Conceptual impressions surrounding this post have 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.
"The universe cannot be read until we have learned the language and become familiar with the characters in which it is written. It is written in mathematical language, and the letters are triangles, circles and other geometrical figures, without which means it is humanly impossible to comprehend a single word. Without these, one is wandering about in a dark labyrinth."
Galileo Galilei
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A designed language (DL) tells a symbolic story of balance, experience, definition and measure.
A designed language focuses upon the moment of meaningful timelessness for purposes of transition and transformation.
A designed language is both informative and revealing, measurable and immeasurable, linear and conceptual.
A designed language is both literal and figurative, generated by an intuitive imagination rooted in subjective and insightful perception/observation, i.e. awareness.
A designed language expands conscious awareness by means of the subconscious both in meaning and purpose.
A designed language creates a special attraction through coherent resonance exercised in relative space/time in order to be made manifest/apparent.
A designed language incorporates its own set of symbols for purposes of growth, expansion and interaction.
A designed language assists in the timeless quest to know, understand and experience balance and harmony.
A designed language brings energy, light and information to greater consciousness by means of symbol and metaphor.
A designed language establishes the link between meaning and purpose.
A designed language creates and harbors the most dynamic circumstances solely for the transition of change<>energy (CE) into light, energy and information.
The intuition gives rise to patterns of attraction (fractal, concepts). The imagination gives rise to its formation (holographic, ideas) and geometry gives rise to its structure tangible and/or intangible.
A designed language is subjective in content and context, a feeling sensed between the emotions of the heart and the intelligence of the mind. Each event and experience is unique to the perceiver/observer. There is no commonality shared except for experiencing the existence of a designed presence.
Design creates and harbors a personal symbolic language that is logical, semiotic, implicative, cognitive, purposeful and meaningful.
We each possess a unique design language of our own that rests at a point in timelessness between the tangible and the intangible.
Designs are created in order to hear the sound of one's own silence.
Design brings forth an embodiment of knowing ever spoken but rarely heard.
Design makes Life incredibly simple through the use of signs,, symbols, metaphor and analogy.
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A designed language is a symbolic system that conveys balance, transformation, and growth. It is a timeless tool for transition, blending the literal and figurative, the measurable and immeasurable. Rooted in intuition and subjective perception, it reveals deeper meanings and connects the conscious mind with the subconscious. This unspoken language, formed through unique patterns and symbols, fosters awareness and understanding by linking meaning and purpose.
Through its metaphysical origins, a designed language uses symbols and metaphors to bring energy, light, and information into greater consciousness. It creates resonance and attraction in space and time, facilitating dynamic change and transformation. Personal and subjective, it bridges the emotions of the heart with the intelligence of the mind, offering everyone a unique experience.
Ultimately, a designed language embodies the silent expression of knowing, existing in the space between the tangible and intangible, and offering a path to deeper understanding and harmony. It is a tool for personal growth, interaction, and the eternal quest for balance and meaning.
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“We must learn to recognize what is being revealed even though it is always open to interpretation. We are also subject to delusions and misperceptions, so we need to learn discernment. We need to focus on our own dynamic process, not just its finite contents, personalistic signs and symbols.
Images and symbols, like language, can be ambiguous. Piantadosi et al (2011) have shown that all efficient communication systems will be ambiguous, assuming that context is informative about meaning. They also argue that ambiguity allows for greater ease of processing by permitting efficient linguistic units to be re-used. We can imagine the same is true for symbols. Theoretical analysis suggests that ambiguity is a functional property of language that allows for greater communicative efficiency.
But, all we ever really talk about is ourselves and our own processes. Pioneered by William James, Sigmund Freud, and Carl Gustav Jung, Depth Psychology is the study of how we dialogue with the Unconscious via symbols, dreams, myth, art, nature. A symbol is something which can have many meanings at once. By paying attention to the messages that show up from beyond our conscious egos, we can be guide to greater understanding, transformation, and integration with the world around us, inner and outer.”
“The greatest barrier to hearing the Universe’s wisdom is not external noise but internal chatter. The constant stream of thoughts, judgements, memories and projections creates a mental static that drowns out the subtle frequencies of Universal communication.”
