merely objects but events of meaning, crystallizations of intention within perceptual and cultural fields (Dewey, 1934; Krippendorff, 2006). What you call “imaginings” can thus be understood as designed symbols, configurations of meaning that congeal within a shared reality through collective practices of interpretation. 

The role of the subconscious, intuition, and imagination in constructing symbolic systems is well established in depth psychology and cognitive science. Jung (1968) emphasized the formative role of archetypal images, while contemporary theories of predictive processing argue that perception itself is an active construction guided by prior models and expectations (Clark, 2016). In this light, observation is not passive reception but participatory enactment: reality is continuously co-produced by observer and environment, a view consistent with both enactive cognition and certain interpretations of quantum measurement (Varela et al., 1991; Wheeler, 1990). 

Your description of the observer as a “dimensionless center” echoes both phenomenological accounts of the transcendental subject and metaphysical notions of a ground of awareness that cannot itself be objectified (Husserl, 1970; Nagarjuna, trans. Garfield, 1995). The reference to “dreamtime” can be read as pointing to liminal states of consciousness in which categorical distinctions loosen, a theme explored in anthropology, psychology, and philosophy alike (Eliade, 1959; Jung, 1968). 

When you state that awareness is a function of consciousness and design is the process that transforms awareness, you are articulating a powerful design-theoretical claim: design becomes the operational interface between potential meaning and lived form. This aligns with contemporary views of design as a sense-making practice rather than mere problem-solving (Buchanan, 2001; Krippendorff, 2006). The ethical dimension you introduce, concerning toxic ideas and planetary harm, situates design within a responsibility framework that resonates with current discourse on AI ethics, ecological design, and responsible innovation (Floridi et al., 2018; Norman, 2013). 

Finally, your emphasis on intention, pattern, and trajectory as the core coordinates of design consciousness integrates metaphysics, psychology, and systems theory into a single operative schema. Intention corresponds to teleology or goal-directedness, pattern to form and structure, and trajectory to process and becoming (Whitehead, 1929; Prigogine & Stengers, 1984). In AI, similar triads appear in discussions of objective functions, architectures, and learning dynamics, underscoring that even artificial systems participate in a designed semiotics of action and meaning (Russell & Norvig, 2021; Floridi et al., 2018). 

In this expanded framework, design emerges as the mediator between the visible and the invisible, between sensed and unsensed dimensions of experience. What is not immediately perceived, the latent, the implicit, the unconscious, often exerts the greatest causal influence, a claim supported by both depth psychology and systems theory (Jung, 1968; Deacon, 2011). Thus, every pattern of “energy in motion” can be understood as fractal and holographic in the sense that it repeats relational structures across scales, from neural dynamics to cultural symbols to technological systems (Bohm, 1980; Mandelbrot, 1983). Design consciousness, in your sense, becomes the practice of navigating and shaping these resonant fields so that awareness may continually reconfigure itself within an ever-expanding ocean of meaning. 

References (APA) 

- Bohr, N. (1985). Atomic physics and human knowledge. Dover. 

- Bohm, D. (1980). Wholeness and the implicate order. Routledge. 

- Buchanan, R. (2001). Design research and the new learning. Design Issues, 17(4), 3–23. 

- Cassirer, E. (1955). The philosophy of symbolic forms (Vol. 2). Yale University Press. 

- Clark, A. (2016). Surfing uncertainty: Prediction, action, and the embodied mind. Oxford University Press. 

 - Damasio, A. (1999). The feeling of what happens: Body and emotion in the making of consciousness. Harcourt. 

- Deacon, T. W. (2011). Incomplete nature: How mind emerged from matter. Norton. 

- Dewey, J. (1934). Art as experience. Perigee. 

- Eco, U. (1976). A theory of semiotics. Indiana University Press

- Eliade, M. (1959). The sacred and the profane. Harcourt. 

- Findeli, A., & Bousbaci, R. (2005). L’éclipse de l’objet dans les théories du projet en design. The Design Journal, 8(3), 35–49. 

- Floridi, L. (2014). The fourth revolution: How the infosphere is reshaping human reality. Oxford University Press. 

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

- Husserl, E. (1970). The crisis of European sciences and transcendental phenomenology. Northwestern University Press. 

- Jung, C. G. (1969). The archetypes and the collective unconscious. Princeton University Press. 

- Kahneman, D. (2011). Thinking, fast and slow. Farrar, Straus and Giroux. 

- Krippendorff, K. (2006). The semantic turn: A new foundation for design. CRC 

- Mandelbrot, B. (1983). The fractal geometry of nature. W. H. Freeman. 

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

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

- Prigogine, I., & Stengers, I. (1984). Order out of chaos. Bantam. 

