Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
Design could be interpreted as a course of action that makes conscionable the transmission, distribution and transformation of energy, light and information. Design allows for the stasis that distinguishes one field from another. Design is made apparent by virtue of the symbol.
The mind brings a purpose and our emotions bring a meaning to everything we encounter ... each condition qualifies the concept described as Kama Manas. Neither state could be fully described or understood without design. Design appears as a transmission of energy in the figure of information being transmuted symbolically from one situation to another. Design creates the networks necessary for consciousness to be realized. Design brings light to the portals that exist between the subjective (inner) and objective (outer) realms of awareness.
Our relationship to objects could be interpreted in the guise of a series of virtual impressions or feelings about how we interpret them symbolically. The exchange of energy between elements is primarily a symbolic swap often felt yet never fully understood.
Design participates in an illusionary venture fundamental to what we regard as “reality”. Design supports a position (POV) that has been created/invented within the parameters of a virtual field we portray, imagine and conceptually describe as consciousness. It is imperative that such a position exists for it brings a certain degree of stability required of every journey into the unknown.
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument. context or network.
Science is merely one expression of the design function. Science is based upon the language of mathematics which corresponds to theory, experiment, investigation, translation and the transformation of energy in motion from one state to another.
Design embodies all forms of energy, light and information and translates these impulses/ impressions into signs and symbols. Impressions made apparent through the scientific method emerge as nuggets of facts and knowledge. Together this information leads to greater understanding within the parameters of a mathematical language. Scientific observation, experimentation and discovery are symbolically communicated via the language of mathematics.
Design is all inclusive. Symbols have the power to cross barriers, link opposites and integrate the known with the unknown. Symbols have the power to measure the immeasurable and peek behind the veil of the unseen.
Design rests at the center of what might be considered reality. Design forms the symbolic fulcrum between consciousness and the subconscious. Design is at the center of every search for what we determine as being real. To be cognizant of this Reality is to begin to understand the the relationship between design and consciousness.
Reality is viewed and interpreted both within a subjective and objective frame of reference. Scientific investigation has demonstrated that the observer has influence on what is being observed. The observer is an integral participant in every phenomenon.
Objective and subjective events and experiences are of equal value and cannot be ignored when attempting to explore the concept of reality. Design attempts to take into account every element that might expose the observer to a symbolic event. Please visit “Design Consciousness: Kansei and the Tao” where the interchangeability between yin and yang is discussed.
In this way of seeing, Descartes’s ‘I’ – the human self – became a problem. At least for science. Not that anyone ceased to feel a sense of their own self – as if that were even possible. Rather, there was no way to talk about a self within the terms of science. Increasingly, proponents of science took to saying the self is an illusion, or even a delusion. A key component of this philosophical shift is that the in the age of physics, reality itself has come to be construed as the space of matter in motion. Now, if we want to claim something is real, we have to be able to pinpoint its co-ordinates in space and say “Ah it is here".
Scientific knowing is probabilistic — what is likely true. The knowledge base of the physical sciences, though constantly evolving, features high degrees of probability. The knowledge base of the social sciences suffers from lesser degrees of probability, due to the complexity, dynamics, and volume of the variables involved.
Colloquial knowing — what most people mean when they used the term — is characterized by an absence of doubt about facts (I know the date of our first kiss), internal states (I know that I love you), impressions (I know she’s a good person), hope (I know that I’ll always love you), or faith (I know that God loves us).
Psychological knowing is suppression of doubt, feeling that we know. This, by far, is the most common form of knowing, certainly in the minefields of love and politics. Both are fraught with emotion, which evolved to motivate action, not to make reasonable judgments about facts, impressions, or truth. We don’t get emotional because we’re certain; we feel certain because we’re emotional.
The emotions that make us feel we know emerge from tacit judgments, based on past experiences and habits. These are fraught with bias and prejudice. Our conscious judgments tend to reaffirm the autopilot judgments, to cherry-pick facts and evidence under the yoke of confirmation bias."
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Science’s purpose is to investigate into the workings of the universe whereas design’s purpose is to bring balance to the virtues of meaning and purpose.
Design is semantic and symbolic in character, the primary conveyor and facilitator of all energy, including every idea that embraces the concept of consciousness.
Design is an archetypal energy in perpetual motion perceived, described and defined as change. Design by virtue of its symbolic nature is the executor of consciousness, a role that assists in the relationship between the known and the unknown, the tangible and the intangible.