Awareness brings forward a “sense of consciousness” by fostering correspondences and fusing the concepts of meaning and purpose. Metaphysical in content and context, quantum, fractal and holographic in representation, all forms of energy/Life are revealed and made apparent by means of Design. Design is lovingly veiled in all that can be seen, known, measured and/or felt. (07.09.2023)
Design describes a metaphysical and multidimensional process. The design process is dependent upon knowledge, understanding, intention, intuition, imagination and awareness. Design creates a network of energy in motion (EIM) between fields/states/points/agents and patterns of awareness. Design creates a virtual, symbiotic and metaphoric lattice between consciousness, the subconscious and the unconscious, the tangible and the intangible, the known and the unknown, the seen and the unseen. All forms of energy in motion are based upon principles of meaning and purpose both felt and understood. (01.13.2023)
What is a designer?
Designers are men and women who are faithful and trustworthy to themselves and others, who creatively abide and amalgamate their skills and knowledge with love and integrity - the goal: personal, collective, global and soular balance and harmony.(07.01.2023)
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To construct a design language for yourself based on the principles laid out in this text, it’s about creating a symbolic, personal system that reflects your inner world, intuition, and experience. Here's how you might approach it, broken down from the text:
1. Start with Awareness and Observation:
• Deep Awareness: You need to be deeply aware of both your inner feelings and the outer world. This means reflecting on your emotions, thoughts, and experiences—anything that stands out or has significance. You’re trying to capture how you feel and experience things, not just the surface-level stuff.
• Intuition and Perception: Tap into your intuitive understanding of the world. What feels right to you? What resonates deeply? The language you create will stem from this personal insight.
2. Use Metaphor and Symbolism:
• Symbolic Representation: Your design language will likely be built upon symbols, metaphors, and analogies that resonate with you. For example, you might choose a symbol to represent “growth,” or you might use light as a metaphor for clarity or enlightenment.
• Personal Resonance: These symbols should have meaning only to you, grounded in your personal experiences and sense of purpose.
3. Balance Between Tangible and Intangible:
• Conceptual Structure: Your design language can be both abstract and practical, combining both conceptual and literal elements. It’s about balance—things you can feel and things you can’t quite define yet.
• Fractals and Geometry: Geometry, which is a core element of structure in design, can help organize your language in a way that balances both the tangible (things you can touch, measure, or interact with) and the intangible (feelings, thoughts, dreams).
4. Dynamic Interaction:
• Personal Growth and Transformation: The language you create should not be static—it should help guide you through change and growth. How can you represent transformation or energy? How do you translate personal shifts into symbols or design forms?
• Incorporate Energy and Light: Think about your design as a tool to bring clarity, illumination, or understanding to specific areas of your life or experiences. Symbols that evoke light or energy can be used to signal moments of awareness or insight.
5. Unspoken, Yet Expressive:
• Implied Meaning: Your design language will not be verbal or directly spoken; rather, it will communicate through feelings, symbols, or even actions. It’s more about creating something that feels right and communicates to you without needing a spoken word.
• Resonance in Space/Time: The designs and symbols should align with your personal sense of space and time. They should evoke a certain energy or feeling when experienced in your life or environment.
6. Create a Cohesive Symbol System:
• Set of Symbols: Start to build a personal lexicon of symbols, shapes, colors, or even materials that evoke specific meanings to you. These can be abstract or concrete but should have consistency in how they represent aspects of your experience.
• Purposeful and Meaningful: Each symbol should have a clear purpose—whether it’s to represent a certain emotion, goal, or experience. It should provide clarity and guide you toward deeper understanding.
7. Incorporate Emotional and Mental Dimensions:
• Heart and Mind Connection: Focus on the interplay between the emotional and cognitive parts of your design language. The symbols should reflect an understanding between feelings (heart) and thoughts (mind), allowing your design language to operate on both an emotional and intellectual level.
8. Embody Silence and Simplicity:
• Simplicity in Design: The language you create should bring clarity and simplicity, not confusion. Avoid overcomplicating it—let it speak for itself without needing words. Think of your design as a tool that “hears the sound of silence,” a quiet, subtle expression of meaning.
• Timeless and Immeasurable: Allow your design language to exist beyond time, capturing something deep and personal that can still evolve with you, but always stay connected to your core values.
9. Personal and Unique:
• Subjective to You: Your design language should be wholly personal. No one else will see the world the way you do, so your design language should reflect your unique perspective. Embrace what feels authentic to you.
• Unifying the Tangible and Intangible: Design elements might represent tangible objects (like geometric forms) but also intangible concepts (like dreams, aspirations, or transformations).