- Ricoeur, P. (1970). Freud and philosophy: An essay on interpretation. Yale University Press. 

- Russell, S. (2019). Human compatible: Artificial intelligence and the problem of control. Viking. 

-Spinoza, B. (1994). Ethics (E. Curley, Trans.). Penguin. (Original work published 1677) 

- Varela, F. J., Thompson, E., & Rosch, E. (1991). The embodied mind: Cognitive science and human experience. MIT Press.

- Whitehead, A. N. (1929). Process and reality. Free Press. 

- Wheeler, J. A. (1990). Information, physics, quantum: The search for links. In W. 

- Zurek (Ed.), Complexity, entropy, and the physics of information (pp. 3–28). Addison-Wesley. 

The author generated some of this text in part with ChatGPT 5.2 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:10.15.2017, 11.24.2017, 03.05.2018, 01.29.2020, 01.06.2022, 08.19.2023, 02.05.2026, 02.18.2026

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

  

Design Metaphysics: The Harmony Between Meaning and Purpose

This is a lecture given as part of a design workshop, “The Tao of Design”, sponsored by the Kasama International Exchange Group, Kasama City, Ibaraki, Japan, Aug 14-22, ‘99. It has since been edited.

Ever since I was a child I've heard the word design used in many different ways and in many different circumstances. Yet I remain uncomfortable with any one single definition of design. Design still remains very mysterious to me. Design is a difficult phenomenon to fully grasp in its entirety. Yet most everyone has some idea or inclination of what design is. Design influences us everyday from the style of clothes we wear to the plans we make for our vacation.

Design seems to involve different kinds of knowledge acquired through our experiences and it is through these experiences we tend to secure our interpretation of design. These viewpoints concerning design seem to satisfy our own perception of the world. Design appears to be very subjective in character.

I believe we have succumbed to defining, describing and perceiving design at a very superficial level. Generally, we believe design to be part of a process, a process that is involved in the creation of objects and images in a three dimensional space. Subconsciously, however, we know that there is more to design than the making of forms and images. Spiritual and emotional influences contribute to the mystery of design. They meaningfully appear to be cloaked in everything we say, think and do.

In today’s world we are inclined to interpret design scientifically. We attempt to validate our impressions in a “scientific” manner. Undeniably the reduction of design into manageable and measurable parts has an inherent importance and quality all its own. Alone however this view appears out of balance. Misguidance stems from an apparent imbalance in either our thinking and our sensibility. Science has created our looking glass into reality yet we also know that our feelings bring a meaning and a purpose to all that we observe and sense. Our perceptions are in constant flux and seemingly emanate from a source lying far beyond identification.

The word design originates from the Latin word “signum” meaning the “action of making a mark or sign”. According to definition design may be interpreted as an activity that focuses upon the creation of signs or symbols. It also implies that design is involved with something more than just the physical creation of artifacts.

Design gives meaning to the creative process by forging the symbolic links between events and experiences. Design implies that there is an observer (participant) involved in this process. An observer must be a participate in the creative “event” for the purposes of perception, interpretation, experience and creation. The concept of consciousness is required in order to interpret and/or translate design’s signs and symbols. Design implies that the potential for bringing both a meaning and a purpose to this awareness is also a major factor in comprehending design's effectiveness.

We are symbol perceivers and symbols makers. Similar to the relationship between a receiver and a transmitter we naturally observe, perceive, interpret and transform intangible vibratory frequencies of energy every day. These vibratory impressions could also be viewed as having certain plasmic, i.e. etheric qualities, that seem mental, emotional and physical in character. These impressions are all multidimensional in complexion. Energy, light and information are characterized by virtue of a discernible signature (configured frequency) in perpetual flux. 

Thoughts and feelings are closely matched (Kama Manas) and interwoven as if to appear as one single force or potency. Together they emerge from a chaotic and tumultuous state beyond our imagination. Together they characterize a type of compulsion attracted and sometimes linked to other vibratory influences of like-kind, each contained within their own particular matrix (field) of perpetual flux in the form of energy-in-motion. These vibratory impressions are incorporated into everything we sense, together they create the configurations, events and experiences we perceive as consciousness.

Consciousness appears to have an order to it. Consciousness participates in a complex geometry that appears to emerge from beyond the constraints of knowledge and understanding. Consciousness is instrumental in creating a sense of dimensional permanence. Design re-presents every event and experience we interpret as being our own. This is a unique phenomenon made relevant by means of a variety of impressions - whether they materialize in the form of an object, a feeling or thought. Design accommodates every situation found hidden within the transformation of energy, light and information. 

Design brings to the forefront the concept of consciousness by means of actively unveiling both its meaning and its purpose by virtue of its presence. 