"Your consciousness is what it’s like to be you. It’s your experiences of color and sound and smell; your feelings of pain, joy, excitement or tiredness. It’s what makes you a thinking, sentient being rather than an unfeeling mechanism.
By Stephan Law. May 14, 2024 John Templeton Foundation
“If you want to know how external reality is, you need to observe it. In fact, you’ll often need to do observation-based science.”
“The philosophical problem of consciousness is a conceptual puzzle … Solving it requires working at the level of concepts.”
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Definition of Design Science
Design science rests upon the scientific method being interpreted in a symbolic manner while simultaneously remaining aware and receptive to all surrounding attractions, i.e. impressions, influences, present and past events, patterns, formations, networks, structures and experiences that may influence the event being observed in the current moment … or not. Design Science is highly intuitive.
Design science describes a symbolic investigation into Reality that is both focused and broad in scope and application. Design Science:
1. Equally and symbolically weigh and assesses all systems of energy in motion from both a subjective and collective point of view, i.e. observation, especially in reference to potential and probable outcomes.
2. Symbolically accrues and evaluates all past situations and outcomes (experiences) in a categorical fashion, including symbolic references to earlier contexts and patterns, i.e. an algorithm logging the concept of change in order to improve predictability and appropriately respond to present and future change.
3. Accrues and evaluates all synchronistic, synergistic and cohesive events and experiences.
4. Observes, responds and interprets every event and experience in a symbolic fashion in order to exercise the design “process” in a balanced, appropriate and adaptable manner.
5. Design science virtual in context and content. Observations are symbolic in character, gestation and interpretation and follow the scientific method.
6. Information is shared by means of signs, symbols and by virtue of analogy and metaphor found to be both individually and collectively coherent.
7. Design science recognizes and responds to a belief first by accruing self- knowledge, i.e. awareness, through Intelligence.
8. Design science strives to be both meaningful and purposeful.
9. Design Science’s quest is to discover and attain a balance of Consciousness by means of a symbolic Awareness and response to change.
10. Design science is subjective, collective, responsive, creative and ambient in nature.
11.13.2023
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Without the symbolic impetus supporting the internal attraction between the observer and its creator, consciousness can only retreat into the dark abyss of not knowing. Consciousness grows when together the observer and creator become aware they are participatory agents in the realization of a larger design, network or singularity.
Conceptual impressions surrounding this post have yet to be substantiated, corroborated, confirmed or woven into a larger argument, context or network.
The famous physicist Max Planck suggested that at times when observing electromagnetic energy in the form of light, particles sometimes act as waves and waves sometimes act like particles. He also suggested that energy is radiated outward and absorbed in the form of particles called photons. These photons are packaged into bundles or chunks called quanta. In essence, Planck discovered that the world truly has a dual nature even at the nuclear level.
Planck also suggested that the energy level of each quanta (photon) is dependent upon the frequency of its radiation illustrating that energy actually behaved like a particle. Further experimentation then demonstrated that particles similarly act like waves. All forms of electromagnetic energy therefore appear analogous before our consciousness in the guise of being either a particle (form) or a wave (formless)
Consciousness can similarly appear to behave both as a particle and a wave. In essence the concept of design consciousness is founded upon how energy is observed, behaves and is witnessed.
In the universe photons of light could be considered as having the same qualities as virtual photons of light due to the fact that such quanta are being emitted and absorbed from a variety of sources that together could contribute to what might be interpreted as relative "substance" to a conceptual field described as consciousness. The difference between a particle interpretation and a wave interpretation is that a particle interpretation could be readily detectable to the observer whereas comparatively a wave interpretation of the same event might be unobservable and/or undetectable.
What would be detectable from a wave interpretation of an event are qualities that might be considered moderately invisible or felt. An example would be events and experiences that are associated with or are made in reference to, mental and/or emotional situations, i.e. designed expressions,in the form of dance, art, music, architecture, etc. The origin of these distinctions remains somewhat hidden yet can be articulated in the form of a common gesture, action or artifact.
These expressions are mutually inclusive and symbolic representations of two distinctly different qualities sharing a common meaning and purpose, i.e. consciousness. Spurned on by desire and guided by the mind this mutually beneficial undertaking, the wave becomes the particle as the particle simultaneously becomes the wave. Please refer to the post titled “Kama Manas“ where this concept is further described and discussed.
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/