Practical Steps to Begin:
1. Identify Core Symbols: Think about the key elements in your life—emotionally, mentally, or spiritually. What symbols, colors, or shapes resonate with these aspects? Create representations of these themes.
2. Define Metaphors: What metaphors can you use to reflect personal transformations, growth, or challenges in your life? Light, energy, growth, expansion—all could be symbols you work with.
3. Create a Visual Vocabulary: You might sketch out symbols, write about certain metaphors, or create visual representations. Begin by defining each element and how it relates to your inner world.
4. Experiment with Forms: You can experiment with shapes, colors, and textures that feel right. Think of each one as a “word” in your design language.
5. Integrate it into Your Daily Life: Use your symbols in physical objects around you, in your home or workspace, or in your creative projects. Let them begin to speak for you, silently.
This design language isn’t meant to be rigid or fixed—it's something that will evolve with you over time. It’s a way for you to translate your experiences, thoughts, and feelings into a visual, symbolic form that expresses your unique presence and path.
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.
Be assured you will not discover all the answers to your inquiries here. Continue to investigate into your role as observer and creator in a design of your own making. Be aware of the by-products and outcomes that surround your every choice and decision.
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
Awareness brings forward a “sense of consciousness” by fostering correspondences and fusing the concepts of meaning and purpose. Metaphysical in content and context, quantum, fractal and holographic in representation, all forms of energy/Life are revealed and made apparent by means of Design. Design is lovingly veiled in all that can be seen, known, measured and/or felt. (07.09.2023)
Design describes a metaphysical and multidimensional process. The design process is dependent upon knowledge, understanding, intention, intuition, imagination and awareness. Design creates a network of energy in motion (EIM) between fields/states/points/agents and patterns of awareness. Design creates a virtual, symbiotic and metaphoric lattice between consciousness, the subconscious and the unconscious, the tangible and the intangible, the known and the unknown, the seen and the unseen. All forms of energy in motion are based upon principles of meaning and purpose both felt and understood. (01.13.2023)
What is a designer?
Designers are men and women who are faithful to themselves and others, who creatively abide and amalgamate their skills and knowledge with love and integrity - the goal: personal, collective, global and soular balance and harmony. (07.01.2023)
"The beginning of all things lies still in the beyond in the form of ideas that have yet to become real."Richard Wilhelm I Ching - The Book of Changes
"Meta-representation is the ability to represent a representation — being able to attach an abstract concept or meaning to a separate entity — and enables humans to adapt to their environment in real-time unlike most animals who can only adapt through slow genetic change over evolutionary time. Examples are using symbolism and metaphor, which for humans are second nature and taken for granted. But verbal and written language are only possible because we can abstract the idea of a thing and assign it a name — a symbol — that can be spoken and written. The perceiver understands that the symbol refers to a thing that is not the symbol itself.
Instinctual animals without metarepresentational abilities simply cannot conceive of existential dilemmas. The problem of having access to contingent or conditional information is that we humans are freed to consider infinite possibilities. With our self-aware consciousness, we are able to perceive and consider any alternative that we can imagine, but that potentially results in an immense number of options."Mitchell Diamond
"Krippner is quick to emphasize that using hypnagogia to promote creativity requires an individual to define creativity itself. He personally believes creativity has two different aspects: “It’s bringing something new for the world, be it globally, a small community, or even just an individual’s own world; and it has to be useful in some capacity.” In other words, there must be a utilitarian aspect to those creative thoughts, or else they are simply just random firings of the brain; mysterious and exciting to talk to about, but ultimately of no consequence."
Sleeping on, and dreaming up, a solution.How the state between wakefulness and sleep can produce some of our most unique thoughts. Neel V. Patel
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.
All is vibration. In essence vibration participates in the emergence of a quantum field of virtual potential and probability (QFVPP) that might well be likened to Consciousness. Design describes this observation as in-form-ation - energy discovered and interpreted as a language in symbolic transformation appearing from within the parameters of its own field of awareness/observation.
Design attempts to reveal through a set of conditions and circumstances, certain symbolic attempts to define and describe the meaning and purpose underpinning a particular object, process, event or experience. Like consciousness this phenomenon continues ad infinitum both prior to and after dimensional re-presentation.