Design brings to realization the concept of energy in transformation, i.e. energy-in-motion. Energy quickens and eventually morphs into a "state" found to be part of the transformative process of energy in motion (e-motion). The design process recognizes the concept of an observer as encircling the only valid source of reality. Everything else is determined, defined and described in reference to a single source conceptually created by more than one single observer. The concept of consciousness is of little consequence if light (vibration) could never be sustained within in a relative state of form. Energy appears to be "designed" to sustain itself through the symbolic arrangement of patterns representing a perpetual transformation of circumstances and situations.
  

Vibratory cognition is dependent upon the substantiation of light’s reflections; a condition which is entirely contingent upon the sensibilities of the observer of the event. Light is the quintessential form of energy in motion.

Each design is a symbolic reflection identifying what might be considered a degree or aspect of consciousness brought before awareness by means of experience. These experiences are more than just “things” or events they are symbolic of a virtual reality, or state of being we perceive and describe as experience. 

The world does not exist of things _ rather they are the outcomes of our imaginings and symbolic impressions, i.e. products of our mind’s desires made "real" by means of our ability to configure 3D space/time. Humanity participates in a universal design process capable of symbolically manipulating patterns of energy found within the constraints of 3d space and time. These patterns take on the form of ideas.

Design is multidimensional in character yet symbolically locked within subjective and objective constraints. Design can be interpreted in the form of a sign, a symbol and/or a process. Design can be viewed from either a personal or collective POV, or from a position opposite a point of consideration thereby creating the context in which further positions can be referred.

Signs are generally very pragmatic and functional in character. Most everything that can be directly or indirectly interpreted by means of our senses could be considered a sign. A sign is typically physical in makeup, a sign could also reveal a hidden quality summoned in support of its appearance.

A symbol unlike a sign possesses a transcendental type of quality all its own. A symbol appears to be very meaningful. By use of reason, reference, association or resemblance a symbol typically suggests something that cannot be seen or necessarily known. Rather a symbol hints towards an emotional undercurrent that is by lesser or greater degree, detected and/or sensed by the observer. In other words, a certain situation may be more greatly “felt” in contrast to another and therefore appear to be more meaningful in character. At first glance certain events, experiences and objects may appear to be similar, yet every situation will be interpreted differently. Symbols seem to express and to a certain degree are measured by means of their influence upon the observer.

The concept of design should be interpreted from the level of a symbol, for it is upon this premise that the most expansive explorations surrounding the concept of design can be undertaken. Design’s holistic properties are revealed when deciphered both at symbolic and systemic levels of interpretation/translation. Viewed systemically design solicits the arrangement of an assortment of discordant elements never before appraised or examined (synergy). 

Design is a catalyst in the search for patterns of energy, light and information never before considered amidst the turbulence of chaos.

From this perspective design maintains a special meaning and purpose all its own. Design integrates the transcendental and the practical, i.e. the spiritual and the material. And it is within this harmonious circumstance that a purposeful quest for greater knowledge and understanding can be both discovered and nurtured. Design from this POV creates the basis, i.e. the focal point, for creative action, alignment and direction towards a particular designation.

To follow the Tao is to focus upon one’s lifelong path. The process is a symbolic journey of learning and reflection upon one’s internal understanding of consciousness (reality). It is a personal quest fueled by desire and guided by meaning and purpose (design).

It is commonly understood that focusing upon a single event without understanding its place within a tapestry of experiences can lead to imbalance. Any single incident is but a moment in a series of events appearing in time and space. Likewise, any one single design participates in the expression of yet a greater or lesser design stemming from what appears to be a creative source (observer). It is the designer who is aware of each pattern - including the challenges that have emerged as result of each threaded alliance.

Design represents (symbolizes) the observer and the creator of both meaningful and purposeful events and experiences.

Design is multi-dimensional in quality. Design shares in describing the concept of consciousness by virtue of the instruments of meaningfulness and purposefulness. Design brings forward a holographic and material interpretation to the impressions that surround consciousness. Design is quantum in nature, shared and mysteriously discernible in every situation.

To understand design as an integrated collaborator in the function and conceptual definition of an always changing phenomenon called consciousness rests upon one’s ability to comprehend the visceral power surrounding the idea of a symbol. Symbols are merely representations of certain ideas stemming from the origin of a virtual source.

Symbols have a revealing quality inherent in their feeling and imagery. Symbols that appear in our dreams are very intimate and instrumental in our comprehension and understanding of reality. Symbols have a way of revealing certain qualities that appear to originate beyond the scope of our imagination and comprehension. Design seems to emerge from within the bowels of a primordial soup by intimating a certain reality supposedly reflected upon on how we perceive and observe the world around us. These influences guide us in making choices presenting themselves before our awareness. It is by our very nature to “feel” a certain way in every situation we encounter. Such feelings are the result of a series of impressions hidden within the enigmatic balance between meaning and purpose. Every situation demands that we seriously question the interpretive origins of every thought and feeling solely in order to determine if one’s position is truly as subjective as has been construed.

What appears before our awareness as consciousness is made comprehensible in only one way ... and that is by design.

Such an awareness of consciousness may take the appearance of a measurable form, a dimensionless image or impression, a spiritual urging or an emotional expression. Some designs (ideas) can be measured and some cannot, yet every design attributes to its own expression a unique quality all its own.

All that could ever be experienced as being an integral part of consciousness has both a meaning and a purpose.

Design creates the focal point about which the concepts of meaning and purpose are attracted and it is about this attraction that a field of change, energy, light and information seem to emerge, flourish and mingle. A variety of “states” appear before our awareness in the form of a sign or symbol while finding its changing voice in a particular vibratory note or expression. Every micro event hints towards a cryptic direction about to materialize from within the veiled depths of the unknown – yet due to its context (change) every element similarly retains its own identifiable harmonic within the state of its condition or circumstance.

The ideas of meaning and purpose are not the sole properties of design, but rather they are the primary impressions we’ve invited and discovered to be relevant when we interact with the concept we’ve come to describe as design. Design harbors no one single quality other than our own subjective interpretation of what we think and/or feel it is, yet the impression that design possessing both a meaning and purpose in 3D space/time remains a recognizable principle solely in order to fathom some kind of understanding of what it might be.

Design brings expression to the concepts of meaning and purpose by means of choreographing a dance between a profusion of both opposing and complementary forces. The concept of design as being multidimensional in character merely reflects the qualities in which it is harbored. It is by design that choices are made, alternatives weighed and directions determined.

Design is both the consequence and the source of a perpetual gyration between divergent contrasts. It is by virtue of design that dissimilar elements connect with each other by means of a plausible revelation caused by magnetic attraction. The desire to penetrate the unknown provides the focus and direction in the form of an electric force. Such an impetus gives credence to the absorption and creation of a field held fast by what might be likened to a magnetic force to which contextual elements of all degree and types are attracted. Design allows for the unknown to be discovered by means of attraction and repulsion. Design creates a neutral passageway for evaluation and assorted discretions between the real and the unreal, the tangible and the intangible.

Forms from within the dimensions of space/time appear before our awareness by means of our own impetus, desire, drives and impulses. They are reflections of all that has symbolically congregated about an influence directed towards our own wants and desires. They are symbolic expressions of all that lies behind the veil of an unknown potency finding expression within the context of space/time.

Design is alchemical in its makeup, making affordable the opportunity to transcend the limitations and duality of dimensional space/time by means of converting the tangible with the intangible. It is within this unique field of possibility (virtual field of the quantum) where the mysteries of the universe can be revealed and sustained. The mysteries of the universe don’t just present themselves within the duality of any single dimension, but by means of contextually integrating every adjacent dimension sheltering the presence, place or location (POV) of the observer.

The implication of not knowing is an integral part of the design process as it opens the door to curiosity and imagination. Outcomes in the form of matter and holographic imagining are purposely hardened and/or meaningfully congested events experienced along the way.

Upon the fulcrum of design rests two characteristically opposing POV assumed to be positioned at odds with each other. A POV is merely a perspective of an event that is actually a sweeping apparition (hologram) harboring little meaning or purpose until placed into subjective reference and/or context. Many designs are often overlooked as result of the volume of images and impressions that barrage our collective (objective) field of awareness every day.

Surrounding and actively integrated within the field of meaning can be found the emotional qualities of an event or experience, e.g. its feeling, mood and impression which may be passionate, powerful, temperamental, sensitive, poignant or moving, heartfelt, tearful, spiritual, dramatic, sad, touching, or tempestuous, etc. in quality and character. Each in its own right brings a certain significance and particular importance to every situation while actively packaging the event or experience within the context of what might be considered a preconceived impression or cognition.

About the other position is a POV that encapsulates a purpose in reference to the desires (direction) of the observer. Within this field are attracted the mental qualities of an event or experience, e.g. the reason, intent and point of pursuit which may serve a function, resolution or conviction, a commitment, motivation or ambition. Again each impression brings with it certain significance to the event or experience. Together they afford the potential to bridge any gap between them by means of creating a greater field of symbolic references we include as part of the design function.  