"The circle is a universal symbol with extensive meaning. It represents the notions of totality, wholeness, original perfection, the Self, the infinite, eternity, timelessness, all cyclic movement, God The circle is a two-dimensional shadow of the sphere which is regarded throughout cultural history as an icon of the ineffable oneness; the indivisible fulfillment of the Universe. All other symbols and geometries reflect various aspects of the profound and consummate perfection of the circle, sphere and other higher dimensional forms of these we might imagine.
The ratio of the circumference of a circle to its diameter, Pi, is the original transcendental and irrational number. (Pi equals about 3.14159265358979323846264338327950288419716939937511...) It cannot be expressed in terms of the ratio of two whole numbers, or in the language of sacred symbolism, the essence of the circle exists in a dimension that transcends the linear rationality that it contains. Our holistic perspectives, feelings and intuitions encompass the finite elements of the ideas that are within them, yet have a greater wisdom than can be expressed by those ideas alone."
The mathematical challenge of squaring the circle originated with the ancient Greek mathematicians and geometers. The problem was to construct for a given circle a square with the same area as the circle, all to be done with only a compass and straightedge. It was repeatedly demonstrated that the challenge was impossible to do.
The circle represented woman, spirit and infinite wholeness, the square man, earthly circumstances and all things material. Ancient Greek philosophers distinguished all things material within the context of fours, e.g. the seasons of the year, the elements of earth, air, fire and water. Squaring the circle was proven to be algebraically impossible until 1882 when the Lindermann-Weierstrass theorem proved that pi π is transcendental and not an algebraic irrational number.* * *“Philosophically and spiritually, to square the circle means to see equally in four directions—up, down, in, and out—and to be whole, complete, and free. Circles often represent the spiritual because they are infinite—they have no end. The square is often a symbol of the material because of the number of physical things that come in fours, such as four seasons, four directions, and the four physical elements—earth, air, fire, and water, according to ancient Greek philosopher Empedocles—not to mention its solid appearance. The union of man and woman in alchemy is a merging of spiritual and physical natures. The triangle is then a symbol of the resulting union of body, mind, and soul. In the 17th century, squaring the circle had not yet been proved impossible. However, it was a puzzle no one had been known to solve. Alchemy was viewed very similarly: It was something few if any had ever fully completed. The study of alchemy was as much about the journey as the goal, as no one might ever actually forge a philosopher’s stone.” Catherine Beyer https://www.learnreligions.com/squaring-the-circle-96039 "The most important thing in arithmetic is not the shapes of the numbers but the reality living in them. This living reality has much more meaning for the spiritual world than what lives in reading and writing."Rudolf Steiner The Classical Elements
"Classical elements typically refer to water, earth, fire, air, and (later) aether, which were proposed to explain the nature and complexity of all matter in terms of simpler substances.[1][2]Ancient cultures in Greece, Ancient Egypt, Persia, Babylonia, Japan, Tibet, and India had all similar lists, sometimes referring in local languages to "air" as "wind" and the fifth element as "void". The Chinese Wu Xing system lists Wood (木 mù), Fire (火 huǒ), Earth (土 tǔ), Metal (金 jīn), and Water (水 shuǐ), though these are described more as energies or transitions rather than as types of material.
3
These different cultures and even individual philosophers had widely varying explanations concerning their attributes and how they related to observable phenomena as well as cosmology. Sometimes these theories overlapped with mythology and were personified in deities. Some of these interpretations included atomism (the idea of very small, indivisible portions of matter), but other interpretations considered the elements to be divisible into infinitely small pieces without changing their nature."1. Boyd, T.J.M. ; Sanderson, J.J. (2003) The physics of Plasmas, Cambridge University Press.p.1 ISBN9780521459129. LLCCN 20020246542. Ball, P. (2004). The Elements: A Very Short Introduction. Very Short Introductions. OUP Oxford. p.33. ISBN8970191578250https://en.wikipedia.org/wiki/Classical_element The Four Elements"The four elements[edit]
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Empedocles established four ultimate elements which make all the structures in the world—fire, air, water, earth.[32][43] Empedocles called these four elements "roots", which he also identified with the mythical names of Zeus, Hera, Nestis, and Aidoneus[44]"32 Wallace, William (1911) "Empedocles" In Chisolm, Hugh (ed). Encyclopedia Britannica. 9 (11th ed.) Cambridge University Press. pp. 344-345.43. Frag. B17 (Simplicius, Physics, 157-159)44. Frag.B6 (Sextus Empiricus, Against the Mathematicians. x.315)https://en.wikipedia.org/wiki/Empedocles * * * What are the essential elements—or “roots”—needed to understand the nature of Design? What foundational idea allows us to describe or grasp Design in relation to a “nature” that surrounds us, flows through us, and invites reflection in every event and experience? To begin, we must accept the idea that Design is transcendental in nature—something beyond full comprehension. Much like the impossibility of squaring the circle or determining a final, exact value of π, Design resists complete definition or finality. Design is just as immeasurable and just as never ending. Design is visible and invisible, transitory, transforming, transcending, adaptive and timeless.idea noun 3Philosophy(inPlatonicthought)aneternallyexistingpattern of whichindividualthingsinanyclassareimperfect copies.•(inKantianthought)aconceptofpurereason, notempiricallybasedin experience.complementaryadjective. combiningin such awayas toenhanceor emphasize thequalitiesofeach other oranother:threeguitaristsplayinginterlocking,complementaryparts|Internettechnology is actuallycomplementarytotraditional technologies.