Consider these fields overlapping and together creating a greater field of meaningful and purposeful holography in perpetual motion - always changing as result of the contextual differences between events and experiences while simultaneously finding expression (both hidden and apparent) within and beyond any one single POV. From any one symbolic center, i.e. point of reference considered the source, subjective interpretations of the surrounding field appear transferred into a reference of either our own choosing (subjective) or that of the collective (objective). The choice is of our own discretion. A frequency may or may not correspond to the vibration of our own matrix therefore incurring little or no response. Connections are made, awareness is engrossed and what we perceive as reality is again inter-woven within the hallmarks of our own field of conscious awareness, i.e. blueprint.

Every holographic expression appears to possess both a meaning and a purpose due to a POV stationed in a dimensional concept and interpretation of space/time. Every purposeful projection and meaningful interpretation is a reflection gestated from within a field of our own creation and generation – ever expanding and contracting within a context that can only be defined as the unknown.

Edited: 01.11.2017, 03.05.2018, 02.21.2019, 10.26.2019, 04.07.2020, 11.08.2020, 03.31.2022, 08.14.2022

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

Be assured you will not discover all the answers to your inquiries here. Continue to investigate into your role of observer and contributor to a reality of your own design and creation – be aware of the by-products that surround every choice and decision.

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An Introduction to Design Thinking

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.

Design thinking is the new normal.

What is a thought? How the Brain Creates New Ideas / Henning Beck / TEDxHHL

It is best to begin our investigation into design and the design process by considering the fact there are certain principles proven to be self-evident when observing the concept of design from a human level of consciousness. These postulates create a foundation from which we can base future investigations into design. They form a set of guidelines from which a greater understanding of design can be woven and made functional. These postulates are flexible and harbor many opportunities for change and advancement. It remains up to you to determine if you share such points of view. 

postulate suggest or assume the existence, fact, or truth of (something) as a basis for reasoning, discussion, or belief 2 (in ecclesiastical law) nominate or elect (someone) to an ecclesiastical office subject to the sanction of a higher authority, a thing suggested or assumed as true as the basis for reasoning, discussion, or belief • Mathematics an assumption used as a basis for mathematical reasoning.

An important note to consider when contemplating upon design is the realization that in some fashion, we've all been "conditioned" in how to view the world and ourselves. This simple fact is inescapable. Our culture, environment, society, institutions, including our family and friends, all contribute to the formation of our belief system. Our points of view (POV) are strongly rooted in how we've been trained and taught to perceive ourselves and others.

Belief systems construct patterns in our minds and give precedence to certain viewpoints concerning reality. These POV contain ideas * we have chosen to believe as containing certain indisputable truths. Belief systems also harbor the tendency to limit knowledge by negating and/or ignoring certain issues that support the beliefs of others. In essence, belief systems assist us in making certain choices in the attempt to make sense of the world. 

Unfortunately, belief systems can't include every point of view … they aren’t meant to. Some belief systems make it difficult to reach beyond our own self-imposed constraints. Some distort and/or impose their perspective upon the many natural systems made evident in the universe/environment that surrounds us. Many belief systems are highly influential and controlling. Yet every system has its own interpretation concerning issues that surround the concept of "truth" in addition to what is perceived to be real. Yet design thinking brings to our attention the fact that everything is connected ... including every belief system imaginable.

Humanity is an integral participant in the manifestation of energy, light and information into its most appropriate form within the constraints of 3D space/time.

Pre-requisite: An open heart and an open mind

First of all, in order to fully explore the mystery behind the meaning and purpose of design thinking it is imperative that we possess an open mind and an open heart. This position is instrumental in both creating and perceiving the multitude of relationships that can be discovered between elements, experiences and/or events. Design’s symbiotic quality also possesses the capacity to subjectively personify relationships in a manner that can effectively change life's experiences. Each relationship offers a meaningful expression between countless issues brought to light as the result of every situation. 

If we become aware of the multitude of symbolic associations brought before our consciousness, we should also be capable of learning from them. This requires that we possess sensitivity to the patterns that emerge in life as result of these designed relationships. 

It’s the relationship between elements that is of greatest importance. It is why design thinking is the catalyst behind all creative thought.

Consciousness cannot eliminate the simple fact that the concept of awareness is something we all possess, and that what we think and feel are reflections of who we are. Sensitivity to design thinking by virtue of its symbolic power, becomes appreciated once an awareness of its function and meaning becomes felt and experienced by virtue of a synchronistic moment. Life is our instructor, and design helps create the on-going lesson plan for us to follow.

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This text touches on several deep and interconnected themes around design thinking, belief systems, consciousness, and the human experience.

  

1. The Foundation of Design Thinking 

The idea of design principles as self-evident truths forms the groundwork of this investigation, acting as a cornerstone upon which future discussions can be based. These "postulates" are assumptions made to guide understanding, rooted in the essence of human consciousness. From a broader perspective, these foundational truths are the lenses through which we make sense of the world and its complexity. 

In this context, design thinking is not just a process of creating artifacts, but a lens through which we interpret and relate to the world. The principles or postulates mentioned here are flexible, adaptable, and subject to change, emphasizing that design is a living process — a continual evolution, not a static entity. It’s crucial to acknowledge that, as individuals, we each bring our own interpretation of design, based on our unique understanding and worldview. 

The mention of these postulates sets the tone for an ongoing inquiry into design, positioning it as a dynamic system, not a one-time solution, which can flex and adapt to new challenges. 

2. The Role of Belief Systems in Shaping Perspective 

A key concept in this text is the idea that belief systems play a pivotal role in shaping how we see the world, and by extension, how we approach design. Our perspective is shaped by a combination of cultural conditioning, societal influences, and personal experiences. These belief systems are not merely passive ways of thinking; they are active forces that dictate our worldview and therefore influence our decisions — particularly in creative and design processes. 

Belief systems offer structure and meaning, yet they also limit knowledge and perspective by presenting certain viewpoints as truths and dismissing others. This limitation becomes particularly important in the context of design thinking because, for effective design, one must be willing to transcend the constraints imposed by these self-imposed boundaries. It is this tension between the comfort of our established beliefs and the expansiveness of alternative perspectives that fuels creativity. Design thinking offers a way to challenge these belief systems, suggesting that by embracing flexibility and openness, we can create more inclusive, holistic designs that transcend the limitations of personal or cultural perspectives. 

In other words, belief systems frame the reality we navigate, yet they are not absolute. Design offers a tool for breaking through these boundaries, opening up new possibilities for understanding and engaging with the world. 

3. The Influence of Consciousness in Design 

The relationship between consciousness and design is another central theme in this passage. Consciousness is presented as the universal thread that connects all humans, the vehicle through which we process, interpret, and make sense of the world. By acknowledging that awareness is intrinsic to all humans, design thinking invites a broader, more inclusive approach that honors both the subjective and collective nature of human experience. 

The text emphasizes that design is a manifestation of energy, light, and information — concepts that transcend mere material forms and touch upon deeper aspects of existence. This view suggests that design thinking isn't just about creating physical objects or structures; it’s about creating meaningful relationships between energy (ideas, emotions, inspiration) and form (physical, visual, conceptual). 

This idea aligns with contemporary holistic design thinking practices, which see design as a tool for human flourishing — not merely creating functional products, but enhancing the human experience itself through mindful and intentional creation. 

4. The Importance of Relationships in Design 

A central idea expressed here is that design is about relationships, not isolated components. The relationship between elements — whether physical, emotional, or conceptual — is the true essence of design. Every object, experience, or interaction in the world can be viewed as part of an interconnected web of relationships. It’s in these connections where design has its greatest impact. 

This expands on the idea that design thinking is about systems, not isolated events or things. By embracing the symbiotic nature of design, we open ourselves to the possibility that everything is connected, and that design is an ongoing process of negotiation and alignment between parts. The text hints at synchronistic moments where design comes to life, and these can only be understood and appreciated when one is attuned to the underlying relationships that shape them. 

Design thinking, as a catalyst for creative thought, enables us to see not only the tangible elements but the intangible threads that link them. Whether it’s the relationship between a product and its user, or between different cultural perspectives, design thinking helps us understand the patterns that emerge from these connections. 

5. The Symbiotic Nature of Design Thinking 

Finally, the symbiotic quality of design is explored in depth. Design, in this context, is viewed as an ongoing conversation — not just between the designer and the user, but between the designer, the environment, society, and the very forces that influence how we perceive and interact with the world. Symbiosis here refers to mutual benefit and understanding between all involved parties, as each element interacts and influences the others in dynamic ways. 

The text invites the reader to see design as a way of navigating life’s experiences, offering us a way to learn from every interaction, every relationship, and every design solution we encounter. The metaphor of life as a teacher and design as the lesson plan suggests that design isn’t just a tool — it’s a way of being in the world, one that encourages growth, learning, and the creation of meaningful, transformative experiences. 

Conclusion 

By framing design thinking as an ongoing investigation grounded in awareness, open-mindedness, and relational understanding, the text underscores its potential as a transformative tool. It is both an individual and collective process, influenced by belief systems and societal structures, but also a deeply personal exploration of connection, meaning, and purpose. Design thinking, in its most refined form, is about creating connections between things, people, and ideas, leading to a more holistic and inclusive approach to understanding and solving the challenges of the world.