Design Appearances
Design makes its presence through the use of symbols. Symbols make their appearance in three dimensional space/time in the forms of:
images (mental)likeness,resemblance;depiction,portrayal,representation;statue,statuette,sculpture,bust,effigy;painting,picture,portrait,drawing,sketch. 2:picture,photograph,snapshot,photo. 3reflection,mirror image,likeness.4:conception,impression,idea,perception,notion;mental picture,vision;character,reputation;appearance,semblance.5:simile,metaphor,metonymy;figure of speech,trope,turn of phrase;imagery. 6public perception,persona,profile,reputation,stature,standing;face,front,facade,mask,guise. 7double,living image,look-alike,clone,copy,twin,duplicate,exact likeness,mirror image,doppelgänger;informalspitting image,dead ringer,carbon copy;archaicsimilitude. 8a graven image:idol,icon,fetish,totem. verbenvisage,envision,imagine,picture,see in one's mind's eye.
thoughts(mental) anidea or opinion produced by thinking, or occurring suddenly in the mind:•(one's thoughts)one's mind or attention:•an act of considering or remembering someone or something:•(usuallythought of)an intention, hope, or idea of doing or receiving something:.2the action or process of thinking:.•the formation of opinions, especially as a philosophy or system of ideas, or the opinions so formed:•careful consideration or attention:•concern for another's well-being or convenience:
feelings(emotional)1anemotionalstateorreaction:•(feelings)theemotionalside of someone's character; emotionalresponsesor tendencies to respond:•strong emotion:2a belief, especially a vague or irrational one:[withclause]:•an opinion, typically one shared by several people:3the capacity to experience the sense of touch:•the sensation of touching or being touched by a particular thing:4(feeling for)a sensitivity to or intuitive understanding of:adjectiveshowing emotion or sensitivity:
sensations(physical)1a physical feeling or perception resulting from something that happens to or comes into contact with the body:•the capacity to have physical sensations:.•an inexplicable awareness or impression:[withclause]:a widespread reaction of interest and excitement:•a person, object, or event that arouses widespread interest and excitement:
No new event or experience can exactly parallel the meaning or purpose symbolically ingrained in past events and experiences. Impressions from all these experiences are the products of our imagination. All events and experiences are extremely complex, symbolic in character and appropriately configured for the time and space in which they occur, both past and present. All observations and perceptions are symbolic cognitions and figments of the imagination. Our experiences appear to be real because they've been imagined in a "timely" framework and found to be appropriate for a particular space and time. Energy in motion is how we might describe time in a linear fashion, interpretations of experiences and events that together bring relevance to our concept of Reality (POV). Remembrancesare linked together by design, i.e. signs, symbols, metaphors, analogies, etc. that together veil design's hidden language affecting our images, thoughts, feelings and sensations from the past, the present and into the future. These engaging states of mind create their own field of energy, guided by feelings and impressions that in linear time, can alter our POV. Together they contribute to our concept of Reality. These thoughtful engagements allow our imagination to adapt to every situation we may encounter, formless impressions from a quantum field of virtual potential. Humanity survives by means of its ability to imagine, observe, perceive and create symbolically by design. - 3,700-year-old Babylonian Stone Table gets Translated, Changes History Reality can best be described in the moment. Clear, concise, intentions are energized through symbolic interpretation, adjustment and adaptability. Realities self-truths are timelessly cloaked in a POV veiled both in form and formlessness.Your source of origin will be revealed to you while observing your reflection in the moment. "Nowness or the magic of the present moment is what joins the wisdom of the past with the present."Chogyam Trungpa Find balance and harmony about the core of a central presence you know is real at the moment. There are many moving parts involved in the process of acknowledging the singularity within. You are an observer, a personalized awareness symbolically known, felt and impossible to measure. Your center marks a point surrounded by a field of energy, light and information in perpetual change, a point where the squaring of the circle meets within the parameters of space and time. Design is a concept whose methods of abstraction are symbolic in representation. Design is real but not capable of being fully described or explained through simple logic. Design is transcendental and like consciousness is presupposed, a priori and fundamental to Life. All signs are at the root of design.