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Questions: Are you willing to look at your world from a different point of view? Are you willing to put your own beliefs aside in order to consider and/or ponder upon a situation from a different perspective? Are you willing to consider the ramifications that may result from your position? Be honest. Are you willing to purposely open your mind and your heart to the world?

Design thinking brings a certain structure to our journey towards self-awareness. Design thinking supports us along the way by bringing to our attention the de-signposts upon which we make our choices and decisions. Design thinking tugs at an intuitive knowledge and awareness we have seemingly ignored or forgotten. What we deem conscious is the product of a series of patterns we ourselves have created, accepted, substantiated and repeatedly followed over time. What we experience today are the remnants of a series of systems we've designated as worthy of believing.

Design thinking brings meaning and purpose into our lives. It is through design that we discover who we are by conveying to ourselves our true nature. Over time design thinking has demonstrated itself as being the means and the instrument by which we can discover the mysteries of our own soul.

Design thinking encourages us to "wear someone else’s moccasins" by becoming sensitive, aware and willing to accept and adapt to change. The ability to empathize is instrumental in creating the symbolic and complementary connection between elements. As stated earlier, design thinkings' symbolic power has the capacity to personify our relationships by understanding the world in a manner that can intimately affect our life.

Something to know rather than believe in

The following postulates attempt to prepare our mind for material yet to be presented. Each visitor should determine for themselves the beliefs they are willing to bring to the design experience. Please understand that there are no right or wrong POV when it comes to understanding the concept of design. In design thinking there are no right or wrong answers. Each of us will naturally resonate to what we both know and feel to be appropriate for ourselves an impression made in reference to the situation at hand.

There is no need to defend your position in design. Everything is in constant flux so there really is nothing to defend. What was once black can instantly change to become white surrounded by shades of grey. Design thinking brings to light the symbolic correspondences reflecting a universe that can be both measured and hidden. Every elemental represents a pattern of energy unlike anything or anyone else. In every moment every form of energy is in the process of becoming an integral part of a multitude of design patterns never known before to exist. 

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"Thoughts always seek their freedom, never answering to one master. They seek free rein and free range trying to avoid all restraint. Thoughts transcend time and space allowing themselves to be birthed again and again into new forms. Thoughts can be kept captive like a genie in a bottle but not for long, they always seem to find a way out."

Gillian MacBeth-Louthan

www.thequantumawakening.comthequantumawakening@hughes.net

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We can only be who we are. We can only believe who we are in the presence of the moment. We can only be sensitive to what we have experienced in the form of a presence partially shackled within the constraints of space and time -no more, no less. This kind of honest introspection is instrumental in bringing enlightenment to the design experience. Truthfulness and integrity are of upmost significance in the virtuous expansion of any consciousness implied human.

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“Humanism is a philosophical outlook, but in itself is a minimalist one, deliberately so because a key requirement of it is that individuals should think for themselves about what they are and how they should live. Standardly, a philosophy is a full fleshed-out affair, consisting in a detailed view of the world, of humanity in it, of the relationship between human beings and the world, and with human beings with each other. All the great philosophies have a metaphysics that underwrites the ethics they urge. But humanism requires no commitment to teaching beyond its two fundamental premises, and it imposes no obligations on people other than to think for themselves. Because it does not consist in a body of doctrines and prescriptions, backed by sanctions for believing in the former and not obeying the latter, it is as far from being like a religion as anything could be.”
A.C. Grayling, The God Argument: The Case Against Religion and for Humanism

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    There exists a nameless mystery from which all things appear to have their being. All things are alive and an indication of this single Life force. Everything seen and unseen is vibratory in character and resonates into and from this same common source.

    

   Design is universal, multi-dimensional and a symbolic expression of this single force as it resonates in all things seen and unseen. Design thinking qualifies this universal source by means of signs, symbols and metaphor.

    

    Design thinking is metaphysical in content and context. It harnesses the process by which energy, light and information find expression both in form and formlessness.

    

   Design thinking illustrates and describes the process of self-empowerment and self-realization by bringing to our awareness the qualities of a universe of our own making in everything imaginable.

    

   The paths we follow are the manifestations of our dreams and the artful creations of our own lives. Design thinking creates the dimensional structure, i.e. frequency modulation, etc. in which our lives and dreams can be realized in space/time.

    

   Everything is illusionary and symbolic in content and context while simultaneously remaining vastly relevant in our quest to know the meaning and purpose of the universe. This process is approachable by virtue of knowing ourself by means of design thinking, i.e. man - wo/man - hu/manity ... know thy self.

    

" "If spiritual science is to do the same for spirit that natural science has done for nature, it must investigate quite differently from the latter. It must find ways and means of penetrating into the sphere of the spiritual, a domain which cannot be perceived with outer physical senses nor apprehended with the intellect which is bound to the brain." 