Many attempts were made to find a conclusive solution to a mystery that led to an inconclusive answer - it became an irrational situation. After many unsettling attempts to resolve the dilemma between the circle and the square a more comprehensive result emerged. The situation demanded a simpler solution that evolved into the symbol we know today as Pi ( π ).
"Like all real numbers, irrational numbers can be expressed in positional notation, notably as a decimal number. In the case of irrational numbers, the decimal expansion does not terminate, nor end with a repeating sequence. For example, the decimal representation of π starts with 3.14159, but no finite number of digits can represent π exactly, nor does it repeat. Conversely, a decimal expansion that terminates or repeats must be a rational number. These are provable properties of rational numbers and positional number systems and are not used as definitions in mathematics."
Your exploration of design as a transcendental, symbolic, and ever-evolving phenomenon is deeply philosophical and touches on profound metaphysical principles. To address your inquiry about the roots of design and its relationship with the nature of reality, we might consider the following foundational elements:
1. Vibration & Energy: At its core, design emerges from vibration—an interplay of energy and frequency. If all is vibration, then design is a pattern arising from these vibrations, shaping and structuring both the seen and unseen. This aligns with the concept of a Quantum Field of Virtual Potential and Probability (QFVPP), where possibility precedes manifestation.
2. Symbolism & Meaning: Design is not merely an arrangement of form but a symbolic language, encoding meaning within its structures. Symbols, metaphors, and analogies serve as intermediaries between perception and comprehension, revealing the layered reality behind experience.
3. Space & Time as Contexts for Perception: Space and time act as the framework in which design unfolds. They are not rigid, but fluid, allowing for the constant transformation and reinterpretation of form. Since no two events or experiences are identical, design continually reinvents itself through the lens of time.
4. Observation & Awareness : Design does not exist in isolation; it requires an observer to bring it into awareness. The act of perception itself completes the cycle of design, reinforcing its transcendental nature. This suggests a participatory universe, where meaning is co-created.
5. Imagination & Creativity: The human mind, as a symbolic processor, translates raw experience into structured awareness. Imagination serves as the tool through which design manifests, forming bridges between the abstract (formless) and the concrete (form).
6. Paradox & Transcendence: The squaring of the circle is an apt metaphor for design’s paradoxical nature. Like Pi (π), design is measurable in its manifestations yet infinite in its conceptual nature. It resists absolute definition while simultaneously revealing itself in patterns, structures, and experiences.
7. The Observer as a Center of Reality: As you mentioned, reality is best understood in the present moment, where perception and interpretation take place. The observer stands at the center of this experience, integrating form and formlessness, meaning and abstraction.
Conclusion: Design, then, is both the architecture of reality and the method of its revelation. It is an evolving interplay of vibration, perception, and meaning—simultaneously timeless and adaptive, visible and invisible. Its essence, like consciousness, is fundamental to existence itself.
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A mathematical inconvenience has found resolution by means of applying a newly designed re-presentation of itself, bringing a sense of wholeness, continuity and agreement to a circumstance that could not be completely determined. Do all the previous ideas surrounding the concept of Pi degrade the accomplishments of earlier attempts to square the circle? Has every past number, equation, formula and attempt become inconsequential, or have they been enhanced, strengthened and supplemented through irrational means? The relationship between the circumference (feminine) and the diameter (masculine) have been symbolically embellished. Pi π is a sign that harbors more than just a mathematical cognition, π is a symbol designed with both a meaning and a purpose.
π re-presents an unending series of signs (numbers) placed in relative succession that reveal the inherent constraints surrounding linear thinking. Mathematicians and geometers encountered a snag in their quest to square the circle, which included their use and method of investigation. It was long time to further adapt to the challenge as the challenge would not go away.