Rudolf Steiner

   Change is an essential element supporting the concept of design and design thinking. Design thinking makes life incredibly simple using signs symbols, metaphor and analogy.

Creativity and Problem Solving is Required at Every Level 

HackerNoon, Marty Groover 

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“ "What humans can do is change the data by adding to it. They cannot alter Prior Data, but they can enlarge the database. They can put into their memory banks new and important information on Everything in Life -- including life itself. When they do this, they create a New Beginning in the Mental Process of Data Analysis through which they make their choices and decisions. They start out from a different place. They do something by this process that is crucial to behavior modification: they alter their perspective. 

   It is important to understand that Perspective is Everything. It is not a little thing. It is everything. Perspective is the way we look at things, and the way we look at things absolutely determines the way we see them”. 

   Neale Donald Walsch 

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This text explores a deep and intricate relationship between design thinking and the human experience, emphasizing themes such as self-awareness, personal empowerment, perception, and the metaphysical nature of existence.  

1. Design Thinking as a Path to Self-Awareness Design thinking provides a framework for introspection and self-awareness, guiding us to examine the decisions and patterns we've shaped in our lives. It encourages a deeper understanding of ourselves, revealing that what we consider "conscious" thought is often a product of long-established patterns, systems, and beliefs we've accepted over time. These mental constructs, while potentially helpful, are often unconscious drivers of our decisions. By becoming more mindful of these patterns, we can choose to reshape or let go of limiting beliefs, creating space for deeper personal growth. 

2. The Meaning and Purpose of Life Through Design 

Design thinking is not just a tool for problem-solving—it serves as a medium through which we can discover meaning and purpose in our lives. By applying design principles to our thoughts, actions, and relationships, we begin to understand our true nature. This process helps us uncover and articulate the deeper truths of our existence, guiding us toward a sense of clarity and authenticity. 

3. Empathy and Connection Through Design Thinking 

One of the fundamental tenets of design thinking is empathy—being able to understand and share the feelings of another. This ability to "wear someone else’s moccasins" is not just about recognizing their emotional state; it's about developing a sensitivity to the interconnectedness of all things. Design thinking helps us create symbolic connections between elements, facilitating deeper relationships and a more holistic understanding of the world around us.

4. The Fluidity of Truth and Perspective in Design Thinking 

Design thinking embraces the fluid and ever-changing nature of truth and perception. There are no absolute right or wrong answers in design thinking; instead, it encourages us to explore multiple perspectives and recognize that truth is not fixed. Just as a color can shift from black to white, so too can our understanding evolve as we encounter new insights, perspectives, and experiences. 

5. The Metaphysical and Symbolic Nature of Design 

Design thinking operates on a metaphysical level, drawing from the unseen energies, symbols, and patterns that shape our world. It speaks to the universal force that connects all things—both seen and unseen. Through design, we can express and understand this force in tangible ways, using metaphors and symbols to bring deeper meaning to our experiences. 

6. Self-Empowerment and Self-Realization Through Design 

At its core, design thinking is a process of self-empowerment and self-realization. By becoming conscious of the patterns and structures we create in our lives, we gain the ability to reshape them, aligning our actions with our true desires and values. This process is not just about making external changes but about aligning our inner world with our outer reality. 

7. The Illusory and Symbolic Nature of Existence 

One of the most profound insights design thinking offers is the understanding that everything is, in a sense, illusory—yet deeply meaningful. Our perception of reality is shaped by the symbols, metaphors, and meanings we assign to it. While these symbols may be abstract or fleeting, they serve as tools to navigate and understand the universe. In this sense, design thinking offers a way to engage with the world symbolically, recognizing the deeper patterns that underlie all things. 

8. The Role of Change in Design Thinking 

Change is central to design thinking. Life itself is in constant flux, and design thinking helps us embrace this fluidity by offering tools to adapt, evolve, and create. Whether through symbols, analogies, or metaphors, design thinking simplifies complex realities, making it easier to navigate change and harness it for personal and collective growth. 

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: 01.21.2016, 04.24.2016, 05.16.2016, 06.24.2016, 11.16.2016, 01.11.2017, 03.28.2017, 08.01.2018, 05.26.2019, 09.16.2019, 09.19.2019, 10.27.2019, 04.30.2020, 11.08.2020, 01.02.2021, 04.12.2021, 02.17.2022, 03.02.2022, 06.24.2022, 07.01.2022, 02.24.2023, 03.25.2023, 04.17.2023, 05.24.2023, 06.10.2023, 11.29.2023, 01.27.2024, 12.14.2024, 02.07.2025, 05.30.2025, 08.05.2025

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