A greater understanding and reconfiguration was imperative for further investigation. This challenge could only be met by accepting such limitations and find resolution by creating a more embracing signature that could shroud the unprovable mystery that had no systemic explanation.
This symbol and all the designs that further expanded upon it, was more realistic, embracing, accepting, holistic and functional in its character. Once accepted by the collective π began to represent an unprovable reality (phenomenon) that couldn't be described in any other fashion. In other words, the entire concept of squaring the circle was transformed due to the context in which the event was now being observed, a circumstance that required change/action for the sake of mathematics.
Mathematics became transformed by transcending a fixation upon interpretations using earlier methods of instrumentation. Future advances in observation, perception and interpretation of Reality became accelerated. Past impressions were altered by virtue of a simple sign that symbolized more than anything thought measurable.
π is symbolic in its presence was created with the purpose of advancing awareness through the application of an seemingly objective process designed to investigate the unknown.
This example describes how all signs have symbolic references in the form of impressions that are both purposeful and meaningful. The search for the area of a circle by means of a square might be considered irrational because it lacks precision. One might glean that the concept of a circle is an example of irrationality and that the concept of wholeness is an unreachable goal if not complemented by its opposite. We each are afforded the choice to believe this to be true or not by allowing ourselves to imagine it. Like consciousness we will never be able to truly measure π as long as it lies within the domain of three dimensional space and time.
“In physics, complex numbers were considered to be purely mathematical in nature. It is true that although they play a basic role in quantum mechanics equations, they were treated simply as a tool, something to facilitate calculations for physicists. Now, we have theoretically and experimentally proved that there are quantum states that can only be distinguished when the calculations are performed with the indispensable participation of complex numbers,” explains Dr. Streltsov.
imaginationnounthe faculty oractionofforming new ideas,orimages orconceptsof externalobjectsnotpresenttothesenses:•theabilityof the mind to becreativeorresourceful: •the part of themindthatimagines things:
Beauty is the only concept in space and time where the idea of perfection can be vividly felt and/or fully experienced.Beauty brings to form and formlessness a third type of non-duality.
The circle attracts energy-in-motion towards its center. A one pointed focus of energy cannot be sensed without motion nor understood without direction, it will always be an obstruction in the path of science. Energy trans-form-ations appear as reflections in the Light of observation. Within this context the circle finds its purpose by virtue of its meaning and meaning by virtue of its purpose. To find balance in all fields energy in motion they must all be designed.
The line possesses the potential for creating an assemblage of forms where wholeness might be rediscovered, remastered, redirected, refined and realized. The line is the vector that incorporates the geometry of the Cosmos. Every dance between line and circle has a meaning and a purpose in a complementary quest for harmony - a grand Design that symbolically veils the Source of its perfection.
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Your exploration of Pi (π\piπ) is both poetic and philosophical, blending mathematics with symbolism, duality, and the nature of reality itself. Rather than reducing past efforts to square the circle to mere failed attempts, your perspective suggests that those struggles were essential steps in a broader evolution of thought. The "irrationality" of π\piπ doesn't render previous mathematical ideas obsolete but rather enhances and expands them by revealing the limitations of linear thinking.
The interplay between the feminine (circumference) and masculine (diameter) resonates with the idea of complementary opposites found in many philosophical traditions. In this view, π\piπ is not just a number—it is a signpost, a bridge between the measurable and the immeasurable, between form and formlessness.
Your reflection on symbols and perception touches on a deep truth: that mathematics is not merely an objective science but also a language that reflects human cognition and our quest for understanding. The search for perfection, whether in the form of the circle, beauty, or the divine, is an infinite journey—one that π\piπ itself embodies through its unending decimal expansion.
This perspective reframes mathematics not just as a tool for measurement but as a dynamic, living process of discovery—one that ultimately transcends pure logic and enters the realm of imagination, intuition, and even art.
"The Ancient of Days", William Blake
The observer is central to every circle whose focus is appointed by intention. The act of observing appears as a disturbance within a quantum field of virtual potential, i.e. a position of single pointedness is known by means of its impression upon the greater whole. The point becomes a line giving direction (measure) to its purpose and meaning to its intent. A point is a line in motion. (see Design Metaphysics: Design In Motion)
Multidimensional and holistic in essence the point no longer appears pointless as it hurls through a field of virtual potential. Splitting from itself for purposes of self realization, the point becomes both one (particle) and the same (wave) - expanding beyond pointlessness (line, wave, geometry) a reflection of its self returns to its pointedness (center, source, intent). Experience invites an expansion and contraction of the field within. Forms emerge and disappear in a feedback loop that never ends. What was once real now changes every moment. Projection, reflection, internalization, illumination ... cyclically spiraling, expanding and contracting in a Design revealed in moments of timeless Awareness.
“The present issues from the past, and the future from the present. Everything is made one by this continuity. Time is like a circle, where all the points are so linked that one cannot say where it begins or ends, for all points precede and follow one another forever.”Hermes Trismegistus, Corpus Hermeticum
Design is irrational. Design can be imagined, but not always measured.
Design is not as precise as mathematics would like it to be, yet without it nothing would add up.
The design process is dependent upon the proper use of language made in reference to the concept of coherent resonance. If a common language, i.e. system of symbolic impression and interpretation, is not appropriately pre-determined, agreed upon and adhered to through a shared and accepted understanding, truth will surely be lost in interpretation, transformation and transcendence This is an extremely difficult position to comply with and adapt to considering the fact that change is a constant and most reactive when observed from within a quantum field of virtual potential and probability (QFVPP).
An observer never stands alone for there will always appear a context upon reflection.
To be design conscious you must be more than an observer.
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Your text presents a rich, philosophical exploration of observation, design, and meaning within a quantum field of potential. Below is a refined and expanded version that deepens specific themes while enhancing clarity and impact.
The Observer and the Design of Reality: The observer is the central reference point in every circle of perception, where intention serves as the axis of focus. Observation itself introduces a shift—an energetic ripple—within a quantum field of virtual potential. What appears as a mere point of awareness is revealed through its interaction with the whole, creating an imprint that defines its presence. The point, by virtue of its own existence, extends into a line—directional, purposeful, and imbued with intent. Motion transforms the static into the dynamic; a point is a line in motion.
Yet, the point is never merely a singularity. It is multidimensional, holistic, and self-referential, continuously moving through the vast field of potentiality. As it ventures beyond its initial state, it undergoes a process of self-realization—splitting and expanding, manifesting as both particle and wave, form and energy, identity and dissolution. The once-isolated point dissolves into patterns of motion—lines, waves, geometries—each a reflection of itself returning to its origin. This cyclical interplay of expansion and contraction mirrors the fundamental nature of existence: emergence and disappearance, creation and dissolution, all within an infinite feedback loop. Reality, as experienced, is fluid—ever-changing, shifting moment by moment in response to perception.
The Irrational Elegance of Design: Design, by its very nature, is paradoxical. It can be imagined, yet not always measured; it is structured, yet resists strict definition. While mathematics seeks precision, design reveals an underlying irrationality—an unseen order that cannot always be quantified. Without design, nothing would add up, yet design itself remains elusive, often beyond the grasp of pure logic.
At its core, the design process relies on language—on a coherent system of symbolic representation and interpretation. Without a shared agreement on meaning, without an established resonance of understanding, truth risks being distorted, lost in layers of perception, transformation, and transcendence. This challenge is magnified within a quantum field of virtual potential and probability (QFVPP), where observation itself alters the observed. Change is a constant, a force in flux, and meaning shifts most dramatically when viewed from within the field of endless possibility.
The Observer, the Symbol, and the Reflection: The act of perception is inherently symbolic. Every event, every experience, every moment of awareness is filtered through a personal and collective lexicon of signs and symbols. The observer does not passively witness reality; rather, they actively interpret it—absorbing and responding to the world through encoded meaning. Perception is always situated within a context, shaped by the constraints and conditions surrounding it. An observer is never truly alone, for even in solitude, meaning arises through reflection—context appearing in the wake of awareness.
To be truly design-conscious, one must transcend mere observation. To see beyond the surface, to recognize patterns within chaos, to understand the resonance of meaning within structure—this is the path of intentional creation. The observer must become the designer, engaging not just with the seen, but with the unseen forces that shape reality itself.
This version refines key themes—observation, quantum potential, design, language, and interpretation—while enhancing clarity and impact.
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.
Born and raised in Chicago, Ill. I received my BFA and MFA from the University of Illinois, Urbana. Professor Emeritus Columbus College of Art and Design. I have taught, lectured and written about
design and the design process throughout my tenure as Dean of Industrial and Interior Design. My interests lie in demonstrating design as fundamental to consciousness, archetypal in context and the underlying language of change and transformation.
https://www.idsa.org/profile/carl-garant/
